Curated by LUCA PANARO

A new exhibition by Fabio Sandri at the Artericambi gallery entitled “I come from where I am”, curated by Luca Panaro. For the occasion, the artist proposes the installation of recent works, four sculpture-devices designed specifically for the place and capable of relating to the participating public.

The work that gives the title to the exhibition, “Provengo da dove mi trovo” (2024), presents itself as a sort of urban map inspired by the area surrounding the gallery, as if to indicate the zone where one finds oneself without claiming to be a faithful reproduction of the neighborhood. With this metallic installation, the artist establishes an identity-related relationship with a place to which they do not belong but where they recognize themselves in the here and now. The work resembles a model outlined by hypothetical streets, resembling an aerial urban landscape whose structure acts as a device capable of showing different portions of reality, capable of determining our point of view. By placing the camera on the ground, the artist obtains some perspective images somehow imposed by the same metal form, which directs the gaze, causing the viewer to lose any sense of scale. The work draws our attention to an open situation, in development like the outskirts of a city, where one can find oneself casually but without feeling like a stranger.

The exhibition consists of three other large device-works that this time directly engage with the audience. The metal sheets shaped by the artist are like large drawings that adapt to the walls of the exhibition space but remain open to dialogue with the viewer, who is asked to interact by moving some of these structural elements to which a camera is attached at their ends, which in turn is connected to a projector that impresses real-time images on photosensitive paper. The audience is thus called upon to create video-imprints in this work titled “Drawing” (2023); at other times, the artist asks the visitor to shoulder an aluminum pole to which a camera is fixed, inviting them to use it to create images that will see the light in future exhibitions, as is the case in “Reconnaissance” (2023). With the work “Beam” (2022), on the other hand, the audience can lie on the ground to confront a pseudo-beam formed by layers of oak parquet strips; once again, a camera is present at one end, capturing a series of self-portrait photographs taken by visitors to previous exhibitions.