I Scream, You Scream, We All Scream For Ice Cream is curated by Clelia Colantonio and it is a project tailored for the space of Fondazione Baruchello, here revised as a new visionary dimension. The show proposes an artificial oasis in which a series of artefacts, apparently out of place, animate the space in a spontaneous and harmonious way. ISYSWASFIC wants to challenge and call into question, through sculptures, performance and videos, those mechanisms related to identity and the ideological system of society, without the urgency of giving any definitive answers. The visitors are invited to enter the space by anthropomorphic and ancient figures - Pauline Beaudemont, Hannah Levy - that inhabit the rooms and share the space with archaic silhouettes with no definition of time, as they were only traces of extinct memories – Alessandro Vizzini - or the deconstructed approach to the idea of absence - Karlos Gil - and antibodies - Carlos Fernández Pello. The rooms act as the background, for a dialogue between bodies, sounds and images where the spectators experiment another reality, one that lies underneath or beyond the surface of things - Sisters From Another Mister - where only technology and nature, somehow, survive - Aleksandra Domanović. Reflecting surfaces are touched by the light, guiding the viewer through our journey - Alessandro Di Pietro - while a rainbow leaf can be seen lonely but nonetheless powerful and seemingly levitating, like it just dropped from a tree without reaching the ground yet – Zuzanna Czebatul.These are only a few elements that contribute to a feeling of misplacement, where time and space, are both outdated and intellectual – Yu Honglei. Man is described as the only utopia – Gundam Air – the only scale that equilibrates life and its fragment– belonging to what era? Digital? Analogue? Fragile, unbreakable? Or in transit, before finally emerging or laying – BB5000. Those elements look at us from the floor, transparent as the wind, which is mixed to the sand of the desert, blurring our vision.
Deferred nature is portrayed by lenticular prints and, at the exit (or entrance), a seemingly friendly pineapple greets the visitors spraying some water on their feet - Marco Giordano - and welcoming the audience by asking them if the heat is getting to them. And again, the heat hits us, while we are overwhelmed by an insane crave for an ice cream, a song and a tongue-twister we can’t get out of mind (Jim Jarmush, Down by low, 1986).
The artefacts, apparently out of place, convey a feeling of harmonious misplacement: the space is transformed into an imaginary location that we cannot inhabit but only transit.