Paolo Donini, presentation of the group exhibition “Love” at the Palazzo Ducale of Pavullo nel Frignano, published in the relative catalogue, 2008

Precisely by virtue of being “visual” fragments, the works gathered in the gallery appear like some kind of contemporary finds, epochal personal belongings, emblems of sensitivity, sensuality, sense and significance, present and scattered among our days. (…) These works are not here for a thematic analysis beyond the visual, as “visual” fragments they have received, from the fact of being on show, the ambition to tell a visual tale about “something” which concerns us and which is, essentially, real in that it is part of the “res” that the work “is”, in the strict sense. The creative responsibility of the curators therefore consists of having united these scattered forms and, with the exhibition design, of having made them dialogue in a syntax. It was not just a matter of researching a “significant cross-section” of contemporary works which concerned love, but to experiment how they could construct, thanks to a curatorial syntax which was implicit in the exhibition project, a loving discourse by fragments. (...)
The room mimics the atmosphere of the room of a youth, the first private and personal place, where one thinks and dreams about something, somebody. The loving “hooks” of Antonio Noica evoke small boxes, books, diaries, concealing in the irony the tragic hook of the bond summarized in the visual verb-sculpture “Amo in rete”. The diptych “love” by Guido Scarabottolo, like a poster hung on the wall, while the fuchsia, optical painting of “Two hidden hearts” by Norwegian Jorunn Monrad invites us to search for the form of the heart on the dizzying and labyrinthine canvas, a metaphor of the search for the other.

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