A year ago, when I met Sonia Andresano and we began contemplating an exhibition project, we fell in love with the idea of transforming a beautiful space, architecturally striking and artistically stimulating like that of AlbumArte, into a domestic environment. We aimed to capture the intimate and simultaneously disorienting sensation that Sonia often experienced when changing homes, moving from one place to another, with the awareness of a new beginning each time. With this spirit, we decided to incorporate some works from the past into the exhibition, such as “mio padre e suo figlio” (2017), “per filo e per segno” (2018), or “trammammuro” (2018), which somehow represent the emotional memories that the artist carries with her during each relocation.

Feeling the need to make room for new works like “che ci faccio qui?” (2019), “veicolo cieco” (2020), and “allegra ma non troppo” (2020), the latter narrating an extraordinary exploration immediately after the lockdown in the empty spaces of AlbumArte. Connecting the past and present are various appearances of a small fly-shaped sculpture accompanying works like “mosca bianca” (2018), “sopraluogo” (2019), or “fall” (2020). Through this element, which I like to think of as a device due to its ability to activate new forms of spatial experience, Andresano tells us about the constant attempt to establish a relationship with places, whether they be exhibition and research spaces, abandoned factories, or private contexts (Viafarini, Ex ceramica Vaccari, AlbumArte).

Uniting these explorations is the body, sometimes exhibited in performative gestures like in “mio padre e suo figlio,” where the shared action of breaking down a wall becomes a metaphor for an encounter; sometimes concealed as in the case of “che ci faccio qui?” or the various incursions of the fly, where the artist entrusts an external element with the ability to generate new perspectives. In the first case, the movement appears seemingly random, the camera placed on the body of the action, a common robotic vacuum cleaner clumsily following its movements even when they represent failure, a persistent attempt to surpass the physical limits of walls. In the second case, it is the fly that eludes the possibilities of the human body, fitting into even the most concealed corners due to its small size, yet behind every movement is Sonia’s gaze, delicate, intimate, and incisive.