CE N'È E CE NE SARÀ PER TUTT3

A room irradiated with exantate yellow receives the eye. Lost, the eye plunges into the tenuous softness of its color. The first visible scene has everything of a hallucination and, at the same time, of an archaic scenography. New and different scenes appear in unison in the saffron-hued room. There are eight of them. As one approach, one can spy on the events, evoked through the painting, of these eight scenes. On the soft walls, the image -painted by Osama Alrayyan- with the last figure that seems to be a survivor, follows each other at a time. Before her others seem to have passed by and to have left a slight trace, but she was the only one left waiting. As we scan the horizon, we pass through a landscape in which two scenes stand out, and from their colors and contents, it is not clear whether this could be a temporal succession. A pendulum -painted by Pietro Librizzi- weighs the time that passes on the profile of the figure that looks far away. The gaze of this figure pierces his own hand that with surprise we find mirrored in the next scene - painted by Lula Broglio -. This baroque kaleidoscope of apparitions ends -and begins- in a domestic environment, where a question hovers: What will the blood of the sky be like? No answer is suggested, the stove remains off and the greenish tiles are cold. A field can be glimpsed through the window, and the turf seems to be the same as that on which the pendulum clock rested. From this phantasmagoric succession, we cross the soft yellow color to reach a scene -painted by Osama Alrayyan- less clear, barely perceptible. Here the scene seems to represent a multitude of thoughts discussed among themselves. A tangle of meanings, paranoia, and joy. It is a three-piece scene -painted by Lula Broglio- that looks like the result of a psychomancy, in fact, veiled creatures cross the three views. They appear from the mountainous panorama, they appear from the lock and they insinuate themselves in the beauty of a rural landscape, where a cat innocently chases a butterfly. The forgotten objects in these scenes seem to come alive, stained glass windows turn into gems while restless evening gloves spill coffee. From the certainties of the last scenes' extras, crossing once again the thick blond. A bizarre representation - painted by Pietro Librizzi - stands out in front of us where it is clear that an adventure is happening. Looking back and going forward, figures and symbols break into the rower's journey as if in an attempt to interrupt the meditative sound of the oar touching the water.