“How She Spins” — curated by Sonia D’Alto — delivers collectively a choice of performs that share a performative practice addressing language as a form of riot and ceremonial celebration. The modern day mythology and cartography of the artist is changed by de-egoisated subjectivities, geographically deriving from the coasts and the town of Naples, while belonging to various existences. Focused to the observe of Raffaela Naldi Rossano and expanded by means of a dialogue with will work by Giuseppe Desiato and Le Nemesiache, the exhibition challenge explores options to revisit and rewrite narratives and mythologies of modernity, with many thanks to ritual and non secular interventions. Raffaela Naldi Rossano (1990, Naples) has launched her observe at the intersection of post-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 primarily based on gestures, stories, and the recovery and invention of symbols, bodies and objects. Oracular fortellings, divinations, regressive hypnosis, and ephemeral steps tell her observe on screen, which dialogues with the personal and ritualistic creative practices of other individuals that emphasis on sinking the mother nature of existence in the transformation a perpetual distinction with a fixed id. Giuseppe Desiato (1935, Naples) embodies the rejection of the artist’s identification by taking part in the position of a well-known storyteller, embracing the situations of the daily. In his work Desiato addresses tales of the previous and current lifetime in the boundaries of acceptability from the process of social languages. Le Nemesiache collective, founded by the philosopher, artist and writer Lina Mangiacapre in 1970, embeds mythological methodologies in feminism. The team proposes a distinctive standpoint on the partnership with the earth of ‘work and the economy’, operating jointly to produce multi-disciplinary jobs involving re-composing, re-traveling to and re-staging of previous storytellings in get to invoke ancestors, beings and entities. In this regard, the exhibition task adopts a transhistorical strategy that experiments with temporalities. The constellation of drawings and shifting illustrations or photos that traverse the area of the gallery articulate an emanation of several realities, by way of is effective 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 selection 23, symbolically resonating with the a number of meanings inside of Naldi Rossano’s site particular drawing installation for the display 2 and the procedure of care and weaving that characterises both of those her drawing and her get the job done in general. The 23 drawings on salt-washed paper are realised via ritual materiality and composed of symbols and key codes. In the area, they compose the script of a divination: traces of purification and initiation for distinct and alternative forms of worlding. The drawings are an endeavor to develop an alphabet whose narration company is inscribed in the physique unconsciously: indications of a script that would like to overcome the room and time paradigm of our tradition. Symbols and traces from the drawings not only request a diverse language and earth, but embody the toughness of intuitive want, transferring towards the unspeakable. Every drawing, immersed in sea salt h2o resonates with particular, solitary and collective rituals. Established on cotton paper from Amal, sprinkled with organic and natural resources such as sand and mended in a continual gesture of fixing and transforming, the work is placed and framed on mirrors. Considering that historic periods, h2o and reflective surfaces have been viewed as a source of magical energy and prophetic visions. Additionally, the mirror suggests a perception of relationality, like the mutual existential transformation that guides the gesture and the forming of their getting. In the exact spatial script, Giuseppe Desiato’s performs on paper expose the chromatic and formal refined treatment of his get the job done. The stress doesn’t renounce joy nor vitality of an erotic and mystic approach of generation. His drawings unfold ancestral contradictions and sensibility eradicated in Mediterranean culture, emanating poetical and political feeling from and beyond its cultural limits. With Desiato as with Le Nemesiache, Naldi Rossano shares ephemeral processes, expressed by ritualistic factors of their operates, articulating an try to defeat the ability and social framework by means of symbolic and sacred aspects. Temporal and subjective rhythms of bodies are offered as a result of artworks in a way that destabilises the rational register and re-buildings the technique of language and electricity on which it is crafted. In the movie ‘Le Sibille’ 3 Le Nemesiache offers a ritual to disclose an archaic and mythic previous to denounce the historic and existing violence experienced by females and to convey the consciousness of the environment’s and social anomalies. The Sibyls, mythical and allegorical figures, are decided on as a symbol for their means to forecast the long term, embodying insurrectional spirituality and ritual celebration. The women’s bodies, the landscape and props of the film, current poetry by rituals embodied observe wholly unique from the linear structure of our language. Naldi Rossano mirrors a unique path, wheeling a journey that crosses the sea and its islands, chasing the powerfully charged origins of arcaich (pre-basic) rituals close to the mediterranean sea, which disrupted the common thought of domesticity and social conference. The divination currently demonstrates a different vision: “La casa sarà sempre la chimera, basa il tuo istinto sull’incontro” 4. A metal fence 5, whose surface gathers messages, proceeds to website link to the system and the unconscious. The irrational, psychological and magical sphere turn out to be the insurrection to language and cultural norms influencing the will for the topic to escape from the feeling technique. The come across around the railing is a ‘Chimera’, a woman monstrosity:
I am Medusa, a single of many monsters, just one 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 Ladies. So many several a lot of a lot more of us. My sisters. My kin 6.
Historic narratives and classical fiction are reversed and re-tackled by a plurality of voices: the seem of waves, the echo of a lot of waters, the voices of distinct sirens, the seduction of legendary figures. She spins the wheel, poetically. She has grow to be an autobiographical fragment, whose desires and uncertainty crash on the shores of a town to be re-found from the source. Parallels and sundials mingle with a new language, ceremonially infused. Oppressive constructions of that means and narration inscribed inside the language have been refused. She is turning into a ‘prophet of the present’ 7, lying over and above the realm of data and exceeding a linguistic map 8. rising from non secular conversation and generating imaginative options. Within 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 ability, changing the existing modes of perception and illustration, transcending the existing hegemony. Prophecy is not a prediction of the potential, but an consciousness of what is not recognised or perceived.
— Sonia D’Alto
at Damien & The Love Guru, Brussels
right until April 16, 2022