FRANCESCO IMPELLIZZERI
MUOVITI MUOVITI
curated by Marcello Palminteri and Gabriele Perretta
26 SEPTEMBER - 26 OCTOBER 2024
‘Before us,’ writes Gabriele Perretta, ‘are events of all kinds, unpredictable. All we can do is point a ‘seeing machine’ and keep the telescopic opening on this virtual world, in the hope that some of these events will have the grace to let themselves be filmed. Francesco Impellizzeri's exhibition practice can only be this: a bait stretched in the hope that reality will be naive enough to let itself be caught. The exhibition's challenge is aimed at the bad ideals that order, measure and orientate reasons and emotions with the metre of a universal artistic homogenisation, in the consolatory oblivion of the selection of works and operas that constitutes us as finite and dependent ‘performers’. What is at stake in ‘Muoviti Muoviti’ is the awareness that precisely this inescapability, as such, goes to constitute the strength of an artistic subjectivity, of an aesthetic experience that, in the exercise of evidence, makes possible the ‘(re)conversion of pop’, resisting that excess of government that, as Perretta tells us, all too easily translates into violence and concealment of the work and the ‘other’.
Impellizzeri - as Marcello Palminteri points out - invites us to read thirty works realised between 2011 and 2024 in which, through the contamination of different objects and materials, an imaginary theatre opens up and in which playful, ironic, sometimes grotesque elements prevail: a kitsch and pop dimension reinvents sound and word, conditioning the vision, inviting the spectator to become part of the work, recognising himself as an actor or as an extra. How does one stand in front of Impellizzeri's works? Critically or by mocking? Giving in to the double entendre or analysing its social, political, religious components? The artist's works live on a stratification that is not only technical but above all conceptual, and a one-sided or superficial reading would certainly be misleading.
A particular key to interpreting ‘Muoviti Muoviti’ and its solicitations can be found in the divertissement that Impellizzeri weaves in a game of semantic references that unwind around the role that the image plays in its relation to reality. Deconstructing the old pop codes, combining vision and insidious experience, the medial in fact makes possible the construction of a different relationship with the real, where the image of ascertainment no longer resonates, but the movement of the problematic nature of experience that binds us to others.
