NOTES
Rhetorica (mene tekel peres), 2000
In Annunciation, the two circles seem to represent the extreme and essential points of human knowledge: from the infinitely large (Being) to the infinitely small (the One). […] In The Deposition, the tiny and powerful plague bacterium sleeps forever, watched over by another tiny thing: a High Court toga, but one that can only be worn by a three-year-old child. In Humpty Dumpty. The Rhetorician’s Tomb, we discover that the tomb is, in fact, an incubator. […] Mene Tekel Peres also resembles an hourglass, whose cups (of past and future time) are equally full, indeed overflowing, already filled with all time […]. Now we come across Onan. The Poet’s Tomb: if rhetorical art is perfectly aware of its pathetic pretence of life, the same cannot be said for poetic art. The former is openly utilitarian, while the latter conceals its function of pretence with an ostentation of purity and freedom. […] In Il teatro del mucoso (The Theatre of Mucus), a work divided into two parts, the viewer experiences the fleeting coincidence between gaze and vision. As soon as they approach a neo-classical panel depicting a winged cherub hunting rabbits, an arrow is shot, right behind the bas-relief. […] The great battering ram of Delenda est Chartago. The marrow gymnastics oscillates in perpetual motion and without any variation, insistently, beyond a diaphragm that blurs it and perhaps alludes to the gaze of the infirm.
Taken from the exhibition catalogue (Claudia Castellucci)

Palermo, La Vignicella
11 September – 11 October 2000