Ennesima. The exhibition of exhibitions
Ennesima is opening at the Triennale di Milano to upset and redraft the rules of exhibition tradition. This is not any old event, but an extra-large exhibition, which, like a matrioska, includes other exhibitions inside it, to be precise, seven others, all dedicated to Italian art from the Sixties to our own times. The project, overseen by Vincenzo de Bellis, illustrates the last fifty years of contemporary art in Italy using seven separate visits, bringing together over 120 works by more than 70 artists from the beginning, in a layout that covers the entire first floor of the Triennial.
The importance of the number seven
The title of a work by Giulio Paolini, “Ennesima” (in fact the description of seven canvasses dated 1973), whose first version was subdivided into seven canvasses. Thus the exhibition becomes a way to underline that art cannot merely be ascribed to a category on the basis of dates and numbers. The seven exhibitions are each divided according to their own route and their own feeling, to bring out unusual aspects and bold links necessary to understand the evolution of Italy's recent art history.
A platform of exhibition styles and formats
Seven hypotheses of work thanks to which to read, reread and recount Italian art also via an analysis of the various possible exhibition formats: from a one-man show to site-specific installations, from themed group shows to chronological group shows, from a show on a specific movement to a show on a medium or even a documentation exhibition. Therefore, with suggestions as to what may be the best way to present oneself to the public. Thus was born a sort of live platform that relates a cross-section of the last fifty years of artistic production. An obstacle course, perhaps, abounding in the unsaid and precisely because of this, fascinating.