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By Lara Limongelli

Sorge il Sole is one of the winning projects of the Lazio Contemporaneo 2022 call for proposals that the Zerynthia Association for Contemporary Art will carry out at the Academy of Fine Arts in Frosinone, a return to the province as in its early days. In fact, it is in the Paliano headquarters of Zerynthia Associazione per l'Arte Contemporanea that the first exhibitions were born, such as Accumulazioni in 1995 with international artists Sol LeWitt, Mario Merz and Jan Dibbets, or Verso Sud - Perpetuum Mobile (2000-2002), which involved the Lazio municipalities of Piglio, Valmontone, Paliano, Colleferro and Carpineto Romano, creating a real itinerary of contemporary art.
In this case, it is Frosinone that is offering the spaces of its Academy of Fine Arts for an exhibition aimed at promoting the work of three young artists coordinated by an equally young curator, Francesco Giovanetti, and a photographer, Claudia Falcetelli, who will follow the entire design part up to the installation of the works. The month-long exhibition will subsequently be documented by a publication.
The artists selected by Zerynthia are Angelica Loffreda, Veronica Neri and Ilare, all from Fine Arts Academies in the Lazio Region, demonstrate a remarkable awareness in their personal artistic journey in spite of their young age. The works fit into an educational context, traversed by male and female students with whom they share the same training, in a city like Frosinone, marginal compared to Rome or Naples, where somehow it is a form of resistance that leads young people to approach art and believe in such a complex and always uphill path. Precisely for this reason, the discourse turns to an expanded reflection on the idea of marginality - geographical, cultural, of stimuli, - discovering that it is also true the mechanism whereby those who come from places considered more marginal manage to have much more imagination and willpower to embark on a path toward contemporary art. The sun rises-the title chosen for this exhibition-is precisely a reference to the phrase of the partisan resistance ("Tomorrow the sun will rise again"), taken as an inspiration of hope and commitment aimed at better horizons, for culture as for life in general.E

Even in the individual artistic paths of the three women artists we can find the same elements of resistance and marginality that we have just mentioned, albeit with different intentions and conceptualities.
For Angelica Loffreda, it is paradoxically precisely the sense of sight ( the main sense, considered for centuries the only sense in charge of aesthetic vision) that is rendered marginal in favor of a recovery of the instinctive sign, created by the automatisms of the brain and hands. In her use of old family photographs rescued from flea markets, she seems to play precisely with the marginality of the past of strangers, restoring to it a visual centrality, with the intention of wanting to replace the visible with the invisible - what time and anonymity have dissolved of the image and identity of those portrayed in it. In Veronica Neri it is certain recurring elements-sheets or garments, cut or dried flowers-that bear the sign of a resistance, that of the persistence of the present in the past, her predilection for places that symbolize forgetfulness (often the flowers are picked in small village cemeteries, or she chooses obscure niches that seem of no importance to her installations). For Ilare , too, all that universe, natural and artificial, that is generally considered insignificant, if not downright "waste," appears as central to his imagery: old soil, mosses, molds and clay bones, plastic waste that are integrated into his aquariums like living organisms.
Through their languages, Sunrise wants to show the artistic importance of all those paths that are born in what are considered "peripheries" of art without surrendering to marginality, but rather resisting and persevering with imagination and experimentation in their research.

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