Dimora Artica presents Lunar Stories, a group exhibition that gathers together the works of six emerging artists from different generations.

Lunar Stories
Artists: Andrea Arrigoni, bn+ BRINANOVARA, Francesco Ciavaglioli, Nicola Gobbetto, Iacopo Pesenti, Camilla Rocchi
4 February - 28 February, 2021
Dimora Artica – Via Dolomiti, Milano

The nocturnal atmosphere lightened up by the moonlight as well as the incorporeal essence of the digital are the suggestions at the basis of the project, in which the works of the different artists are presented as stories in a collection of narratives. More and more pervasive and an integral part of the experience of reality in our era, the digital world poses itself as a dimension of translucent evanescence, where the perception of physical space is increasingly mediated by technological devices.
Even when dealing with traditional techniques, such as painting and sculpture, or with the appropriation of images from the history of art, in recent years, the artistic expression is permeated by the digital. The aesthetics produced by computer-generated renderings, graphic programs and video games is influencing the current artistic production, characterized by a particular imaginative attitude and sense of freedom in the manipulation of images which can often recall the imagery of fantasy games or the compositional approach of graphic design.
The vocation of art to make the invisible visible is today shared with technology and science, which can make us interact with virtual spaces or show us the configuration of the most infinitesimal biological forms. At the same time, art can draw from different areas, such as the collective unconscious and individual experience, outlining unprecedented hybridisations between apparently distant worlds with whom to metabolize the cultural complexity of the present time. On the edge between ghostly visions and physicality of matter, art mixes the deck and shows us a halfway territory, which seems to be made of the same substance as the moonlight, where the invisible appears without revealing itself completely.

Andrea Arrigoni's (1996) paintings originate from the observation and reworking of the images that constitute the contemporary environment.
Everyday life is transformed through a personal lens by taking the idea of suspension to its limits, making use of a lively chromatic range and outlining shapes with uniform colours.

The artistic duo bn+ BRINANOVARA (Giorgio Brina 1993 – Simone Novara 1994) embrace a transdisciplinary practice. Their research explores and ironically challenges cultural archetypes, in favor of a multifaceted image of the Real.
The painting on display, titled Oroveneto, is the re-occurrence of a portrait realized by the Renaissance painter Bartolomeo Veneto through a portion of the gentleman's attire. The opulence and splendor of the golden fabric become suspended lines emerging from the black in which the figure is immersed, they represent the memory of a drapery that makes itself a hypothesis for a new image.

The protagonist of Francesco Ciavaglioli's (1983) works is an idea of nature mediated by reproduction systems that use images as the basis of a process of reproduction and repetition.
The interest in the technical reproducibility of images crystallizes itself in the image of the garden, in a landscape suspended in between organism and abstraction, nature and humanity.
The technological or scientific images become a kind of immaterial and metaphysical landscape.
The human garden is a construction made up of concepts; ideas classified and arranged in different orders which reveal the touching attempt to find a safe place in the world.

Nicola Gobbetto's (1980) production revolves around the search for the Self. It is from the world of fantasy narrative, mythology, cinema and sport that Gobbetto draws inspiration. The techniques he experiments with range from painting to video, from installation to sculpture, photography, digital collage and drawing. In the series YOU CAN FIX IT IF IT’S BROKEN, BUT YOU CAN STILL SEE THE CRACK, images of antique sculptures are superimposed with plasters to highlight the cracks of the marble, alluding to the desire to reconstruct the unattainable idealized beauty of classicism. The artist appropriates icons of classical beauty to tell about the contemporary neurosis related to a body care that, chasing after abstract and unreal shapes, leads to an excessive use of plastic surgery.

Central to Iacopo Pesenti's (1990) research is the dialectic between vital expression and idealisation, in an internal tension that opens up to an indecipherable elsewhere. The processes of the mind that transform the flow of thoughts into clearer forms are transposed by Pesenti into paintings with an enigmatic and rarefied atmosphere, in which a lunar restlessness is perceived, with magical connotations.

Camilla Rocchi's (1998) work is an invitation to look at every singular natural form to grasp its manifest spiritual essence.
The works on display are part of the series Organismi metamorfici (Metamorphic Organisms), ceramics prompted by the work of the biologist Ernst Heackel Kunstformen der Natur and, in particular, by the study of diatomee. Appeared about 145 million years ago, diatomee costituitute the first life forms on our planet. Their symmetrical shapes, simple yet complex, functional and beautiful at the same time, act like natural mandalas that contain the secrets of life itself.