If the “world” remains the constant, what does its “end” mean?
If I have to talk about the Museo Pecci and its first-new exhibition, entitled “The End of the World”, I prefer the word “rebirth” to “death”, to “exhibition” I prefer the word “overview” on today’s world.
”This life, as you now are living it and have lived it, you will need to live it again and again countless times,” said Nietzsche in “The Gay Science” speaking of the eternal return.

Museo Pecci, La fine del mondo, Eloisa Reverie Vezzosi
One of the last times I experienced the Museo Pecci I was not 18. I remember that once entered, the curiosity of a child was satisfied by Nouveau Realisme and Fluxus, Visual Poetry and words in freedom, conceptual innovations and metamorphosis. The news of the closure of the Tuscan Center had deeply affected me: it had been my “den” in the Art to which I was tied. But I was happy while waiting to be able to find it again once refurbishing. 
After 6 years of works and 3 years of closure, October 16, 2016 was inaugurated “Sensing the Waves” by Maurice Nio and Pecci Centre celebrated its return.

Museo Pecci, La fine del mondo, Eloisa Reverie Vezzosi

Beyond the end.
Beyond the time, I find a habitat beyond a new Apocalypse.
From the Lower Paleolithic of the amygdales to the first decade of the 2000s “Break-Through (One)” and “(Two)” is the first work placed past the threshold. The world seems to fall on itself, to implode towards a primeval chaos. Time breaks, Thomas Hirschhorn resets it. But also the “Rouge de bicyclette” by Duchamp’s become fossilized ready-made.
 

Museo Pecci, La fine del mondo, Eloisa Reverie Vezzosi

I look for the right direction in the universal cards by Qui Zhijie. They are “–ism at the End of the World “. The “Sunset screen prints” by Andy Warhol show me the way to the rebirth of nature. Serialization is maybe a hint of eternity?

Museo Pecci, La fine del mondo, Eloisa Reverie Vezzosi

I enter the concrete, arrive to the stone, step to the wood, to the empty trunk inhabited by ideas: it is “Trascorredor”, the work by Henrique Oliveira.

Museo Pecci, La fine del mondo, Eloisa Reverie Vezzosi

Branches. Branches. Branches are roots that are born from the trunk to die in their inability to develop; they are arms skyward of the Pecci, strained looking for new nourishment.

Museo Pecci, La fine del mondo, Eloisa Reverie Vezzosi

“Drowing in this ocean” Björk’s voice draws me like the chant by Ulysses’s Sirens. It enchants me. It chains me up.

Museo Pecci, La fine del mondo, Eloisa Reverie Vezzosi
Together and in series in a long route of minerals and semi-precious stones of ‘“Atlas Series” by Fayçal Baghriche, I find those that to my eye appear as archeologies of modern energy / expanding mitochondria: “Unstable talismanic rendering [Poli’ahu’s Cure] with gratitude to master Marbler Dirk Lange “by Kerstin Bratsch.

Museo Pecci, La fine del mondo, Eloisa Reverie Vezzosi

To the metronome rhythm, I follow the nine anonymous dancers of Analivia Cordeiro, and I immerse myself in her “M 3×3”, the first example of Brazilian video art and cyber-harmony.

Museo Pecci, La fine del mondo, Eloisa Reverie Vezzosi

I wonder if the chaos around me, the lack of order and respect for a common fil rouge is nothing but a cause-effect of my day dreaming. The only visual poetry is the “Geopolitical poetry” by Babi Badalov who teaches that art is a dream but the only “sueño” allowed in the exhibition is signed by Picasso and it is the “mentira de Franco.”

Museo Pecci, La fine del mondo, Eloisa Reverie Vezzosi

Tadeusz Kantor stops in a sculpture the time of a theatrical staging: thirteen pupils, twenty-six hands, four rows of desks that I observe having a dialogue with the faces of Marlene Dumas’s women. Francis Bacon breaks the human figure, he twists static nature. “Study for a Portrait” seems to attract me like a black hole. Museo Pecci, La fine del mondo, Eloisa Reverie Vezzosi

These are the children of the world whose end involves all. These are the pieces of a world made of mirrors, elements of the equation of Kader Attia: “Chaos + Repair = Universe”.

Museo Pecci, La fine del mondo, Eloisa Reverie Vezzosi

Volodymyr Kuznetson in his “Cultivation” challenges Europe and its unstable cohesion: a white wall carries an inscription calling for the empowerment of communes or, according to the artist’s intention, to share every aspect of this society.

Museo Pecci, La fine del mondo, Eloisa Reverie Vezzosi

The video that celebrates the most today’s world is “Celebration” by Polina Kanis. In the work, a few men in uniform dance together. From a distance the dance is union. But to the careful eye the dance appears mirror of our alienation.

Museo Pecci, La fine del mondo, Eloisa Reverie Vezzosi

But even the wall by Gianni Pettena is not motionless. Once over the threshold, here we men become fierce animals. “Homo homini lupus”: I bend my back, arms are transformed into legs and try to follow the direction of the other ninety-nine similar.

Museo Pecci, La fine del mondo, Eloisa Reverie Vezzosi

Cai Guo-Qiang, “Head On” is a symbol of courage and ferocity. From the herd the flock, from the physical barriers to the prejudices: how long it will take to break down these invisible walls?
Museo Pecci, La fine del mondo, Eloisa Reverie Vezzosi

The absolute white assaults me: Robert Kuśmiroski imagines the last moments of our lives. So while I play at the white piano a slight tune, I look out and the exhibition starts again. “The eternal hourglass of existence is turned upside down again and again, and you with it, speck of dust!” Nietzsche said.

 

 

Museo Pecci, La fine del mondo, Eloisa Reverie Vezzosi

In the land of the Centro Pecci I planted a red rose with a long stem. I wanted to start like this, with an eternal gesture to plant an infinity of roses together with the hope of a new renaissance.

Museo Pecci, La fine del mondo, Eloisa Reverie Vezzosi

Museo Pecci, La fine del mondo, Eloisa Reverie Vezzosi

Museo Pecci, La fine del mondo, Eloisa Reverie Vezzosi

Museo Pecci, La fine del mondo, Eloisa Reverie Vezzosi

Museo Pecci, La fine del mondo, Eloisa Reverie Vezzosi

Museo Pecci, La fine del mondo, Eloisa Reverie Vezzosi

Museo Pecci, La fine del mondo, Eloisa Reverie Vezzosi

Museo Pecci, La fine del mondo, Eloisa Reverie Vezzosi

Museo Pecci, La fine del mondo, Eloisa Reverie Vezzosi

Museo Pecci, La fine del mondo, Eloisa Reverie Vezzosi

Museo Pecci, La fine del mondo, Eloisa Reverie Vezzosi

Museo Pecci, La fine del mondo, Eloisa Reverie Vezzosi

Credits:
Special thanks to Gentucca Bini
CCT-SeeCity | The Guidezine for Curious People
Photo: Simone Ridi simoneridi.com

AMOlinks:
centropecci.it/it/centro/storia
centropecci.it/it/la-fine-del-mondo
ilsole24ore.comfinimondo-museo-pecci

INFO:
“The End of the World”
October 16, 2016—March 19, 2017
at Centro per l’Arte Contemporanea Luigi Pecci
curated by director Fabio Cavallucci with the cooperation of a large group of international advisors including: Elena Agudio, Antonia Alampi, Luca Barni, Myriam Ben Salah, Marco Brizzi, Lorenzo Bruni, Jota Castro, Wlodek Goldkorn, Katia Krupennikova, Morad Montazami, Bonaventure Soh Bejeng Ndikung, Giulia Poli, Luisa Santacesaria, Monika Szewczyk and Pier Luigi Tazzi.