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The location, is a private time capsule. Plastic palmettes and leopard-print bedspreads reminiscent of a Texan-Saharan television series, a passage in time to the s made from carpet, humour, and wainscoting. Horizontal exoticism in chenille and continuous mirror surfaces which multiply the image of pleasure. Camel-coloured carpet, cardinal crimson, and parakeet blue climbing up the walls as to absorb noise. Marble in the bathroom creating a semiotics of splendor, a dragon tree for that one flame of lust. Peonie begins here, with the public opening of a building enveloped in ivy, fraying itself into a series of phocomelic apartments, a vast room with tiny appendages. When the view is not obstructed by curtains seemingly from a German crime series, the horizontal windows open out onto a landscape that was once depicted by the painters of the 17th Century School of Bamboccianti, who painted outskirts, prostitutes and other liminal subjects. It is here that twenty among artworks and publications, all drawing on sexual imagery, have been left on nightstands and glass coffee tables, laid on a bed or pushed against the walls. Viral hosts of a complex born to be lived in only temporarily, and in secrecy, they inhabit and infect the space with their own exterior and infinitely appropriable nature. However diverse in medium and affective tonality, they all embrace sexuality as something never to be set apart, and by way of playful inversions they take it to the mediating space of the image that knows no sacred nor improfanable. Climbing the carpeted wooden stairs, on the left one sees the poster of Water in Milk Exists , the second adult film by Lawrence Weiner after A Bit of Matter and a Little Bit More , in which sex and conversation alternate and overlap naturally, following and superimposing themselves in order to generate a social structure. In the film the actors perform, discussing the minimal structure of the two bricks whose assembling marks the beginning of architecture according to Mies van der Rohe, practicing it through physical encounters. Permeable to life and to discourse, the sex of Water in Milk Exist cannot be summed up in any one sphere. The intercourse is an element equal to every other in the economy of the image and is above all exempt from the privilege — but also free from the obligation — of the colonization of the face with the affected expressions imposed by the genre. A distilled gesture, phallic masks, golden seeds, apotropaic paintings and memories of travels surround the large photograph in which the artist kisses his own tail; an elegant and exotic mythology of the self proceeding from a life that is poured into image and in a somersault on the bed is overturned once again for the sleeping tableau vivant gifted to Peonie for the opening. Originally a diapositive in its own way a thumbnail of the stained glass , the image chosen by Pietroniro has been retouched with the addition of a halo now sheding light on the head of the porn actress. A nimbus, which is neither porn nor sacred. At the heart of the glory that the halo adds resides an irony capable of saving both images from the separate spheres in which they have been imprisoned, allowing them free passage from one to the other, through the theshold of indistinguishability generated by the work. A play on meaning along the thread of the relationship between signifier and signified is also at the base of the video Crash by Giorgio Orbi, which refers explicitly to the film directed in by David Cronenberg, based on the eponymous novel Crash by J. Characters, shot from behind, get excited and moan no longer in front of clashes, real or simulated, but in front of computer screens reporting the graphs of market fluctuations. Virtual like the currency which is no longer anchored to gold, the software that manages the graphics in Crash carries the simulacrum to its supreme expression: the irony of the simulacral appearance taken literally, in the temples of the financial bubbles there is no longer any tangible reality to submit to the symptoms of its own alteration. Daniele Puppi examines the double binary of carnality and abstraction, with an installation entitled Blast that divides in two a whole images archive of genitals, reassembled into and broadcasted on a pair of monitors that seem to be rolled onto the floor, finding themselves side by side, shooting in the dark, reloading, and firing again as to merge birth and death. Tim Ulrichs looks to the history of art, but also to the moralism of what can be and what cannot be written. Philology of divertissement, the caption reports the original dimensions of the works and their museum location. In the unique territories of the imagination — with a deconsecration of the temple-museum that takes place only in thought — the scene portrayed begins at the Pompidou, the Rijksmuseum, the Philadelphia Museum of Art, and so on. A very minor Versailles balanced between hunting lodge and palace, serving as the space of mediation between the extremely grandiose and the infinitely modest. Almost a Platonic idea intercepted by Cicoria—of which the other rooms have become, with Peonie, the unfaithful images. Palmette in plastica e copertine ghepardo safari da serie televisiva texano-sahariana, scorciatoia verso gli anni settanta fatta di moquette, umori e boiserie. Orizzontale esotismo in ciniglia e specchi in ogni dove a moltiplicare l'immagine del piacere. Moquette color cammello, porpora cardinale, blu parrocchetto e muschio scaduto a risalire le pareti per assorbire i rumori. Peonie inizia qui, con l'apertura al pubblico di un edificio avvolto nell'edera, slabbrato in un'infilata di appartamenti focomelici, ampia camera e minuscoli annessi. Posate sui comodini e i tavolini in vetro, lasciate su un letto e premute sulle pareti, le opere rivelano il nascosto in quanto tale. Lo espongono, disattivando il dispositivo pornografico. Salendo le scale in legno rivestito di moquette si scorge la locandina di Water in Milk Exists , il secondo film per adulti realizzato da Lawrence Weiner dopo A Bit of Matter and a Little Bit More , in cui sesso e discorso in coppia e di gruppo si alternano e accavallano con naturalezza, seguendosi e sovrapponendosi a creare una struttura sociale. Nel film gli attori recitano, discutono la struttura minima dei due mattoni di Mies van der Rohe, la praticano facendo sesso a due, in gruppo, di nuovo a due, da soli ma pur sempre in compagnia. Alle spalle L'estasi di Santa Teresa di Giuseppe Pietroniro, che se ne sta posata contro una finestra a rulli: vetrata profana fatta di fondi di bottiglia e sede perfetta per il sovvertimento della funzione sacrale delle raffigurazioni, pornografiche o meno che esse siano. L''estasi' presente nel titolo cambia subito di segno, e in una rapida doppia inversione l'immagine pornografica viene svincolata dal genere cui appartiene proprio grazie agli strumenti simbolici del sacro. Persino l'estasi di Santa Teresa d'Avila del Bernini, per chi l'ha vista, torna alla mente in una luce diversa. Divertissement della filologia, la didascalia riporta le dimensioni originali delle opere e la loro sede museale. Nei soli territori dell'immaginazione — con una profanazione del tempio-museo che ha luogo solo nel pensiero — la scena ritratta prende ad aver corso al Pompidou, al Rijksmuseum, al Philadelphia Museum of Art e via dicendo. Quasi un'idea platonica intercettata da Cicoria—di cui le altre stanze sono diventate, con Peonie, le immagini infedeli.

SIX in Venice: artist Will Paucar at Palazzo Ruzzini

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Buy Ecstasy Ponte di Legno