The Club

curated by Raffaella Frascarelli

Nomas Foundation, Rome 

April 16 – Sept 20, 2019

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Press Release

As Judith Butler writes “If the body is not a 'being' but a variable boundary, a surface whose permeability is politically regulated, a signifying practice within a cultural field of gender hierarchy and compulsory heterosexuality, then what language is left for understanding this corporeal enactment, gender, that constitutes its ‘interior’ signification on its surface?”

The artistic research of Emiliano Maggi crosses the question and expands to reveal a personal linguistic strategy in which the body acts as a device to explore the socio-cultural potentiality of gender fluidity.

The artist's imagination creates experiences of embodiment made of fabrics that enfold, undress, transform, free, clothes that become skin. Costumes, masking, music, dance, sculpture to access forms of knowledge that go beyond body barriers and lead to the discovery of the symbolic dimension of the world and of the unconscious mechanisms influencing our construction of society to the point of legitimizing inequalities and power relations.

During this process of unveiling, a metamorphosis devoid of authority takes place subverting the space of habitus, and creating the eros of a social game free from any rule and determined not to mark any territory: the effects of the simulacrum society nullified, imagination and body return human to the real, appeal to the participation of the personal and collective unconscious, expand the art into the social space.

The artist has recognized the aesthetic vocabulary of The Club in the creativity of Alessandro Michele for Gucci. The Club's material vocabulary is Gucci's fabrics and clothing, a living matter already in the moment it is imagined by fashion designers. This vitality grows exponentially through every step that will bring the original creation closer to the metamorphosis resulting it to be a Gucci dress: in the alchemical/archaic moment of weaving, in the geometric/algebraic phase of cutting, in the body/philosophical time of sewing, in the magical instant when it becomes a second skin capable of manifesting the inner horizon of the wearer.


Courtesy of the artist and Operativa Arte Contemporanea, Rome
Photo by Sebastiano Luciano


In the 19th and early 20th centuries, artists like Cézanne and Matisse took up this motif to express evolving notions about the body, changing ideas about pleasure, one’s relationship to nature, and how the longing for the new (in art) potentially renews a broader and more inclusive understanding of what it means to live with or against societal changes. Greene Naftali, New York
Antoine Levi, Paris
Galerie Perrotin, Paris
Peres Projects, Berlin
(MERIEM) Ok Mom. So you’re going to play yourself, but as if you existed inside the world of the CAPS. You don’t really have to be in character. I wrote this monologue for your interview scene that we’re going to shoot at the pharmacy. It’s just there to give you ideas but you don’t have to stick to any script as long as you make us believe you’re on the CAPS island in the future (...) At C L E A R I N G, New York
The exhibition presents more than twenty works produced since 1998, including one of his first pieces, Lichtzwang (1998–ongoing), a series of 256 geometrical and abstract watercolors that constitute a sort of generative process of all his production. HangarBicocca, Milan
The Horses exemplifies Appriou’s remarkably expressive style and will invite the public into an imaginative world where figuration and mythology meet. PUBLIC ART FUND, New York
Modern Art, London