Incroci is a project designed to provide space for comparisons, exchanges, and dialogue between Italian and international artistic and cultural realities. The second incrocio sees the collaboration with z2o Sara Zanin Gallery that will host a solo exhibition of Andreas Zampella in z2o Project, in via Baccio Pontelli 16 in Rome. The exhibition will open on January 26th at 6 p.m. and will be open until February 24th 2024.
The space presents a selection of my latest works, paintings of different sizes, a wall drawing and an environmental sculpture. Technically all the works are made with an organic base juxtaposed with a synthetic one such as clay and glue or silicone and flour; in some the process is unstable and visible.
Legs running, fire burning, laces entwining, lemons walking. All the images tell of movement and stasis, of collectivity and loneliness, of the desire to escape, of the impossibility of moving. These are in connection with “Hearts in Atlantis,” an article by Giovanna Ferrara (Journalist for il manifesto) published in “OperaViva Magazine” in 2022. The text recalls the years between ’92 and ’96 and how the generation that lived through them, my parents’ generation, the last 30 years without technology, felt part of a larger movement of still analog change.
*We all knew, between ’92 and ’96, that we were part of a collective anomaly that took the heritage of passionate knowledge and made it a practice of fertilizing the future. We by trade were germinating. Overbearingly, challenging the docility of adults, provoking them on the terrain of their own expertise, engaging with the smartest professors in endless games of meaning, we were imposing our we-want-it-all, starting with the impossible.”
The images in the exhibition are the point of view of that generation that went from “wanting everything” to “not knowing what to want,” those children who did not take part in the 2001 G8, who experienced the failure of the community, children who experienced the last revolutionary track, children of easy divorce, junk TV, the legal mafia. Children who today of contemporaneity experience only its temporariness.
*Because educating us was not only a faculty trained in the indiscipline of tumult, it was also nature. The cornucopia of the coast, the rocks and the sea. The lemons that always dived a minute before us. The always open doors of the houses, living in the beauty of the streets, being the generation that was the child of Sixty-Eight, hearing the same songs as their parents without giving up the sacrosanct conflict acted out to say “it’s me, I’m a multitude.”
Legs on fire because the present, the now, is more important than the future, immobile legs because we don’t know where to go, what to do; we are like lemons, sour, acrid, strolling, aging, rotting motionless, unblinking, yet we are children of the sun.
This exhibition is about moments of life, of speed, of stillness, of wanting to dance, of boredom, of despondency and death. Explore it and make it your own, you can become fire or lemon, you can set everything on fire or perish by walking.
The text you have read is intended to be a premise of a multi-handedly written article taking shape in OperaViva Magazine as a reasoning on the generational transition observed in the text “Hearts in Atlantis” by Giovanna Ferrara (1978-2023), to whom I heartily dedicate this exposition.