Text by Chiara Vecchiarelli

MAY 21 – JUNE 17, 2014

Share on:

The magnetic butler of a gadgets’ world, a small basket of plastic bananas introduces the visitor to the exhibition, going largely unnoticed, hanging on the wall close to a corner like a magnet that has nothing hold. In CURA.’s double exhibition space, Luca De Leva sets up a fragmented universe which veils and disjoints the body of his sister Fiammetta, after whom the exhibition is named. A jagged chimera combining her everydaynesses, affections, and games, Fiammetta speaks from a place that lacks any outfield. Faint and fragmented, her voice recites a Hail Mary from the middle of the room. The recorder that turns on intermittently is clad by a diaphram in the form of an amphora, as archaic as the cave of the Sibyl, as atemporal as Fiammetta, this younger sister born without the sense of time. From the amphora resting on the floor, Fiammetta quickly repeats the words of a ritual 
unknown to her: to most, a Hail Mary; to herself, a more familiar “Anna Maria,” her mother’s name, which tells of her only possible body in a sequence of disembodied words – the very prayer she recites. A voice dictating, she asking no questions, answering from a present that knows no anticipation or delay, made of the now and what dwells in its immediate vicinity.
Standing at the entrance, a wooden horse resembles a waterproof dragon. A rocking horse peeks from afar into the black hole of the amphora, through the green lace panties that wrap around its head. At their hooves, the pictures of the little girl riding a carousel, sitting on a beach in a bathing suit, and now being looked at from above by those viewing the exhibition. Hanging on the walls around the amphora which encapsulates and magnifies Fiammetta’s voice, emergency-colored inflatables constitute the partial bodies, waterproof in their own way, of a t-shirt-clad torso, of the body in the bathing suit performing a headstand against the wall, of legs clad in tight pink socks. It is from this forever-younger sister that De Leva seeks answers on the form that has yet to emerge in his drawings, obtaining from the girl replies of a sibillyne, arbitrary candor. The squirrels and dragons that Fiammetta sees running in the spaces left empty in the large frottage works, which her brother creates when awakening, are made visible by the varnish that gives them the perceived body. Kept standing on the wall by the same magnetic animals that look at what is before them with plastic eyes, they respond to Fiammetta’s drawing, which De Leva replicates and enlarges turning it into his own, counterpointing the row of small colored wooden owls that mark the space of what seems to be a temporary, minimalistic children’s garden. What Fiammetta ignores, the gesture retraces – the shape recalls.


(text by Chiara Vecchiarelli)

Luca De Leva was born in Milan in 1986. Selected solo shows are: “Fiammetta dixit”, cura.basement, Rome 2014; “Ho perso gli anelli, ma mi restano le dita”, Room Galleria, Milan 2013; “Blarney 5×3”, Almanac Project, London 2013; “ThySelf Talk”, Zico House, Beirut 2012. Selected group exhibitions are: “One Thousand Four Hundred and Sixty”, Peep-Hole, Milan 2013; “Underneath the Street”, the Beach, Fondazione Sandretto Re Rebaudengo, Turin 2012; “Straight Up”, Family Business, New York 2012.

For years, Swiss artist Yves Scherer has made celebrity culture the subject of his artistic practice. But where his work used to focus on individual stardom and the obsession of the public eye with one particular being, this scope has shifted. Basement Roma
For the artist, Where is Luna? becomes the stage of a theater of the absurd, where, as an acute observer of other people’s lives, he places at the center of his research, finding a specific context, the people who dwell in it and the habits that regulate it, in a renewed orchestration of the banal daily life of a tiny pet salon. Basement Roma.
Scientists do not know how life began on Earth. As a matter of fact we cannot know for sure what happened four billion years ago. It is largely accepted that life formed in a primordial hot soup of organic chemicals and that a bacterium is the common ancestor of all life.
Nico Vascellari takes over the Roman underground spaces from February, 21 to March, 21 for a series of five evening events. The first four dates are limited to 33 participants by invitotion or booking only, while the last night will be a special event, yet to be revealed.
In the frame of Secondo Stile – the nomadic canvas-based artist-run exhibition space, conceived and founded by Paolo Chiasera in 2013 – Anagramma is a group exhibition, curated by CURA.
For La Ligne Claire, Comte introduces new meaning to Formalism, sourcing original uses for geometric and organic forms which continuously challenge the limits of abstraction.
Mythologies are dead, they have always been. But even as corpses, they’ve been used as political strategies to manipulate fiction and facts. Fictional narratives have defined culture, its historicity, its legacy. Drama. Goosebumps visible in our skin.
Papadopoulos creates environments that could be home to a dream-like, hedonistic cast of characters who are celebrating being alive every second but who cannot help but relish in the larger, darker and more complex meanings of life.