Detailed Preview of
"abbi cura di te" Domestic Exhibitions
July 27th 2021
"ABBI CURA DI TE" in 28 lingue
Take care of yourself, the most universal wish in the world.
Arabo Mostafa Adel
Azerbaijani Farah Piriye
Brazilian Danusa Castro
Bulgarian Elizabeth Zhivkova
Catalan Claudia Morentin De Seta
Chinese Yuan Yeh
Korean On Min Ha
Cuban Daniel Ernesto Hernandez Blanco
Egyptian Mostafa Adel
Ecuador Samuel Colle Dominguez
Filippino Carmelo Francisco
French Camille Poitrineaux; Jacques Leenhardt
Georgian Nana Meparishvili
Japanese Natsuko Nojiri
Greek Julia Mezzalira Indian
Ipsita Mahajan; Kavita Senthil
Indonesian Adin Ibrahim; Ema Fitriana
English Laura Hooper
Iranian Kiana Talebpour
Israeli Jasmin Elmaliah
Libanese Marc Abdo
Dutch Jean Hilgersom
Persian Azalea Nazemi
Portuguese João Soares Russo Farah Piriye
Spanish Borja Leon; Juan Lopez
Swedish Berit Wahlberg
Turco Begum Kadioglu
28 international voices, 28 languages from all over the world, a single wish "take care of yourself". An audio contribution born from a meticulous collection of testimonies by Alfredo Rapetti Mogol brought together 28 different possibilities to say to everyone "Abbi cura di te".
“Everything is not going to be okay” & other things you don't want to hear.
It all started with this pandemic, it made me feel something new, following with the urge to somehow express it and I choose to paint them.
What I express through my works are concepts of human doom and liberation, of mortality, desperation, addiction to money. I want people to look at my work and meditate on their insignificance and death. The fact that nothing we will do will ever matter, that there is no difference between a billionaire and a vagrant addict to the universe. Collectively the entire human race and our history amounts to no more than a speck of dust, a blim on an infinite universal timescale and nothing we do will change that. Our destiny is ultimately to disappear into nothingness, forgotten. Only once one realises how truly futile existence is, can we be free to unshackle ourselves from expectation and causes and live life to the fullest. We cannot be saved. Accept this, embrace it and live the life you are living.
Everything is not gonna be okay, but that’s OKAY.
4 photos of a resin work by
Angus Walton- Abstract expessionist
04 May 2021
Punctuated by the ticking of a hand-wound watch, suspended time translates into images that observe, from unexpected angles, female dimensions of restlessness and isolation. Everyday objects and even more the light that defines them, suggest conceptual juxtapositions unlikely at times unreal, which then tell, through the drawing in hyperrealistic styles, abuse, oppression and exploitation within the home, reversing the binomial of common sense home-safe place and denouncing a contradiction that has been exasperating during the cohabitation forced by the pandemic. A rose, a sofa, a plate, a fork, a bottle of muriatic acid: these ordinary objects are the subjects with which I create metaphorical entities that generate additional meanings.
4:17 min HD video by
Roberta Maola – Artist
05 May 2021
Over the Window. New Spaces. New Worlds
Looking out the window means facing the inevitable consequence of the forced transformations of the earth’s surface, both anthropic and natural. It means adapting to change to design change. We must rediscover an ancient design practice, the same technique with which the Venetians have adapted to live with too much water, and which will perhaps produce landscapes as happy as those of the lagoon.
But memory remains
Many people has been forced to stop their work life during these previous months. Despite this scenario, Francesca has worked more than before, walking daily through an environment which has given her a new perception of life’s value. An “old” city deserves to be lived not only for its beautiful and shining shop windows but especially for its narrow and labyrinthine paths full of history, undiscovered signs and knowledge. Every time she came across them, every feature on the way led to her mind the sound of the past as ground for a brightening future. These streets are invigorating even in the early morning, especially when they lead up to a hill.
And what a view from there.
4 photographs by
Francesca Cardinali - form Kiculture
09 November 2021
Casa Nido (Lavoro)
My home, already home to my writing office, with the pandemic became many other things. Radio study, for example. And daycare. Of all its old and new functions, daycare ended up prevailing.
So now I live in a suit and work among toys: I use the computer almost always without a power supply, and I keep books and remote controls more than a meter and a half from the ground. Next to me, always just toys.
It’s my permanent lockdown childhood exhibit, and I realized I’m a part of it.
11 March 2020: WHO Director Tedros Adhanom Ghebreyesu officially declares a state of pandemic.
Twelve March 2020: My daughter turns six months old and starts weaning. Rome is closed, I am alone with her, and I have never cooked a vegetable broth in all my life.
My house starts to fill with toys and becomes a permanent exhibition about childhood in lockdown. In between these live and (sometimes when possible) work. Until become part of the exhibition.
Here I’ll show you from his point of view.
Abbi cura di te
My song Take care of yourself tells a love story set in a precarious social and economic situation, such as the pandemic with all its consequences.
In a situation of extreme necessity to make an extreme gesture (steal) for reasons of force majeure, such as survival, could get to the point of overturning the ethical-social principle of right or wrong, to subvert legislative rules, instead acquiring a real justification for the good of one’s life.
This hypothesis would not for any reason involve the loss of the proper dignity that would remain so safe for both, even in front of the mirror.
However the story ends, whether it ends happily or not, the message is to take care of yourself, without shame or shame but with pride of mind and self-esteem.
58 second video and song by
Stefano Turolla - Songwriter
05 Dicember 2021
A Flower is Not a Flower
This series of photographs entitled “A Flower is Not a Flower”, inspired by Ryuichi Sakamoto’s meditative song, is dedicated to the cycle of life. Rain, during the lockdowns, contemplated her dying flowers in the room and started to wonder about life and death, considering how close the latter has come to us with the virus outbreak. From new life to death, swelling from tender bud to full bloom, flowers are associated with youth and beauty. As time goes by, they wilt and die, for Rain flowers represent fragility and the swift passage from life into death. “I guess there's no difference between flowers and humans”, she says.
3 photographs by
Rain Chain -
02 November 2021
Il cielo in una stanza
The trompe-l'œil (from French, literally "deceives the eye") is a pictorial genre that, through expedients, induces in the observer the illusion of looking at real and three-dimensional objects, actually painted on a two-dimensional surface. It consists in painting a subject in a sufficiently realistic way, to make the wall on which it is painted disappear from view. For example, it can help, without prejudice to complicity of the spectator, to imagine a different reality. In the era of the pandemic, forced periods within the home, has proved a good expedient to increase the scarce equipment of our homes.
In the months of confinement, we realized the importance of a comfortable home, but above all that having a balcony, a garden or a terrace can help you deal with more serenity the spring cloister.
The beautiful spring of 2020. Who was deprived of it suffered, some set to work and began to draw the sky into a room. They opened a door to let in more air and light.
They have created a terrace for dining out, watching the stars, growing lemons, basil, roses.
3 photographs of a trompe l'oeil by
Giacomo Gatto- Architect
01 September 2021
Henri Bergson says: “To exist is to change, to change is to mature, to mature is to go on creating oneself endlessly.”
The irony is that often we don’t even recognize that we are standing still. Almost two years ago, when this pandemic started we all faced that shake, that fear, that change. I, on the other hand, was going through quite difficult changes in my personal life also, as the result it felt like I don’t feel anything anymore, lost in the fear and the chaos.
The moment of change is like a poem, when you recognize it, you will never go back. I understood the only way to make sense out of these changes is to plunge into it, move with it, and join the dance and since I couldn’t change what is happening around me, I focused on myself I put my fears, my unnecessary thoughts and my past behind me and started to re-build myself as I saw fit.
This album includes ten titled pictures which are capturing my new space, my new corners and my new state of mind, simple, clean and honest. I don’t know how I am going to feel about this life in 5 years but this is who I am now and hey the good thing is I have learned to embrace THAT CHANGE.
3 photographs by
Sara Badrzadeh- Visual director and stylist
20 Dicember 2021
una mostra en plein air
My domestic exhibition has been before my eyes for a long time: today the works undergo the pandemic, they are there waiting and speak to me only of the past and of people who are no longer there.
So, since we must always look forward, I go elsewhere, outdoors, I turn to the land, which never betrays and often offers unexpected surprises.
After all, preparing a vegetable garden in spring is not so different as to set up an exhibition. You have to organize the spaces, take into account the shadow, the sun, the light and define the combinations. For the body it is a certain effort, because the years pass and the earth, as is known, is low, but the mind and the heart soar following suggestions from time to time different.
I did everything I had to do, I even put the captions, here the chicory, there the spinach, a little more than the parsley, and so on. For the vernissage I wait for the rain, which is late, but sooner or later it will come.
I wrote this short text straight away after talking to Maddalena, then I thought I’d take it easy. Enrico Baj said we should never postpone, and he was absolutely right.
So, it postpones, postpones, the grandchildren come, there is Easter, finally the rain has also come, and I have had a painful contraction of the muscles of the buttocks for a few weeks. Bottom line, I should have taken better care of myself.
I also had to postpone my demiurgic activity in the garden, and now more than ever I rely on time and nature.
Vergiate, 14th April 2021
Roberta Cerini Baj-
14 April 2021
May 31st 2020
After three months of isolation I got to see my boyfriend in person again. I photographed him in my garden after having applied dried flowers to his face. I had collected the flowers with this intent in mind in the same garden when the quarantine started. Most of these flowers were no longer in bloom at the time the photos were taken. To dry them I put them between the pages of a book called “Lost Japan”, which links the nostalgia for Japan (where I studied for a semester) to the nostalgia for my partner. The fact that the book was missing some pages resonates with the time that elapsed between the beginning and the end of isolation.
Valentina Bianchi- Kiculture
02 August 2021
“DO WE HAVE YOUR ATTENTION?”
Pictures and digital video by
Magnolia Nazemi–Grafic designer
06 November 2021
The story of sustainability and our world’s future has been my concern for a long long time, maybe since I was a child and able to understand the concept. Then COVID happened and shacked our cores even deeper, which led me to try to act on the subject, how I can, in my way and through my work.
As wide as this topic could be, my main focus was specifically on plastic materials and their effects on the planet, and that is what you see in these artworks.
As a graphic designer, I have learned to visualize ideas and concepts, this particular concept was quite close to my heart which made me choose a more intimate creative direction. I went with my language, Minimal, Colourful and even Funny to make them more relatable and interesting to people, which would lead them to be shared more, to raise more awareness or maybe even just make you think for a few seconds.
Obviously, there is a long way to go, however, I am overjoyed when I see or hear people sharing them, talking about them and discussing them even without knowing me.
Now, “DO WE HAVE YOUR ATTENTION?”
Starting from the cinematographic artifice of 24 frames per second, a work that frames 24 faces, 24 eyes, 24 stories, 24 lives, 24 actions to start over. No time to stand and stare.
Andrea Rusich–Director, screenwriter and producer
28 February 2021
Covid-19 hit the Netherlands pretty hard between the end of 2020 and the beginning of 2021. From December 2020 until the end of May 2021 all shops remained closed and restaurants opened only for take out. The weather did not help much to raise morale, this winter was very cold. Meanwhile I have seen my Italian friends going to the beaches and celebrating birthdays or Easter with families while I was enjoying this alien Dutch scenario passing from a blooming Spring to a grey and a snowy one. This continued until the sunny tulip fields exploded, for which this country is famous for around the world.
April 21 is the title of this project that aligns with the theme 2, #inspiration. In spite of everything, April was an inspired month, a concentrate of colors and indescribable emotions. With this slideshow I hope to pass on the perception of the Netherlands in that particular moment and to inspire people to discover unspotted places.
Marzia Loddo –Expert in conservation of applied arts
15 July 2021
Wondering While Waiting
These recurring concept questions have consumed me over the last year while I traversed multiple countries looking for a place to settle, a new sense of self purpose, and a relief from restrictions.
In the midst of rediscovery, I have begun looking even more closely to my immediate surroundings in order to find a new perspective in the mundane.
If I am able to retrieve a new view from everyday items, then perhaps I can emerge with a renewed sense of wonder.
I must convince myself that I am my own cabinet of curiosity!
Jayanna Killingsworth– Kiculture and PHD student
20 July 2021
11 February 2022
Autoritratti sconfinati o l’arte dell’evasione
Of the confinement, two years later, I remember feelings and thoughts untied, a constellation of situations and reflections difficult to order in a narrative sequence.
I was very attentive to myself, in a state of semi-dissociation, I observed myself from the outside while I was going through that "indefinto" (“indefinite”) cloistered time that I knew I had to face very calmly; I looked at myself trying to understand what could be happening to me. But it wasn’t just fear. I also remember to feel a great curiosity for that new life locked up in a único sequence sequence of vetiquattr'ore always equal, seamlessly. Day and night lived together and their alternation, as well as my waking and sleeping states, were part of a series of chapters in which very slowly a story was unraveling made of small surprises and events and in which I learned to recognize the signs of an evolution. The dreams and thoughts seemed to be made of the same dense matter, as if they had suddenly gained mass and weight. I could almost touch them.
And that’s how the first time I started taking visual and verbal notes that had my body and my mind as their object.
On the first day of February when the sun, rising beyond the buildings of the court on which we face, began to enter the living room, I moved the batterfly of Bonet castellana, to sip my green tea in the sun. I remember the pleasant feeling of the shoulder pointed by the red rays that brought me back to the memories related to the first April baths on Capri, when as a child I lay on the pebbles of the beach of Marina Piccola and fell asleep feeling the heat on my back, listening to the undertow of the sea between the pebbles and looking at the brilliance of the sea. I wrote with the phone and together with these reflections I took a picture of the detail, the sun on the shoulder coming out of the dark.
I remember that after taking the photo I thought "the illuminated skin that comes out of the darkness as in caravaggio". John the Baptist appeared in google and the shoulder seemed idéntica to my, the curve after the bone, the slight shadow of the muscle, the neck scopeto from the turn of the head. But little by little other details seemed to me echoes of the same reality: the hand resting with a slight pressure to touch a part of the same body as if it were others, as if he knew for the first time the unknown flesh of another anatómic fragment of the same body; the purple tissue, the brown of the objects that mediated between the living figure and the deep black of the scene.
The second time I was in front of the mirror, sitting on the bed, in the mirror I had seen the slightly shiny and marble color of the clear and hydrated skin of the legs and so I snapped pointing true down. The image taken struck me above all for the fabrics that framed the crossed legs: the iridescent reflections of the pink satin of the nightgown carved in a dense play of folds and the starry blue quilt. Both details reminded me of Renaissance frescoes and I remembered a beautiful essay by Arrasse in which he compared and interpreted the various Annunciations by Fra Angélico. In the Prado garden and the sun gave fresh air to the scene and a beam of golden rays crossed the spaces diagonally up to the womb of the virgin covered by a pink túnica and surrounded by the cobalt mantle as the fresco of the vaults of architecture.
Even there after I went to look at the image of the painting I discovered there was a particular and multiple resonance: the knees that defined, almost measured the space, in the painting covered but mysteriously marked by the book opened in balance on one of them.
My crossed legs were also the objective correlative of the arms of the Virgin crossed on the chest, their skin stretched and almost white of stone as the white bruise of the uncovered parts of the Madonna, the terracotta floor as that of the interior of the dpinto that can be seen through the open door. Especially the quilt and the vault were an inner representation of the starry and infinite sky that, together with the sun on one side and my morning ritual on the other, allowed the day and night to meet in the same image.
In the last episode of this trilogy I was sitting in front of the door of the balcony wide open after a yoga class at a distance, I enjoyed a moment of Sunday reading when I looked up and I saw in the dark white behind the glass a faded ghost with a mane that looked at me through leafy exotic leaves. I decided to take that animal as a hunting trip, without too much understanding who it was. I was amused and I remembered when as a child leafing through a children’s book with paintings by Henri Rousseau I spent hours looking for the eyes around which I slowly recognized the shape of an animal in those thick and lush tropical forests, full of palms and ferns made of a thousand leaves of all possible greens. And so I found the two lions sticking out next to the naked lady on the couch. My reflection thanks to the forgotten title of that painting became a daydream of those magnificent ways never visited and always desired ....
It was as if through those shots a deposit of art had awakened inside of me that in turn spoke of light, sky, nature, open spaces and vast; every painting was a threshold through which I faced landscapes and memories that flooded my mind and my home. The dialogue with the works of art allowed my self-portraits to escape from confinement and become "boundless"
Barcelona, 4 March 2022
The Greeks had the Morai, the Romans had the Parcae while the Norse had the Norns, a group of elder ladies who controlled or rather cared for the fates of every living being. I, had my Maternal Grandmom. Often times, late at night, when everyone else had retired for the day, she would regale me with wondrous exploits of my ancestors all the while stitching odd rags etc to her old quilt. Handed down to her by her Great Grandmom, the quilt was sort of an ever-evolving heirloom as subsequent generations added different rags to patch it. The painting is a sort of tribute to her: an old lady, with failing eyesight, intent on threading the needle, enriching the quilt of life by adding her rags of experience to it.
Siddarth Kothare- Architect
15 July 2021
I libri sono canocchiali dell'anima
Luigi Prestinenza Puglisi - Writer
11 February 2021
Books are the most precious element, they havethe ability to change perspective, to look into thedistance, to live lives that are not yours. My museumare my books, salient stages that have marked mypath, my life.
Small cross stitch embroidery of the ABBI CURA DI TE’s Logo. The gesture is ancient and symbolic, an exercise in hand and thought. It materializes a process of creation, contains an idea, a plan to follow, resistances and errors, speed and slowness, until the final result. Which can pick up where he left off.
I pulled a canvas in the loom.
I made the wire travel up and down, front and back.
I made mistakes, I met small opposition, short paths.
I materialized the mark.
I composed the gesture and woven the story.
That you can resume.
Photo of a frame by
Antonia Marmo - Communicate by architecture