Curated by Valerio Dehò

February 19 - March 26, 2011

An exhibition conceived, by Silvano Tessarollo, for the spaces of the ancient Palumbo Fossati noble palace, home to the Venetian gallery, where the complete series of interiors and some installations belonging to the artist's recent research are presented at the same time.
The four installations contained in the Interni cycle range from 2009 to 2010 and are real environmental sculptures. They represent sequences of domestic objects, common, banal objects, sofas, sinks, and bathtubs, but they constitute, due to their heavy materiality, forms of sedimentation of time. They are not new objects, but the colour, the sediments, and the opacifications want to convey the sense of forgetfulness, of abandonment. Unlike interior architecture, in this case, we are dealing with the survival of bygone times, human traces linked to use, and even neglect. Tessarollo's interiors collect the waste of time. The objects reflect blurred, corroded images. We do not want to create a list of furniture but to express the feeling that assails us when we come into contact with abandoned buildings, with those long-uninhabited houses where degradation manifests itself through wear, the density of traces of liquids, dust. glued to floors and tiles. And in a certain sense, it is often the bathroom, the sinks, the bathtubs that bear the imprint of the materiality of neglect, of the unclean but above all, there is a contrast between the place of cleaning, cleansing and therefore purifying oneself in a symbolic sense, and the traces of past lives. Dirt is like suspended time and the opposite image to life and control over it. The Interiors are temporal islands open to personal synaesthesia, to memories and feelings that everyone can share.
The three new large installations such as Grancassa, Gira e rigira and Giro in tondo of 2010 are instead a new phase in which Tessarollo's classic materials are combined with drawing, a discipline always frequented by the artist, increasing the sense of instability and provisionality. On the one hand, the Bass drum which becomes, thanks to the mechanical movement, a sort of mobile in a post-modern key, is made up of dozens of elements that sediment expressiveness and techniques whereas the sound element on the one hand adds something and makes it a work of total art, but at the same time creates a further displacement and expands the synaesthetic sensoriality.
But the new works are formally open, they are an abandonment of the direct recognition of the objects and go to a poor dimension, of precariousness and fragility, of materials stripped of any appeal and smoothness. This new direction of the work, allusive and enigmatic, represents, as evoked in the title, a new phase of work that brings to mind a new linguistic experiment. The work becomes open to the meaning and temporality of fruition and is a deposit of individuality, of individual elements that coagulate in an apparently temporary and unexpected way. These new works recall the paraffin works of past years, but extend to the experience of the non-figurative and drawing, of deconstruction, something that brings us back to a perceptive hardness not common in Italy.