Senza titolo, 2026

The reference to Japanese rites shifts attention from the image of a ceremony to the function of ritual: giving form to a passage, entrusting repeated gestures with the possibility of inviting what is not yet known. The work does not document a specific practice. Instead, it tests the distance between the wish to see and the need to pass through a filter, as though the figures’ appearance depended on a threshold to be negotiated anew each time.

In the repeated spectacles and words associated with looking, the sign loses the innocence of decoration and takes on the cadence of a formula. The translucent sheets do not reveal what they conceal: they make visible the act of seeking a presence without being able to possess it. The figure stretching out a sheet also takes part in this operation, both maker and part of the image she tries to open. Rather than providing a backdrop, the fabric holds the figures at the threshold between body and apparition.

In Contemporary Interferences, the relation between "real reality" and "media reality" no longer depends only on the juxtaposition of different images. It operates in the very way an image allows itself to be read. The reference to a propitiatory rite does not promise that the filter can be removed: it gives the act of looking a duration and a responsibility, leaving uncertain what that act might bring about.