Corpi in transito

Curated by Luca Panaro

Thursday 20 June 2024 — Opening from 3 pm

Video installations

Andrea De Angelis
Sofia Gala Finotto
Mika Sollecito

Interactive performance

Andrea Boschini
Silvia Campostrini
Chiara Vitofrancesco

A project by the School of Cinema and Audiovisual Languages, Academy of Fine Arts of Bologna

On the upper floor of the gallery, three video installations explore the body through the photographic image: bodies mediated and preserved by the medium, physically tested while also becoming mirrors of inner processes.

In Andrea De Angelis’s Scan Burn with Me, a sequence of analogue photographs is progressively altered. The artist scratches, cuts and burns each frame until the negative itself is destroyed. The work reflects on memory and the physical medium through which it survives. The video installation also enters into dialogue with the wall paintings that characterise the exhibition space.

In Tentativo di Capriola, Sofia Gala Finotto performs for the camera, confronting herself with a physical exercise she has never been able to master and which has caused her frustration and anxiety since childhood. The young artist repeatedly attempts to complete a somersault before a judgemental audience. We never see them, but hear their voices off-screen. The video draws attention to every gesture, from her anxious expressions to moments of hesitation and resistance.

The protagonist of Mika Sollecito’s Prasopagnosia sits defenceless in a barber’s chair. The action unfolds in a sparse, clinical setting, where a record player is one of the few visible objects. The narrative gradually takes a dystopian turn. Eventually, the protagonist is stripped of every accessory and left alone before a mirror. The barber, too, disappears: the figure we saw at the beginning was nothing more than his alter ego.

On the lower floor, visitors encounter Transito, an interactive performance by Andrea Boschini, Silvia Campostrini and Chiara Vitofrancesco. The installation takes the idea of the ‘dream’ as a generative form of desire, creating a framework in which each performer contributes a different element.

Video images are projected directly onto the walls, while webcams capture visitors in real time. Their presence becomes part of the work, allowing them to interact with the projections and see their own bodies generating visual interference. The projected footage depicts liminal spaces — places of passage and connection that evoke a sense of unease and nostalgia.