{"id":33637,"date":"2021-09-21T12:12:33","date_gmt":"2021-09-21T10:12:33","guid":{"rendered":"https:\/\/fsrr.org\/?post_type=mostre&p=33637"},"modified":"2026-01-16T17:52:18","modified_gmt":"2026-01-16T15:52:18","slug":"33637","status":"publish","type":"mostre","link":"https:\/\/fsrr.org\/en\/mostre-category\/33637\/","title":{"rendered":"YCRP 2021. Badly Buried"},"content":{"rendered":"

Artists: Jacopo Belloni, Irene Coppola, Alessandro Di Pietro, Giovanni Giaretta, Eleonora Luccarini, GianMarco Porru, Agnese Spolverini, Massimo Vaschetto, Ilaria Vinci<\/strong><\/p>\n

Beneath the Palazzo Re Rebaudengo, there lie underground tunnels. Nobody knows where they lead or what they hide, but some say that if you listen carefully at night, you can hear voices and see shadows turning quickly around the corners. Beneath the cover of domestic space, these tunnels might stand for how the fantastic is merely hiding in plain sight.<\/p>\n

Badly Buried is a descent\u2014a dive below to what lies beneath. Beyond secret tunnels that serve as our gateway to the subterranean, we begin to discern the underground as a shapeshifter: it is the soil, the subconscious, a mine, a sex dungeon, a cave, or a grave. It is a space where both the material and the imaginary coalesce.<\/p>\n

The appeal of the underground has shaped mythology, epic poetry, and popular forms of literature across time. From 24th century BCE Egyptian myth of Osiris\u2019 descent into the underworld to become master of the Afterlife, to Jean Valjean\u2019s fall into the clammy sewers of Paris, that hide the wretched, in Victor Hugo\u2019s Les Mis\u00e9rables in 1862. In Notes on the Underground (2008), historian Rosalind Williams surveys the subterranean as conceptual terrain, charting a genealogy of tales so ancient and universal that their fundamental structure\u2014the opposition of surface and depth\u2014may well be rooted in the structure of the human brain.<\/p>\n

Descending into the underground and its inner worlds is an act of searching, of contending with the unknown, the abject, and the internal; of opening passages and holding space with the monstrous. Journeying downwards, the exhibition asks: What knowledge arises from the act of descending physically, psychologically, and socially? Emerging from the underground, what narratives do we uncover? What can obscurity reveal?<\/p>\n

Having crossed thresholds between worlds, knowledge resurfaces in the form of performances, installations, and moving image works investigating notions of labor, secrecy, pleasure, monstrosity, and death. The works bring us from the bowels of a BDSM dungeon to a pixie\u2019s bathroom, from the depths of the subconscious to the earth, and back again.<\/p>\n

Jacopo Belloni\u2019s sculptures and installations bring esoteric practices, rituals, and contemporary spiritual practices to the historical space of Palazzo Re Rebaudengo. Ilaria Vinci\u2019s works are speculative in their nature\u2014making use of fantastical realist narrations, she imagines alternative realities, while Alessandro di Pietro\u2019s \u201cTOMB WRITER'' turns the palazzo into a tomb, where dead bodies return to the earth\u2014a cyclical way of thinking about time.<\/p>\n

While entering the room that holds Irene Coppola\u2019s work might feel like ascending above ground, the scars she surfaces from recent history tell another tale. Using industrial materials, Coppola plants a ghostly orchard, where tropical plants silently testify to the violence of warfare and colonial intervention. Climbing further puts the viewer in front of GianMarco Porru\u2019s \u201cMALEDETTA.\u201d In this three-channel video installation, we witness a hypnosis session where a voice offscreen reveals, in spellbinding detail, how Medea\u2014a magician and master in the art of potions and poisons\u2014turned into a monstrous figure as a result of forces far beyond her control.<\/p>\n

Journeying into the underworld also means looking inward, into our own depths. For Badly Buried, Eleonora Luccarini nosedives into the abyss of her multidimensional self to wrestle with her alter ego, Leonard Sant\u00e9, while Massimo Vaschetto explores BDSM culture wherein, resembling the katabasis motif in literature, sadomasochists descend to underworlds and return physically, emotionally, or spiritually transformed. There, the artist finds resonances with Christianity.<\/p>\n

Sinking deeper into the underground of the Palazzo, Giovanni Giaretta\u2019s media archaeology practice excavates fantasies of the cinema cavern and the minerality of our digital devices. Beneath slick surfaces, the extracted materials seep through. These excavations and extractions take us further down to the bitumen mines of Abbateggio, where Agnese Spolverini tells a story not only of hidden labor and oppressive working conditions, but the immense sympathy and solidarity needed to sustain life in this hostile environment.<\/p>\n

Nothing stays underground for long when they are badly buried. The soil will erode, bringing secrets, suppressed knowledge, and social underworlds to light.<\/p>\n

Download the exhibition booklet here\u00a0<\/strong><\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Artists: Jacopo Belloni, Irene Coppola, Alessandro Di Pietro, Giovanni Giaretta, Eleonora Luccarini, GianMarco Porru, Agnese Spolverini, Massimo Vaschetto, Ilaria Vinci Beneath the Palazzo Re Rebaudengo, there lie underground tunnels. Nobody […]<\/p>\n","protected":false},"author":3,"featured_media":33635,"menu_order":0,"template":"","meta":{"_seopress_robots_primary_cat":"","_seopress_titles_title":"Badly Buried","_seopress_titles_desc":"Curated by Jade Barget, Naz Cuguo\u011flu, Alice Sarmiento | Fondazione Sandretto Re Rebaudengo","_seopress_robots_index":"","show_footer_widget":true,"show_related_exhibition":true,"related_subtitle":"","footnotes":""},"mostre":[217],"m_author":[325],"m_venue":[306],"class_list":["post-33637","mostre","type-mostre","status-publish","has-post-thumbnail","hentry","mostre-217","m_author-jade-barget-naz-cuguoglu-alice-sarmiento","m_venue-palazzo-re-rebaudengo-guarene"],"_links":{"self":[{"href":"https:\/\/fsrr.org\/en\/wp-json\/wp\/v2\/mostre\/33637"}],"collection":[{"href":"https:\/\/fsrr.org\/en\/wp-json\/wp\/v2\/mostre"}],"about":[{"href":"https:\/\/fsrr.org\/en\/wp-json\/wp\/v2\/types\/mostre"}],"author":[{"embeddable":true,"href":"https:\/\/fsrr.org\/en\/wp-json\/wp\/v2\/users\/3"}],"version-history":[{"count":6,"href":"https:\/\/fsrr.org\/en\/wp-json\/wp\/v2\/mostre\/33637\/revisions"}],"predecessor-version":[{"id":48239,"href":"https:\/\/fsrr.org\/en\/wp-json\/wp\/v2\/mostre\/33637\/revisions\/48239"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/fsrr.org\/en\/wp-json\/wp\/v2\/media\/33635"}],"wp:attachment":[{"href":"https:\/\/fsrr.org\/en\/wp-json\/wp\/v2\/media?parent=33637"}],"wp:term":[{"taxonomy":"mostre","embeddable":true,"href":"https:\/\/fsrr.org\/en\/wp-json\/wp\/v2\/mostre?post=33637"},{"taxonomy":"m_author","embeddable":true,"href":"https:\/\/fsrr.org\/en\/wp-json\/wp\/v2\/m_author?post=33637"},{"taxonomy":"m_venue","embeddable":true,"href":"https:\/\/fsrr.org\/en\/wp-json\/wp\/v2\/m_venue?post=33637"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}