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Mid 90’s, all the greatest sociologists engaged in studies on generational change are intensely debating in a room. How to name the new generation, the one after millennials — this is the complex topic. Suddenly, an idea: “Generation Z”, shouts an old-looking professor. Around him, murmuring of assent. Then, the youngest of the sociologists stands up and takes the floor timidly: “dear colleagues, just a quick doubt… if we call it Z, how are we going to call the one afterwards?”. Guffaws spread all over the room. Fade out.

This is pretty much how those born between the end of the 90s and early 2000 feel. Needless to repeat the same old story about iGeneration or digital natives. For those born in these years, devices have provided — without any doubt — physical places in which they can train their imaginary. On the other hand, they have also provided a phenomenal catalyst that creates an imbalance between the social media pace and the real-life pace, a further disharmony in a world where the scientific and ethic process don’t go hand in hand for over a century now.

Therefore, the meaning of the title of this exhibition, No future, is double: it is not only the No injected by history and society to all our possible aspiration or future perspective, but it is also our No to this wrecked world that they want to palm off on us and that we don’t want to take charge.

In the history of countercultures, there’s always been a crucial moment: the one of the revolt, where the “NO” took body, time and space in the building of a movement. Then, in an almost paradoxical way, within a denial appeared a project and, with it, the promise of an alternative future, like an ocean of possibilities in which you can dive. As we approach our days, something that can no longer be framed according to a precise scheme happens in this story. As Marguerite Yourcenar says, it’s undeniable that “whatever one does, one always rebuilds the monument in his own way. But it is already something gained to have used only the original stones”; in other words, nobody ever really invents anything, the volumes of the Library of Babel are always the same and, at the end of the day, we all periodically say the same things. However, that healthy and radiant unawareness of thinking to be somehow innovative, simply makes all the difference in the world.

In fact, the exploration is no longer in the mental place of thought, imagination or fantasies, but in the great network that connects everything and everyone. Hence, what happens to that line of flight that we call utopia or future, if everything is already there?

In a completely paradoxical way, due to the total absence of filters in the social maze, in a world increasingly virtual, reality can no longer be ignored. It is the Mephistophelian and apocalyptic win of the truth against the fantastic, in a contemporaneity that has never been as frightening as it is today. This is where melancholy, sense of failure, mental health always more fragile and a sense of plenary precariousness blossom, like Flowers of evil.

Future, as Blink182 sing, can’t exist for this generation.

You can run, but life won’t wait, yeah They don’t care about you(No future!)

Archimede Favini

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Thomas Bernhard, Vanni Cuoghi, Francesco De Bernardi, Linda Fregni Nagler, Francisco Goya,Giuliano Guatta, Thomas Mann, Francesco Parimbelli, Francesca Pasinetti, Simon Pellegrini,PetriPaselli, Giuliana Rosso, Vitalij Strigunkov e Autore Anonimo. 5 April – 15 June 2024

The scene unfolding before us is worrisome.Some are sleeping – some would say blissfully, while others would argue they are numbed. Rest is still attempted as a shock therapy for fatigue, persistently combating it in its most literal form.Some strive to absorb the properties of light, water, the entire Earth. We gorge ourselves, hungering for energies. Human renewable resources seem to be dwindling: more and more fossilized, polluted within, polluting without.Some try to heal to feel healed. Animals, plants, culture are tended to. Any creature will do, as long as its proven fragility returns our sense of usefulness. Will it work?Sometimes, faced with the mirror of fragility not our own, we are more forgiving towards the one fate has dealt us. Will it be enough?

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Andrea Bocca | Spazio Leonardo

29 January – 26 April, 2024

Spazio Leonardoopens its 2024 exhibition program with a wall intervention by artist Andrea Bocca (Crema, 1996), who will be presenting a new series of small wall sculptures.

Through a deep engagement with sculptural and installation practices, Bocca develops his work through a continuous dialogue with the forms of space and objects that surround him. The rural imagery from which he hails, merges with the industrial/modernist urban one, creating a database from which to draw upon and continually rework new forms. Finishes, paintings, artisanal and industrial processes become structural signs in the creation of a landscape and spaces in constant dialogue between interior and exterior.

For Spazio Leonardo, Andrea creates a site-specific intervention that references the architecture of Monte Amiata, a residential complex in the Gallarate district of Milan, designed by Carlo Aymonino with the collaboration of Aldo Rossi between 1967 and 1974. It was conceived as a utopian micro-city, disconnected from the surrounding environment of suburbs. The gallery wall is transformed through a wall painting: a large rectangle in red, yellow, and gray from which a series of panels emerges, painted in the same colors. The painted portion of the wall and the adjacent walls serve as a display for a series of small bronze sculptures embedded in the walls themselves. The series in question is ‘Maniglie’, already present in 2019 during the Ukiyo exhibition at FuturDome, Milan. The embedded forms are inspired from reworkings of some handles of the Imperial Villa of Katsura in Japan, and some frames from Jacques Tati’s film Playtime; these forms become graphic signs that draw a narrative flowing through the glimpses of space. The work aims to explore the value of architectural spaces and how they shape our perspectives, whether being sorted from an imperial villa, a film reel, a utopian residential complex on the outskirts of Milan, or a workspace we interact with on a daily basis.

More on: https://www.unagalleria.com/andreabocca

Installation view

All photo credits to Michela Pedranti

Installation view

All photo credits to Michela Pedranti

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