curated by Irina Zucca Alessandrelli
Eugenio Tibaldi presents a long drawing that rotates on an underlying structure. A three-meter drawn branch on which old sound devices such as a gramophone and a record player are arranged, among the remains of wine and disagreeing birds disturbed by the winds of war, becomes a marginal device that echoes micro salvations at hand for moments of suspension and resilience.
Marginal is what stands in a secluded position as a footnote. Marginal is what has no immediate visibility, but exists somewhere. For the artist Eugenio Tibaldi, marginal space coincides with the time we dedicate to activities in solitude, assuming different modes of behavior. In this sense, marginality is a form of defense and a search for freedom, a stripping of clothes and ways that distinguish us from others. Marginality coincides with being with ourselves in intimacy, developing ways other than social ones. Each of us changes in space and consequently also the time lived in this way changes.
The carillon is a space-time symbol of marginality, as children we open it or load it in moments of stasis to be taken elsewhere, to experience a moment absorbed and enraptured by the music and the movement of a dancer in a casket or other fairy beings. . As adults, nostalgia is added, but the carillon remains a mechanism of small escape, of a different scenario.