The absolute denial of shit,
                         the more we study Art, the less we care for Nature.


by Michele Bertolino


Even if nature was scary, we became familiar with building it. We became able to produce it, forcing it to live by an imposed regime: plant nurseries and florists were the only jungles left behind.
The smoke was the gray, airy dust coming from the chimneys of suburban factories or from the languid gestures of bored people smoking Gauloises Rouge inside our caves. Those were called bourgeois. Some of us were annoyed because oxygen was scarce and a futile consumption for personal habits was proof of an unforgivable indifference.
Smoke was everything we could breathe.
We burned dry heaps of rosemary, sage, thyme or heather brushwoods. The smell was stiff, it entered, dry, in our nostrils. It was a way of exorcising fears of destruction with healing practices. There was, back then, a magic ritual. Standing with a ninety-degree angle between the legs and the chest, the branches were moved in concentric circles starting from the feet and slowly moving to an upright position.
People were told that plants needed to be cared for, at least those that were left – all were for sale. Thus, people would buy Ficus Benjamin, a difficult plant to kill, even if one forgot to water it. They said this was commodified ecology: the protection that a male wholeness gave to a defenseless beast.
We were forced to live in the basements, buying oxygen as perfume, to save our lives. With smoke we rebuilt everything that by our smoke was destroyed.


Temporaneamente Succulenta Parallelamente Asciutta, a show by Giorgia Garzilli and Effe Minelli, is a synchrony of opposite terms. The smoke is the fragile key to decode it. Thoughts around time and its flowing follow the structure of a chiasmus. If time is a concept: the narrative expands, dilated in Garzilli's small-sized canvases or in the immobile and fixed ambition of Effe Minelli’s shells and sculptures. If it is experience: sculptures undergoing a timeless extension, inhabited by leftovers of combustion, or the immediateness of the canvas-talismans, zooming on eyeless, cut-up faces, and mouths opened in fake smiles.
A rite of passage could also be the key. Yucca (Giorgia Garzilli, 2019) tells the hallucinatory story of The King Shit (Il Re Merda), a Chinese mandarin and others. It is loosely based on the Turandot, who tests her suitors with three riddles. Eric Mostruosa Reginae (Effe Minelli, 2019) is a feline paw,
soft and violent, simulacrum of a fragile injured arm. It is the remain of a transformation ritual, it contains traces of putrefaction/purification liturgies.
Perhaps the best method is, instead, portability. The sculptures are wearable architectures, at first prostheses for a dis-identified body, skeletons of sub-marine archeology; now shelters for spongy hermit crabs, sugar flowers obtained from the combustion of baking soda, crumbly monsters and
smoky spirits. They have their own autonomy: they are remains and they will be found. The canvas-talismans fit comfortably in a pocket. They are inhabited by zombies, describing images of alterity. Garzilli’s canvases thus reveal an alternative possibility: being helpless and unconscious
observers, acting as a pack, eroding the very idea of ​​the future. They depict risk, becoming amulets to be used as defense strategies - after all, visibility guarantees recognition.


Outside our basements, in some areas, the lakes had dried up, exposing the baking soda to the heat of the sun. Thus shapeless worms arose, organisms that collapsed into crumbs with a single touch. Once the crumbs touched the ground, the chemical process begun again. As for us, we
were harmless undead bodies.




Reviewed by:

Temporaneamente succulenta Parallelamente asciutta

Installation View

Effe Minelli 

Ursulacea Reginae, porcelain, 2019

Giorgia Garzilli, Left: And yet they have lead exemplary lives, both in forests and science, oil on canvas, 2019

Right: Nelle tendenze pragmatiche più recenti ho sempre freddo perché nessun
esperto di alieutica mi abbraccia, oil on canvas, 2019

Giorgia Garzilli, Left: In the relation between information and matter, objects must comply with the demands of human possession, oil on canvas, 2019

Right: Sotto la stele del corpo puerile e grassoccio, dimenticare diventa una strategia di adattamento, oil on canvas, 2019

Giorgia Garzilli

Un énorme soleil se leva dans mon coeur, en circulant dans le monde sans y rencontrer d’obstacle, oil on canvas, 2019

Giorgia Garzilli, Left: A splendid hyaline quartz crystal protruding fang-like from its mouth, oil on canvas, 2019

Right: The dark doesn’t come back to me as the centre of it, but dissolves me in it.
So do I love her? I don’t even know her. But yes, I do, oil on canvas, 2019

Effe Minelli 

Regina Paulo Euphoric, porcelain, 2019

Giorgia Garzilli

As natural ornaments, nonhumans entities, immediately gained that political
inertia associated with all artifice, oil on canvas, 2019

Temporaneamente succulenta Parallelamente asciutta

Installation View

Giorgia Garzilli, Left: Le fiamme crepitarono splendenti e noi indietreggiammo contro i muri, dove i sistemi di feedback cibernetici sono parte integrante di qualsiasi servizio, oil on canvas, 2019

Right: L’oceano stesso si sarebbe sollevato per cancellare perfino la memoria della
loro esistenza, mentre la speranza vagamente messianica che prima o poi qualcosa di nuovo dovrà succedere scivola nella tetra convinzione che niente di nuovo accadrà mai sul serio, oil on canvas, 2019

Temporaneamente succulenta Parallelamente asciutta

Installation View

Effe Minelli

Eric Mostruosa Reginae, porcelain, 2019

Giorgia Garzilli

You’ll never stop, leaving only the dusty shells of your dreams behind as discardable identities. An unprecedented schizophrenia in which the organization of reality becomes contingent on its own representation, oil on canvas, 2019

Temporaneamente succulenta Parallelamente asciutta

Installation View

Temporaneamente succulenta Parallelamente asciutta

Installation View

Photo Credit: Danilo Donzelli