I have always loved Pirandello. One book in particular: “One, no one and one hundred thousand”. Also art is like that: it is one, no one, and one hundred thousand.
At the Triennale in Milan art divided itself in “seven” and has become “Ennesima (Umpteenth). An exhibition of seven exhibitions of Italian art”. It is an exhibition of ideas curated by Vincenzo de Bellis, consisting of over one hundred seventy works by over seventy artists dedicated to investigate the last one hundred and fifty years of art history… Because art is “Here. Now and Elsewhere” but also it cannot be.

Ennesima, Triennale di Milano, Eloisa Reverie Vezzosi

What does “to see” mean? Fabro brings “Two naked descendings the stairs dancing the Boogie-Woogie” and I see two silhouettes reminding of Duchamp, destined to eternally meet…
Airò’s “Calla” is a fresh eye on the daily reality. Alighiero Boetti photocopies his own face twelve times with the purpose of establishing a special dialogue with the machine itself and Francesco Clemente lifts up the brim and shows a mirror in a fresco self-portrait so intimate as dreamlike.

Ennesima, Triennale di Milano, Eloisa Reverie Vezzosi

And with Lara Favaretto, Mario Merz and Francesco Vezzoli it becomes clear that in the art world you can be whatever you want.

Ennesima, Triennale di Milano, Eloisa Reverie Vezzosi

I observe the pictorial music by Giuseppe Chiari, the Group 70’s treble clef. While Emilio Isgrò cancels words, “Red” and “White” are monochromatic canvases to which Maurizio Nannucci added a luminous presence and Ketty La Rocca communicates using her hands.

Ennesima, Triennale di Milano, Eloisa Reverie Vezzosi

Giulio Paolini with “Umpteenth (notes for a description of seven canvases dating 1973)” teaches us that the word does not keep anything other than itself, the design is the border, time regulates the measure of all things multiplying infinitely the first two variables.
Crossing Alessandro Pessoli’s solo, I stop to investigate the meaning of “perform” and “give form”.

Ennesima, Triennale di Milano, Eloisa Reverie Vezzosi

Luigi Ontani’s “Capitalistic excesses” are seven photographs of the father of the tableau vivant as the statuary protagonist of a silent film.

Ennesima, Triennale di Milano, Eloisa Reverie Vezzosi

The “Crucifix” by Maurizio Cattelan that, in “A Perfect Day” has immobilized the gallery owner Massimo De Carlo, is located in front of the “lost in lust” by Patrizio Di Massimo.

Ennesima, Triennale di Milano, Eloisa Reverie Vezzosi

I feel lost without more guidance too. Then I sit in a painting by Michelangelo Pistoletto. After having lived the “VB74” on my skin, I see the “VB26” on the skin of others with the same obsessive idea of beauty.

Ennesima, Triennale di Milano, Eloisa Reverie Vezzosi

Ennesima, Triennale di Milano, Eloisa Reverie Vezzosi

I pass after the little red door by Chiyoko Miura and I enter 25 years later to visit the first exhibition of the Spazio of Via Lazzaro Palazzi.

Ennesima, Triennale di Milano, Eloisa Reverie Vezzosi

Among the “Liberté, Egalité, Fraternité” by Adriano Trovato, the “Escape” by Antonello Ruggieri and the “Sad Tropics” by Mario Airò, I feel ready to see the invisible beauty in art film “Baron Samedi” by Yuri Ancarani.

Ennesima, Triennale di Milano, Eloisa Reverie Vezzosi

The research by Francesco Arena moves along two lines: the line of the collective history and that of personal history. And, while Luca Monterastelli gets back to the dialogue nature- sculpture, Alek O. transforms his private moments in symbolic stories formed by common objects of non immediate understanding. And I think the feeling of mystery is the ideal feeling for approaching future art.

Ennesima, Triennale di Milano, Eloisa Reverie Vezzosi

Art has made me think six times in an evident manner, the seventh was a hidden discovery. “In the grand staircase of the Trienniale and the antechamber to Umpteenth the lights will vibrate when in Italy a lightning will fall during storms” so explained Alberto Garutti, author of the first work in the exhibition. Meanwhile I found the exit in the work by Luca Vitone. And I get to my starting point.

Ennesima, Triennale di Milano, Eloisa Reverie Vezzosi

Ennesima, Triennale di Milano, Eloisa Reverie Vezzosi

Ennesima, Triennale di Milano, Eloisa Reverie Vezzosi

Ennesima, Triennale di Milano, Eloisa Reverie Vezzosi

Ennesima, Triennale di Milano, Eloisa Reverie Vezzosi

Ennesima, Triennale di Milano, Eloisa Reverie Vezzosi

Ennesima, Triennale di Milano, Eloisa Reverie Vezzosi

Ennesima, Triennale di Milano, Eloisa Reverie Vezzosi

Ennesima, Triennale di Milano, Eloisa Reverie Vezzosi

#ennesima #followtheartgirl

Credits:
Special thanks to
Tom Rebl
Alessandro Grimoldieu
Photo: Viviana Bonafede 

AMOlink:
triennale.org
i-d.vice.com/ennesima-milano