“How She Spins” — curated by Sonia D’Alto — brings jointly a variety of functions that share a performative observe addressing language as a kind of rebellion and ceremonial celebration. The fashionable mythology and cartography of the artist is changed by de-egoisated subjectivities, geographically deriving from the coasts and the metropolis of Naples, even though belonging to multiple existences. Focused to the exercise of Raffaela Naldi Rossano and expanded through a dialogue with functions by Giuseppe Desiato and Le Nemesiache, the exhibition undertaking explores prospects to revisit and rewrite narratives and mythologies of modernity, with thanks to ritual and non secular interventions. Raffaela Naldi Rossano (1990, Naples) has founded her observe at the intersection of put up-historical narratives, magical language and the rewriting of Mediterranean mythology, breaking down the bonds of language and logic of secularised electrical power. Her operate evokes a political and religious confabulation based mostly on gestures, stories, and the restoration and creation of symbols, bodies and objects. Oracular fortellings, divinations, regressive hypnosis, and ephemeral actions notify her follow on display screen, which dialogues with the intimate and ritualistic inventive procedures of others that focus on sinking the nature of existence in the transformation a perpetual contrast with a set id. Giuseppe Desiato (1935, Naples) embodies the rejection of the artist’s id by enjoying the position of a common storyteller, embracing the functions of the day-to-day. In his perform Desiato addresses tales of the past and current lifetime in the boundaries of acceptability from the procedure of social languages. Le Nemesiache collective, started by the philosopher, artist and writer Lina Mangiacapre in 1970, embeds mythological methodologies in feminism. The team proposes a distinctive point of view on the romantic relationship with the globe of ‘work and the economy’, functioning collectively to produce multi-disciplinary assignments involving re-creating, re-checking out and re-staging of aged storytellings in purchase to invoke ancestors, beings and entities. In this regard, the exhibition undertaking adopts a transhistorical tactic that experiments with temporalities. The constellation of drawings and relocating photographs that traverse the place of the gallery articulate an emanation of many realities, through functions of a pluralized ‘I’, of a doubling ‘me’. The title of the exhibition, “How She Spins” refers to a tarot card 1, Wheel of Time. This card bears the number 23, symbolically resonating with the several meanings inside of Naldi Rossano’s site particular drawing set up for the present 2 and the method of care and weaving that characterises both her drawing and her work in normal. The 23 drawings on salt-washed paper are realised by way of ritual materiality and composed of symbols and solution codes. In the area, they compose the script of a divination: traces of purification and initiation for unique and alternative types of worlding. The drawings are an try to create an alphabet whose narration company is inscribed in the entire body unconsciously: indicators of a script that would like to prevail over the space and time paradigm of our tradition. Symbols and traces from the drawings not only seek a distinctive language and world, but embody the toughness of intuitive drive, relocating toward the unspeakable. Each drawing, immersed in sea salt drinking water resonates with personalized, solitary and collective rituals. Established on cotton paper from Amal, sprinkled with organic supplies this kind of as sand and mended in a ongoing gesture of restoring and transforming, the get the job done is placed and framed on mirrors. Because historic occasions, drinking water and reflective surfaces have been viewed as a source of magical electricity and prophetic visions. On top of that, the mirror implies a feeling of relationality, like the mutual existential transformation that guides the gesture and the forming of their currently being. In the similar spatial script, Giuseppe Desiato’s operates on paper expose the chromatic and formal refined care of his operate. The tension does not renounce joy nor vitality of an erotic and mystic procedure of generation. His drawings unfold ancestral contradictions and sensibility eradicated in Mediterranean lifestyle, emanating poetical and political sensation from and outside of its cultural boundaries. With Desiato as with Le Nemesiache, Naldi Rossano shares ephemeral processes, expressed by ritualistic parts of their works, articulating an attempt to conquer the energy and social structure as a result of symbolic and sacred factors. Temporal and subjective rhythms of bodies are offered via artworks in a way that destabilises the rational sign up and re-constructions the method of language and electrical power on which it is developed. In the film ‘Le Sibille’ 3 Le Nemesiache offers a ritual to disclose an archaic and mythic earlier to denounce the historic and present violence suffered by women and to specific the consciousness of the environment’s and social anomalies. The Sibyls, legendary and allegorical figures, are picked out as a symbol for their means to predict the future, embodying insurrectional spirituality and ritual celebration. The women’s bodies, the landscape and props of the movie, existing poetry as a result of rituals embodied exercise wholly unique from the linear structure of our language. Naldi Rossano mirrors a distinctive route, wheeling a journey that crosses the sea and its islands, chasing the powerfully charged origins of arcaich (pre-classic) rituals all-around the mediterranean sea, which disrupted the traditional plan of domesticity and social conference. The divination previously displays yet another eyesight: “La casa sarà sempre la chimera, basa il tuo istinto sull’incontro” 4. A steel fence 5, whose surface area gathers messages, carries on to backlink to the body and the unconscious. The irrational, emotional and magical sphere come to be the insurrection to language and cultural norms influencing the will for the issue to escape from the feeling system. The face around the railing is a ‘Chimera’, a woman monstrosity:
I am Medusa, a single of lots of monsters, 1 of the unacknowledged sovereigns […] Formidable Gorgon.
I am she. Shez me. My sisters, Stheno and Euryale, howl with ferocity and mourning and rage. We are.
Monster Gals. So several a lot of quite a few far more of us. My sisters. My kin 6.
Historical narratives and classical fiction are reversed and re-dealt with by a plurality of voices: the seem of waves, the echo of lots of waters, the voices of distinctive sirens, the seduction of mythical figures. She spins the wheel, poetically. She has develop into an autobiographical fragment, whose dreams and uncertainty crash on the shores of a metropolis to be re-found from the supply. Parallels and sundials mingle with a new language, ceremonially infused. Oppressive structures of indicating and narration inscribed in just the language have been refused. She is starting to be a ‘prophet of the present’ 7, lying outside of the realm of facts and exceeding a linguistic map 8. rising from religious conversation and making imaginative prospects. In just this realm of imaginary and sacred languages, she spins multifarious possibilities of meanings. Turning into is a trace of existence and an affirmation of erotic and mystic electricity, changing the present modes of perception and representation, transcending the existing hegemony. Prophecy is not a prediction of the future, but an recognition of what is not recognised or perceived.
— Sonia D’Alto
at Damien & The Appreciate Expert, Brussels
until eventually April 16, 2022