“Es-senza” at Museum of Palazzo Mocenigo
The Proust impact is a phenomenon that attracts its title from Swann’s Means, the primary ebook of In Search of Misplaced Time. It describes the power of our senses to entry and activate recollections lengthy suppressed. With the exhibition “Es-senze,” curator Pier Paolo Pancotto makes an attempt to unleash the facility of odor—maybe probably the most summary and enigmatic of the senses—with the assistance of twelve worldwide artists, together with Giuseppe Penone, Bruna Esposito, Jason Dodge, and Nico Vascellari.
Circling via the rooms of the second ground of the Palazzo Mocenigo, the exhibition path opens and closes with Fedele Azari’s manifesto La flora futurista (Futurist Flora, 1924), whose show features a bottle of Petroleum Flower, a futurist perfume conceived by the grasp perfumer Gaël Montero. Works by Mateusz Choróbski and Achraf Touloub play with the evocative thriller of scent, as does Eva Marisaldi’s Dialogo (Dialogue), 1996–2022, which instantly associates eucalyptus vapors with the reminiscence of the childhood visits the artist would make together with her grandmother to the Certosa Cemetery in Bologna. Mircea Cantor and Paola Pivi look to odor as an allegory of precariousness with the assistance of olfactorily charged objects, together with an oyster shell, a bamboo pyramid, and a miniature couch. With New Constructive (head), 2022, Namsal Siedlecki fills the overturned solid of a bust with a salted answer that recollects the stagnant odor of the Venetian lagoon. When it evaporates, this liquid will go away behind traces of salt crystals.
Because the exhibition progresses, the visible components develop much less distinguished. In Luca Vitone’s Imperium, 2014, the room accommodates solely scent. Initially nice, the perfume progressively, over the course of the go to, degenerates into one thing nauseating.
Translated from Italian by Marguerite Shore.