UNDERWORLD

Nicola Samorì, Marlene, 2023, oil on linen, 150 x 200cm

Magazzini del Sale
Cervia, Italy
Curated by Uwe Goldenstein & Lucia Rossi
May 17 – June 23, 2025

Nicola Samorì, Enrico Minguzzi, Nicola Verlato, Ruprecht von Kaufmann, Matthias Weischer, Radu Belcin, Flavia Pitis, Concha Martínez Barreto, Richard Stipl, Daniel Pitín, Attila Szucs, Adam Magyar, Adam Bota, Markus Schinwald

In collaboration with Magma, Cervia; Antonio M. Coppola, Vicenza; Martin Dýma, Prague; Selected Artists Collection, Berlin

Attila Szucs, Room with German Shepherd Dog, oil on canvas, 200 x 240cm

Nicola Verlato, Cosmogony V, 2022, oil on linen, 194 x 194cm

Ruprecht von Kaufmann, Grapes of Wrath, 2024, oil and collage (Mylar) on linoleum
208 x 140cm

Adam Magyar, Stainless A 13316 (Paris), 2011, silver gelatin print, 80 x 168cm

Richard Stipl, Seat of Mercy, 2024, glass, 70 x 52 x 7cm

The exhibition UNDERWORLD rejects a self-surpassing, nearly incapacitated present, and a production of art that is only capable of reflecting our time at the same levels in arbitrary directions, and which is thus happy to cite the falsely understood and all-devouring posture of “anything goes” that was once proclaimed as postmodern. Instead, the artists of this exhibition are united by a consciousness of the reflection of the European art history. They deliberately update the arthistorical capacity to embroil of their motifs and styles, and ultimately the reception of time. They create a counter-world, a place for the indeterminate, the un consciousness for reflexive concentration that creates space for the consideration of the regressive processes that are of necessity allied with melancholy, loss, nightmare, destruction, a trance state. This night side of reason calls out for an artist who knows how to incorporate the movements of art history, and who at the same time insists upon his nocturnal, carefully reflected, imaginative and remote world. Insisting upon finding reality by establishing boundaries that also cannot be overcome by technical processes and thus proving themselves to be resistant against simulation and medial repurposing. The rejection of our constantly and brilliantly illuminated world thus strengthens us in the attempt to retire to the refuge of the night, into an underworld, a forest full of the referential possibilities of art. Symbolically ramified, in a mood of contemplation, submerging into a mysterious silence, the protected gaze can lose itself in the unique imagination of the artist expressed in a work.