Neo Skenè

From May 12th to June 13th, 2021, the exhibition halls of the Accademia delle Arti del Disegno in Florence will host “Neo Skēnḕ – Manifesti d’artista al Teatro di Rifredi” (Artist Posters at the Teatro di Rifredi). Curated by Simone Teschioni Gallo, the exhibition is based on a project conceived alongside Niccolò Mannini, director of La Fonderia Art Gallery, in collaboration with the Teatro di Rifredi during the recent months of widespread lockdowns due to Covid-19.
The exhibition, realized with the strong artistic support and patronage of the Accademia delle Arti del Disegno, is co-promoted by the Municipality of Florence, the Municipality of Scandicci, and the Academy of Fine Arts of Florence, with the valuable support of Unicoop Firenze, Moka Arra srl., and Prodigio Divino srl.
The project was born back in October, when new restrictions imposed by government decrees forced all theaters (and unfortunately, many other sectors) to close once again, following a tentative attempt at a safe reopening. Consequently, dozens of theatrical seasons that had just begun and hundreds of scheduled performances across Italy were suddenly canceled. Yet, behind the closed doors of the theaters and their dimmed signs, life continued to flow and ideas continued to spark. Neo Skēnḕ is one of those ideas.

Following the new closures, the artistic director of the Teatro di Rifredi, Giancarlo Mordini, jokingly remarked on Facebook that all the promotional graphic material for the shows that never made it to the stage would now only be useful for “making paper boats.” In an instant, the paper boat from his joke transformed into a ship, unfurled its sails, and gave life to this project, masterminded by Niccolò Mannini and Simone Teschioni Gallo. Instead of being sent to the pulp mill, those playbills were given a second life and, placed in the hands of five artists, were transformed into works of art. In Greek, Skēnḕ means the stage—the space where a performance comes to life—and the title of the exhibition directly evokes that venue, which the creators wished to keep alive despite the forced closure, building a bridge between visual art and the performing arts, which supported and sustained each other during this challenging historical moment. The selected artists, all very young, are Irene Bulletti, Leopoldo Innocenti, Rossella Liccione, Leonardo Moretti, and Skim. Each of them selected a series of posters to work on over the past few months, transforming them into artworks within their respective studios, each adhering to their own distinct style.

“I am very happy that the colorful paper boat created at the Teatro di Rifredi from the posters of performances canceled due to the pandemic was the origin of this project,” states Giancarlo Mordini. “It is a ‘piezz’ ’e core’—a piece of our heart—that left us but, instead of going to waste, landed on other fertile creative shores. This is an example of artistic cross-pollination that makes us look to the future with confidence. Different energies, different signs, and different styles, yet all artistic sensibilities capable of reshaping, transforming, and creating. Only art can save us in these tempestuous waters, and artists are granted the privilege of anticipating the future.”

The five artists possess vastly different voices and techniques, ranging from figurative to abstract art, from street art to an installation-based approach using experimental materials and methods:
Irene Bulletti, an eclectic artist, traces an abstract and gestural language in her works, sometimes channeling it into the study of interior environments as a mirror of our inner selves, favoring collage and acrylic paints.
Leopoldo Innocenti, drawing close to the Central European expressionism of Baselitz and Kiefer, works with pigments on paper, which moves beyond being a mere support to become an intrinsic part of the artwork itself.
Rossella Liccione begins with the study of the five senses to develop a language of irregular geometries that harness light and transparency, enhancing the intensity of color.
Leonardo Moretti is an installation artist who uses his art to study the relationship between space and the viewer, fully immersing the observer in an investigation of the individual and their relationship with themselves, society, and the environment.
Skim, originating from the world of graffiti, transitions onto canvas; in his works, he deeply analyzes the daily life that surrounds us and the chaos generated by humanity itself, harmonizing it through his motto: “in colour we trust.”

“The Accademia delle Arti del Disegno has always been committed to promoting young artists,” says Cristina Acidini, President of the Accademia delle Arti del Disegno, “and in a period like the one we are experiencing, it has wholeheartedly welcomed a project that unites historic institutions of the city of Florence with new audiences.”

The chosen posters have thus been reinterpreted through the artists’ unique symbols, language, and vision. In this new guise, they will now be displayed in the grand collective exhibition curated by Simone Teschioni Gallo, opening on May 11th. The showcase reveals to the public how, in times of hardship, the different muses of the arts and their respective interpreters are capable of not only interacting but facing adversity together to create a universal narrative. At the entrance, before stepping into an exhibition pathway that continuously evokes the world of theater, a video produced by Malandrino Film will recount the entire history of the project—from the inception of the idea to the creation of the works—through interviews and behind-the-scenes footage. A selection of the exhibited posters will also step outside the Academy’s halls to return to where they were originally intended: the display cases and advertising spaces for city events within the municipal circuits of Florence and Scandicci, which will host them for the duration of the exhibition.

“A spark turned into an idea, the idea became a project, and the project became reality,” explains curator Simone Teschioni Gallo. “It was truly thrilling to speak with the individual artists and see them fully embrace the Neo Skēnḕ initiative. This has been a stimulating collaboration from a curatorial standpoint, allowing us to bring the allure of art back into the theater. It represents a significant creative contribution during a rather barren period for the cultural world—an unexpected union in times of isolation and social distancing, and a well-assorted team that I am certain will amaze us thanks to the outstanding creativity brought to the field and the genius hidden behind every single language. A new trace, a new path to follow, a new scene indeed, which places the Theater and the Artists at the center.”
The exhibition within the Academy’s halls will allow the artworks to be appreciated to their fullest. Through a simple and minimalist layout, it recreates a deeply fascinating theatrical experience along the visitor’s path. Furthermore, the exhibition will be enriched by the publication of a catalogue by Polistampa Publishing, which will be presented on Thursday, May 20th at 5:30 PM in the foyer of the Teatro di Rifredi, in the presence of the artists. The works created for Neo Skēnḕ will also be documented through a short video commissioned by the two creators, giving direct voice to the artists filmed inside their studios as they shape and breathe life into their works on paper.

“After seeing Giancarlo’s post and discussing it with Simone,” says gallerist Niccolò Mannini, “I realized we had envisioned the exact same thing. I found it astonishing how, throughout the various phases of the project, the different arts immediately forged a profound connection among everyone involved. Artist scouting and research are the most exciting parts of a gallerist’s job, and bringing this project to life has been truly thrilling. We have thus mapped out the various ways of approaching the proposed medium through different languages, strongly believing in the importance of sharing ideas among the artists involved. In this period, which has been so dark for art, we are trying to react—not only to capture a historical moment that is unique in its kind, but also to demonstrate that the arts are the inner caress we all need, now more than ever.”