Ludovica Carbotta and Sara Enrico



June 16 – June 29, 2018

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Inches, Feet, Verse, Metre is an exhibition, a public program and a party but, most important, it is the conclusion of the New York Prize residency as a gathering of people and experiences that Ludovica Carbotta and Sara Enrico have encountered while in New York.
Falsetto (Ludovica Carbotta) and à terre, en l'air (Sara Enrico), the projects they will present for the exhibition, underline the closeness of their practices as well as the differences, emerged from their dialogues during the residency at ISCP, International Studio & Curatorial Program, in Brooklyn.

This horizontal landscape will extend furthermore inviting two writers/curators for an open dialogue and hosting and including images, words and sounds of other artists. Ludovica and Sara asked their peers to present a selection of their works, shaping a playlist that condenses common interests. In each of these contributions the passage between different languages describes and evokes landscapes where a detail becomes the whole, fictitious stories help to visualize things that do not exist in physical reality, or things we are yet to see or experience, and ambiguous characters perform odd and intimate relationships with their proximal environment.


Falsetto, Carbotta’s on-going project is driven by her interest on the notion of human isolation in relationship with the environment of contemporary cities. It is informed by two main references, one is the observation of the prospect of urban environment that is becoming sentient as the contemporary reality's effect and the other is linked to the cinema and literary world of deserted urban environment, especially those depicted in post-apocalyptic narratives. The series of sculptures Falsetto becomes a fictitious collection of models of archetypal architectures, something we can refer as "the last architectures” that replicate themselves in order to not disappear.

Enrico’s project, à terre, en l'air, focuses on an action between these two basic elements with archetypical gestures and movements. In the language of dance, the term à terre indicates steps performed on the ground, while en l’air indicates steps performed detaching yourself from the floor. Her sculptures suggest memories of bodies through the surface, the posture and their juxtaposition in space, in an attempt to imitate a certain human behaviour. She considers the work as a playful and curious exercise for the gaze, obtained by the alchemical possibilities given by the combination of processes and materials used. Our perception follows the “haptic” quality, a notion used by Gilles Deleuze and Félix Guattari, describing a kind of visuality that differentiates itself from optics because it is mediated by touch, a visuality that entails a reorganization of the sensory, sensible sphere. Enrico’s and Carbotta's practices share a similar attitude on the use and the choice of materials deriving from painting and sculptural processes; moreover, both their works reflect, even if in different ways, on how design relates to the body.
In Enrico's practice the design explores the potentialities of a surface in relation with its own body and context, often taking inspiration from tailoring and textile vocabulary. The physical presence of these works, using together canvas, oil colors, concrete, fabric or digital print, is reflected in the tactile perception of their abstract forms that evoke a certain anthropomorphism.


Photos by Dario Lasagni

Fondazione Sandretto Re Rebaudengo, Turin
The work of Mitchell Anderson is characterized by multifaceted reactions to found objects, images, situations and their circulation. He recontextualizes the symbols human culture uses knowingly and subconsciously to contain memory and narrative in order to examine their veracity. At Converso, Milan
Perrotin, Tokyo
Galleria Massimo Ligreggi, Catania
Kunstverein Freiburg
Fondazione Antonio Ratti, Como
Galerie Rolando Anselmi, Berlin