From 6 March to 24 April 2022, a widespread exhibition in the city as a large ideal garden, harmonious coexistence of plurality

Lodi, one of the areas most affected by the pandemic emergency in Italy, returns to celebrate life with the exhibition "Francesco Diluca. Giardini”, curated by Angela Madesani. "The exhibition is a metaphor of life, of the multiple forms of existing and resisting," explains the artist. About one hundred iron sculptures, created for the Lodi spaces and exhibited in five of the most evocative locations in the city (Paolo Gorini Anatomical Collection, former Church of the Angel, Teatro alle Vigne, former Church of Santa Chiara Nuova and Sala dei Filippini of the Library Laudense), tell the relationship between man and nature and the small and large traces that the first leaves on the second.

Francesco_Diluca_Kura_halos(particolare1), 2021, ferro saldato smaltato e filato metallico, 168x40x40cm
Francesco Diluca, Kura Halos, detail, 2021, welded iron, enameled and metallic thread, 168x40x40 cm.

An ideal large garden

The exhibition presents itself as a large ideal garden, understood as a harmonious coexistence of plurality: each seat-garden communicates with the others, telling, through installations with organic forms, a story of fragility, precariousness, but also strength, resistance, resilience, rebirth .

Francesco_Diluca_Germina, 2016, istallazionedi20sculture, 180x60x40cm_cad
Francesco Diluca, Germina, 2016, installation of 20 sculptures, 180x60x40 cm each.

The sense of time

Time is another crucial issue: infinite time, often equal to itself, that the pandemic imposed on man in the lockdown period, but whose characteristics of cyclicality and repetitiveness belong to the natural world. “However,” says the curator, “we are not faced with an exhibition on Covis and its consequences. The review is a reflection on nature, on its relationship with man. There is no single answer to works of this type, rather, between the lines, we read an aspiration to the ability to react to trauma, loss, tragedy. Art thus becomes an essential beacon for civil society ".

Francesco_Diluca_Radicarsi Micelio(particolare1), 2021, welded iron and oxididized copper powder, 2016x44x80cm
Francesco Diluca, Radicarsi / Micelio (detail), 2021, welded iron and oxidized copper powder, 2016x44x80 cm.

The seasons of life

The ideal starting point of the exhibition is the Gorini Museum, which houses five cycles of works: Germina, Skin, Radicarsi, Papillon and Kura Halos represent the seasons of life from birth to maturity, from death to rebirth, whose only fixed point it is the constant change. All the sculptures are figures of metamorphosis: slender anthropomorphic arboreal structures, within which nature makes room, which are transformed into (golden) leaves, butterflies or corals, symbols of change.

Francesco_Diluca_Radicarsi_Diana, 2021, welded iron and oxidized copper powder, 145x37x25cm
Francesco Diluca, Radicarsi / Diana, 2021, welded iron and oxidized copper powder, 145x37x25 cm.

New metamorphoses

Here, on the evening of the inauguration, the performance Post fata resurgo during which a sculpture made of a particular metallic yarn will catch fire, producing a myriad of sparks and letting you glimpse parts of the body, organs and venous filaments that ignite a continuous reaction to chain. A new, different work will be born, Micelio, which will be placed in the Church of Santa Chiara Nuova.

Francesco_Diluca_Radicarsi_Micelio, 2021, welded iron and oxididized copper powder, 2016x44x80cm
Francesco Diluca, Radicarsi / Micelio, 2021, welded iron and oxidized copper powder, 2016x44x80 cm.

Between books, human, animal and plant

In the Laudense Library there is Memento space: just as in the ancient library there are precious, fragile volumes, some unusable, so the books that make up Memento are petrified. They become a monument to memory, to a great knowledge that cannot be enjoyed. In the former Church of the Angel, Giardini, an installation consisting of about thirty life-size anthropomorphic sculptures: creatures poised between human, animal and plant. The works exhibited in the niches of the facade of the Teatro alle Vigne are also designed to enter into dialogue with the city: two gilded sculptures, part of the Radicarsi series. The exhibition is accompanied by a catalog published by Eclipse, with a critical text by Angela Madesani, photographs by Giorgio Gori and updated bio-bibliographic apparatuses.

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