Serena Fineschi

Serena Fineschi (b. 1973, Siena) has always shown a contextual will fuelled by small time-related occasions, fragile worlds under attack from every angle to compose precious preambles (under the star of art) of a creative friction that massages the thoughts of spectators to drag them into crisp, bright environments in which everything becomes decontaminated expression, visual clarity and reflexive purity: from her first concise cathartic declaration (Viva questo mondo di merda – Hooray for this shitty world 2012) to the 1,900 wooden beads strung on a rope to create her environmental installation Nuovo tempo sospeso (New suspended time) created in 2012 for the MadeinFinlandia project. Nervous lines on a horizon, fragile yet effective patterns that give us a glimpse of the relentless evolution of things (particularly in the case of Taking Care, 2013), the slightest cuts, sensual faint and “impermanent” landscapes, objects linked to time (withering to the finiteness), opportunities given to us by life that allow for the birth of “lunar landscapes, immeasurable views where we can lose ourselves”.

Multi-linguistic and trans-disciplinary, her work draws a versatile programme that assigns a new meaning to the world of life and its thousand related definitions to bring her projects into being such as Calibrazione della volontà (Adjustment of will, 2012), Never Never Land (2013), All’improvviso o con il tempo dovuto (Suddenly or in due time 2013), the wonderful Taking Care series (2012-2013) and the luminous primo giorno di sole (First day of sunshine, 2014) to name a few. Works that are riveting and minimal – the kind of minimalism that strikes one chord or another to make our soul resonate.

The recent abrasions that direct spectators into a calm Disordine essenziale (Essential disorder, 2015), an astonishing Sonata muta per paesaggio (Mute sonata for a landscape, 2015) or into a poetic query which establishes a participatory relationship with the public (Vuoi che mi prenda sul serio? Do you want me to be taken seriously?, 2015) – works linked to a series that is introduced like a glimpse Dans le désordre du paysage (into the disorder of the landscape)– offer a pleasant and elegant atmosphere, a cosmography made up of hopes (Non è vero che la felicità non esiste – It’s not true that there is no such thing as happiness, 2013), an idiomatic platform where one can perceive a silence that is relentless, disarming, emotional, visual and physical.