The Venetian word fataità lends itself to meanings and interpretations of various kinds. It is often pronounced to stigmatize an event that knows no practical or logical explanation and is formulated at the conclusion of a thought to suggest a general spirit of acceptance towards more or less important misfortunes.
Perhaps out of fatherhood, the exhibition by Melania Fusco draws inspiration from an erotic satirical poem by Pietro Buratti (1819) entitled Elefanteide, it tells the story of an elephant that escaped from a shack during the days of the Carnival of Venice. The Venetian poet satirically describes the escape of the animal between the city alleys and enriches the narrative of picturesque and lustful details; before telling the tragic death, For example, the author even assumes that the pachyderm was enraged because it was deprived of the public practice of autoeroticism.
It is not the first time that Melania Fusco explores the symbolic value of the elephant in popular culture.
Although she has on other occasions focused on the well-known mnestic ability and the ability to store emotions or moods, for Spazio Su imagines him engaged in a long journey from Venice to Lecce.
In the exhibition space, the artist represents the teriomorph image of a hybrid woman-elephant; an ancestral creature that alludes to feminine monstrosity. Accentuated by the savage intensity of the expressive gesture, the mysterious figure dominates a playing field composed of sixty-four tiles that - like sixty-four quadrants of a chessboard - serve as a base for two pawns "proboscidian" example of ambiguous sexuality. Whether it’s a harem, a freak show or the artist’s own studio, Fataità presents an enchanted environment in which monstrosity is sublimated.
For years, the artistic research of Melania Fusco appropriates a playful imaginary made of memories, feelings, smells, colors, but also the symbolic charge that the same idea of game represents.
Gaudy and lively in their aesthetic rendering, the artist’s works conceive error and imperfection as artistic methodologies to be valued; they transform the experience into seemingly simple gestures, participatory actions, installations or objects sedimented in the common memory to grasp the labile boundary between the presentation of human emotions and their fragility.
Text by Claudio Piscopo
The exhibition was realized with the curatorial support of Claudio Piscopo and the precious technical-artistic contribution of Giulio Polloniato.