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Il concetto di ‘conoscenza confusa’ venne definito da Baumgarten come idea nuova e paradossale, come un pensiero di ciò che non pensa. Questa rivoluzione dell’ordine simbolico apre le porte alla scoperta dell’inconscio freudiano. Per la loro prima personale a Napoli, Désirée Nakouzi De Monte e Andrea Parenti, duo di artisti italo-libanese, creano un progetto immersivo, modificando l’architettura dello spazio espositivo che diventa amniotico, creando appartenenza tra corpi e oggetti, oggetti sensoriali e percezioni tattili. 
La loro pratica si è formata in un decennio di collaborazione come co-direttori di MRZB Art Group, attivo tra Amsterdam e Torino (2014-2024), e, dal 2024, come autori della Collezione Nancy Delroi, attiva tra Milano e Beirut. Il linguaggio si articola attraverso il détournement dei cliché e le tensioni di una comunità performativa, costruita sull’orlo della frattura della società contemporanea. Collage sporchi, realizzati con divani smontati, riconfigurano l’autorità del Vecchio Maestro attraverso il trauma e l’obsolescenza dei residui domestici. Una messa in scena di frammenti di mobili – simboli svuotati della classe media – è assemblata in composizioni patetiche ma ponderate, con l’obiettivo di evocare nuovi immaginari cultuali rimodellando la narrazione dominante. 
La Collezione Nancy Delroi è concepita anche come una casa-galleria e un’officina. Fondata nel 2024 e situata in Viale Bligny a Milano, è diretta da Nakouzi e Parenti. Le sue presentazioni esplorano nuovi formati – attraverso la creazione aperta, la formalizzazione e la frizione – includendo una varietà di mostre, eventi e situazioni, strutturati attraverso programmi auto-organizzati, che funzionano come quadri sperimentali.
Gli oggetti tutti, immagini, tableaux vivants, oggetti di recupero e di scarto – come il risalire del rimosso della società – tutto viene incluso nella costruzione di un set filmico senza tempi, finalizzato a suscitare la partecipazione incondizionata, all’interno di un flusso costante di vita. L’azione artistica si pone in continuità con il quotidiano che rifiuta le categorie rigide e che celebra la diversità. Un’estetica Queer che sfugge alle definizioni e ai restringimenti di significazione attraverso una fluidità formale e temporale. Non esistono gerarchie tra individui e cose, tutto è partecipe ed equiparabile ontologicamente. (MS)
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The concept of “confused knowledge” was defined by Baumgarten as a new and paradoxical idea, as a thought of that which does not think. This revolution of the symbolic order paved the way for the discovery of the Freudian unconscious. For their first solo exhibition in Naples, Désirée Nakouzi De Monte and Andrea Parenti, an Italian-Lebanese artist duo, create an immersive project that transforms the architecture of the exhibition space into an amniotic environment, creating a sense of belonging between bodies and objects, sensorial objects and tactile perceptions.
Their practice has taken shape over a decade of collaboration as co-directors of MRZB Art Group, active between Amsterdam and Turin (2014-2024), and, since 2024, as the authors of Collezione Nancy Delroi, based between Milan and Beirut. Their language unfolds through the détournement of clichés and the tensions of a performative community, built on the brink of rupture within contemporary society. Dirty collages, made from dismantled sofas, reconfigure the authority of the Old Master through the trauma and obsolescence of domestic remnants. A mise-en-scène of furniture fragments – emptied symbols of the middle class – is assembled into compositions that are pathetic yet deliberate, with the aim of evoking new cultic imaginaries by reshaping the dominant narrative.
Collezione Nancy Delroi is envisioned as both a house-gallery and a workshop. Founded in 2024 and located on Viale Bligny in Milan, it is directed by Nakouzi and Parenti. Its presentations explore new formats – through open creation, formalization, and friction – encompassing a variety of exhibitions, events, and situations structured through self-directed initiatives that serve as experimental frameworks.
All objects, images, tableaux vivants, reclaimed and discarded materials – as the resurfacing of what society has repressed – are incorporated into the construction of a timeless film set, designed to elicit unconditional participation within a continuous flow of life. The artistic action positions itself in continuity with the everyday, which rejects rigid categories and celebrates diversity. A Queer aesthetics that eludes definitions and the narrowing of meaning through formal and temporal fluidity. No hierarchies exist between individuals and things, everything is involved and ontologically equivalent. (MS)
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La mostra prende le mosse da una domanda: come potrebbe essere un futuro senza il genere maschile?
Secondo recenti ricerche condotte da vari genetisti, il cromosoma Y – fattore determinante nella costruzione del genere di una persona – sta iniziando a deteriorarsi. Cosa potrebbe succedere quindi? 
Quello però che sembra interessante è un dato, che in qualche modo sovverte secoli di storia e di narrazioni sociali, ovvero la scoperta in tempi relativamente recenti di un potere antico in mano alle donne, fin dall’età della pietra. Recentemente la rivista New Scientist ha pubblicato una scoperta da parte degli archeologi che avrebbe rivelato un aspetto importante sul ruolo della donna a partire dall’età della pietra. Secondo questa ricerca, alcune donne rivestivano ruoli importanti da governanti, guerriere, cacciatrici e sciamane. Spesso però i ritrovamenti dei reperti ossei avevano fatto pensare a corpi di individui maschi. In Spagna, vicino Siviglia, nel 2008 è stato rinvenuto il corpo di un giovane dall’opulento corredo funerario, con un lungo corno d’avorio che l’aveva reso celebre come “l’uomo d’avorio” che indusse a ipotizzare che fosse la persona più potente dell’intera isola iberica. Tredici anni dopo, a seguito di analisi condotte sulle proteine contenute nello smalto dei suoi denti, venne rivelato che l’uomo d’avorio fosse in realtà la donna d’avorio.
In questo quadro di riferimento s’inserisce la mostra Male Extinction come riscoperta di un Sé innato e selvaggio – come lo definisce la scrittrice e psicanalista junghiana Clarissa Pinkola Estés – che è stato messo fuori legge dalla cultura circostante. Ma quando le donne riaffermano il loro rapporto con la loro vita intima, che sostiene anche quella esteriore, il termine selvaggio non è da intendersi più in senso moderno – nel suo significato di “incontrollato” – ma nell’accezione di vita naturale e che descrive la forza che fonda l’anima femminile. Per questo motivo cinque artiste internazionali, invitate dal curatore Massimiliano Scuderi, elaborano i loro lavori partendo dal rapporto con lo spazio espositivo e con l’ex Lanificio, sito dell’Unesco, stratificato di storie ed eventi. 
In particolare, Eva Gold, scultrice e artista multidisciplinare di Manchester, con base a Londra, affronta temi sottili come l’ambiguità, la coercizione e i sistemi di potere. Miranda Secondari, performer, realizza con il suo corpo architetture che nascono dalle specifiche caratteristiche dei luoghi, attraverso movenze quotidiane, spesso reiterate, accompagnate da sonorità corporee e automatismi che costruiscono vere e proprie visioni. Caterina De Nicola è interessata all’idea di glitch e spesso utilizza oggetti trovati e simboli per mettere in discussione l’essenza stessa della forma, del significato e del gusto estetico. Sitara Abuzar Ghaznawi, artista di origine afghana, realizza opere in forma di scatole corneliane in cui espone vere e proprie narrazioni con oggetti quotidiani in cui si può ravvedere una coscienza di classe. L’opera Male Extiction, che dà il titolo anche alla mostra, allude a un mondo spopolato di uomini cisgender. Nora Aurrekoextea, artista basca, crea spazi relazionali attraverso oggetti e corpi che costruiscono architetture instabili. Il suo processo creativo prende le mosse da inaspettati eventi della vita, da un feticcio, da un’intuizione, sviluppando l’opera attraverso la sua materialità e forma. (MS)
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The exhibition begins with a question: What might a future without men look like?
Recent studies by several geneticists suggest that the Y chromosome - a key factor in determining a person's gender - is starting to deteriorate. So, what could this mean for the future?
What is particularly intriguing, however, is a finding that, in some ways, overturns centuries of history and social narratives: evidence has emerged of a powerful role held by women dating as far back as the Stone Age.
A recent article published by the New Scientist Magazine highlights an important archaeological discovery that sheds new light on the roles of women in the Stone Age. The research indicates that women of that era often held prominent positions as rulers, warriors, hunters, and shamans. Often, however, the discovery of skeletal remains led researchers to presume they belonged to male individuals. In 2008 near Seville, Spain, archaeologists uncovered the burial of a young individual surrounded by luxurious grave goods, including an impressive ivory horn. This find became known as the legend of the “Ivory Man”, with researchers believing he was the most influential person on the Iberian Peninsula. However, thirteen years later, protein analysis of dental enamel revealed that the individual, once thought to be the Ivory Man, was actually the Ivory Woman.
Within this context, the exhibition Male Extinction is presented as a rediscovery of an innate and untamed Self, as defined by author and Jungian psychoanalyst Clarissa Pinkola Estés, which has been suppressed by the prevailing culture. However, when women reconnect with their inner lives, which also nourish their outer existence, the term “wild” should no longer be interpreted in its contemporary sense of “uncontrolled.” Instead, it signifies the natural vitality that forms the very foundation of the feminine soul. For this reason, five internationally renowned artists, invited by curator Massimiliano Scuderi, are developing their works based on an interaction with the exhibition space and the former Lanificio, a Unesco-listed site rich in layered histories and events.
Eva Gold, sculptor and multidisciplinary artist from Manchester, now based in London, explores nuanced themes such as ambiguity, coercion, and systems of power. Miranda Secondari, a performer, uses her body to create architectural forms inspired by the unique characteristics of each place. Through her repeated everyday gestures, accompanied by bodily sounds and automatic movements, she crafts evocative, immersive visions. Caterina De Nicola is interested in the concept of glitch and often uses found objects and symbols to question the very essence of form, meaning, and aesthetic taste. Sitara Abuzar Ghaznawi, an artist of Afghan origin, creates works in the form of Cornelian boxes, presenting true narratives with everyday objects that reflect a class consciousness. The work Male Extinction, which also gives the exhibition its title, alludes to a world depopulated of cisgender men. Nora Aurekkoextea, a Basque artist, creates relational spaces through objects and bodies that build unstable architectures. Her creative process is inspired by unexpected life events, a cherished object, or a sudden intuition, allowing her to develop her work through its materiality and form. (MS)
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“Recent Acquisitions” è una storia. Una storia fatta di tante altre storie, intrecciate attorno a una ricerca iniziata tempo fa, con l’obiettivo di ritrovare opere del maestro Salvatore Emblema nel mercato secondario e spesso dimenticato.
Il progetto nasce da un’idea condivisa tra gli eredi Emblema, Luigi Solito e Claudio Esposito, i quali, in modo indipendente, hanno iniziato ad acquisire opere da collezioni secondarie. Questi lavori sono stati recuperati, restaurati, esposti e spesso ricollocati in collezioni più coerenti e attive. Avviato nel 2012, grazie al solido supporto di numerosi collezionisti, principali partner dell’iniziativa, il progetto si è evoluto in un modello da replicare, una buona pratica che ha acquisito tale importanza da diventare una vera e propria “divisione” del museo e della missione che questo si è dato. Oltre al fondamentale lavoro di archiviazione, il progetto ha investito molto nelle attività della sezione restauro, che hanno ridato nuova vita alle opere selezionate.
Oggi, “Recent Acquisitions” conta oltre cento lavori recuperati e riqualificati, un vero e proprio tesoro inaspettato, che si trasforma in una serie di piccoli eventi espositivi, accompagnati da cataloghi. Questo è un piccolo universo, o meglio, una famiglia: un club esclusivo per chi ha amato e continua ad amare il lavoro di Salvatore Emblema, ma soprattutto per chi desidera far parte della storia che ancora oggi si continua a scrivere.
Più che mai, questo progetto non solo ha riportato alla luce opere storiche di grande valore culturale, corredate da una documentazione essenziale, ma ha anche contribuito a risanare il mercato di Emblema, restituendogli il posto che merita.
Questa selezione di opere si concentra principalmente sugli anni ‘60 e ‘70, con l’aggiunta di alcuni importanti lavori degli anni ‘80.
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“Recent Acquisitions” is a story. A story made up of many other stories, intertwined around a search that began some time ago, with the aim of finding artworks by the master Salvatore Emblema in the overlooked secondary market.
The project stems from a shared idea between Emblema’s heirs, Luigi Solito and Claudio Esposito, who independently began acquiring artworks from secondary collections. These works were recovered, restored, exhibited and often relocated to more cohesive and active collections. Launched in 2012, with the unwavering support of dedicated collectors, the initiative’s main partners, the project has evolved into a replicable model, a good practice that has garnered such significance that it now stands as a distinct ‘division’ of the museum and its mission. Alongside the essential archival work, the project has made substantial investments in the restoration section, which gave new life to selected works.
Today, “Recent Acquisitions” showcases over one hundred meticulously recovered and restored pieces, a real unexpected treasure that forms the centerpiece of a series of intimate exhibition events, complete with accompanying catalogues. This collection represents a small universe, or rather, a family: an exclusive club for those who have loved and continue to love the work of Salvatore Emblema, but above all for those eager to become a part of the ongoing narrative that is still being written today.
More than ever before, this project has not only brought to light historical works of great cultural value, accompanied by essential documentation, but has also helped to restore Emblema’s market and artistic legacy, rightfully positioning it in the place it deserves.
This selection of works focuses mainly on the 1960s and 1970s, with the addition of some important artworks from the 1980s.
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Tra il 1956 e il 1958 Salvatore Emblema ha l’opportunità di incontrare e conoscere Mark Rothko, trovandosi di fronte alle sue opere, mirabili scrigni di misticismo luminescente. Quell’incontro è da considerarsi l’elemento catalizzatore che accelerò la reazione chimica da cui si è generata la pittura più fortemente connotata di Emblema, che già da diversi anni, aveva individuato il proprio campo privilegiato di riflessione nella vibrazione cromatica, nella ricerca di una luce osmotica alla materia stessa e nell’impatto perentorio dell’immagine aniconica centralizzata. Emblema ricava la miccia necessaria a un’esplosione creativa comunque ben diversa e distinta. Messa a fuoco una volta per tutte la propria personalità artistica più profonda, a Emblema non servì nient’altro che la concentrazione solitaria, perseguita con coerenza per molti anni nell’isolamento del suo studio di Terzigno, sotto le falde del Vesuvio. Come giustamente faceva notare Palma Bucarelli nel 1979, Emblema aveva constatato che “la radiazione cromatica per cui, in Rothko, il colore forma attorno a sé una nebulosa spaziale, finisce per distruggere non soltanto la superficie, ma anche quella che si potrebbe chiamare la struttura di superficie del quadro”, così giungendo al quadro-oggetto che “porta a operare direttamente, manualmente, sulla realtà fisica della tela e del telaio”.
Nella ricerca di Emblema ci sono la natura in movimento (il drammatico dinamismo del terremoto) e la terra lavica del Vesuvio. Spostandosi su un altro piano, Emblema si è maggiormente concentrato sul rapporto tra tela, telaio e colore, in linea con quella temperie analitica e concettuale della pittura astratta che si è affermata negli anni Settanta. Ecco allora che la vibrazione luminosa dei suoi quadri, sempre pacata, profonda e cromaticamente attenta, scaturisce dall’unitaria, strutturale e osmotica integrazione fra colore e tela di juta, spesso diradata attraverso l’eliminazione di alcuni fili. In tal modo l’artista toglie, riduce, sintetizza, seppure restando comunque fedele alla pittura.
Così facendo l’opera, a causa della trasparenza del supporto, si relativizza e risente dell’ambiente in cui è inserita. Come notò ancora Bucarelli, “il quadro ‘diradato’ di Emblema tende a identificarsi con la parete, la stanza, il paesaggio: a essere insomma un test che, a contatto con la realtà, reagisce nella misura in cui quella realtà è vissuta e pensata cioè naturalizzata e spazializzata”.
L’anima istintivamente concettuale della ricerca di Emblema, ben evidente anche nella pregevole selezione di queste opere, trova conferma in quella sorta di distacco mentale suggerito dall’inquadratura della “cornice” di tela grezza entro cui si svolge l’azione dipinta. In qualche modo, per l’artista il quadro è un filtro, uno schermo, una membrana d’aria, di luce e di ombre che va inserita nella realtà di tutti i giorni, con cui instaura un dialogo magari difficile e sempre problematico.
Ha molta importanza nella ricerca di Emblema proprio l’intervento manuale e artigianale. “Emblema porta al limite estremo l’analisi della pittura anche come artigiano, quasi per dimostrare che, per salvarsi dal crollo generale dei valori, deve ritornare alla sua origine di modesto, ma profondamente conoscitivo lavoro manuale”. Questo aspetto, e non solo, è stato affrontato anche da Giulio Carlo Argan che sosteneva “il quadro è sempre schermo, ma non più schermo di proiezione. Interrompe col suo piano l’unità dello spazio e, imponendo una pausa e un momento di oggettivazione, la continuità del tempo. Non sopportandolo, Fontana ha risolto il problema da schermidore a colpi di punta e di taglio. Emblema lo affronta con pazienza e umiltà di artigiano sfilando la tela e diradando la superficie, gravando contemporaneamente la mano sulla rude carpenteria del telaio. [...] Sfilando la tela, lo schermo diventa filtro e permette al pittore, mentre fenomenizza la luce, di dosarne l’effusione e la vibrazione con l’arpeggio delicato dei fili”. Argan arriva così alla definizione di “detessitura”.
A partire dai primissimi anni Ottanta l’artista di Terzigno ha iniziato a monumentalizzare le presenze segniche e le campiture cromatiche, a dar loro un carisma più sensuale, allentando l’ascetica analisi linguistica del decennio precedente. Nelle opere degli ultimi vent’anni pare quasi di scorgere, talvolta, profili di paesaggi e di campi coltivati, spiragli di cieli, sagome di nuvole o di foglie, voli di rondini oppure la germinazione di semi e i micro-sommovimenti della vita naturale nascosta nell’humus campestre e boschivo. Si accentua così quell’anima tellurica identificabile col processo germinale della natura. Emblema era in qualche modo tornato a una contemplazione del mondo esterno filtrata però dall’inflessibile regola di una pittura concepita come “avventura verso l’ignoto”.
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Between 1956 and 1958 Salvatore Emblema had the opportunity to meet and get to know Mark Rothko, finding himself in front of his artworks, admirable caskets of luminescent mysticism. That encounter is to be considered the catalyst that accelerated the chemical reaction from which Emblema's most strongly connoted painting was generated, which for several years already, had identified its own privileged field of reflection in chromatic vibration, in the search for a light osmotic to the material itself and in the peremptory impact of the centralized aniconic image. Emblema derives the necessary fuse for a creative explosion, however, quite different and distinct. Focused once and for all on his own deepest artistic personality, Emblema needed nothing more than solitary concentration, pursued consistently for many years in the isolation of his studio in Terzigno, below the slopes of Vesuvius. As Palma Bucarelli rightly pointed out in 1979, Emblema had found that “the chromatic radiation by which, in Rothko, color forms a spatial nebula around itself, ends up destroying not only the surface, but also what could be called the surface structure of the painting”, thus arriving at the painting-object that “leads to operating directly, manually, on the physical reality of the canvas and the frame.”
In Emblema's research there are nature in motion (the dramatic dynamism of the earthquake) and the lava soil of Vesuvius. Moving to another plane, Emblema has focused more on the relationship between canvas, frame and color, in line with that analytical and conceptual temperament of abstract painting that took hold in the 1970s. Here then is that the luminous vibration of his paintings, always calm, deep and chromatically attentive, springs from the unitary, structural and osmotic integration between color and jute canvas, often thinned out through the elimination of some threads. In this way the artist removes, reduces, synthesizes, while still remaining faithful to the painting.
In doing so, the artwork, because of the transparency of the support, becomes relativized and affected by the environment in which it is placed. As Bucarelli again noted, “Emblema's 'thinned out' painting tends to identify with the wall, the room, the landscape: to be, in short, a test that, in contact with reality, reacts to the extent to which that reality is experienced and thought about, that is, naturalized and spatialized.”
The instinctively conceptual soul of Emblema's research, also clearly evident in the fine selection of these works, finds confirmation in that sort of mental detachment suggested by the framing of the rough canvas “frame” within which the painted action takes place. Somehow, for the artist, the painting is a filter, a screen, a membrane of air, light and shadows that must be inserted into everyday reality, with which he establishes a perhaps difficult and always problematic dialogue.
Of great importance in Emblema's research is precisely the manual and artisanal intervention. “Emblema takes to the extreme edge the analysis of painting even as a craftsman, as if to show that, in order to save itself from the general collapse of values, it must return to its origin as modest but deeply cognitive manual labor.” This aspect, and more, was also addressed by Giulio Carlo Argan who argued “the painting is always a screen, but no longer a screen of projection. It interrupts with its plane the unity of space and, by imposing a pause and a moment of objectification, the continuity of time. Not withstanding it, Fontana solved the problem as a fencer by pointing and cutting. Emblema tackles it with the patience and humility of a craftsman by unthreading the canvas and thinning the surface, simultaneously burdening his hand on the rough carpentry of the frame. [...] By unthreading the canvas, the screen becomes a filter and allows the painter, as he phenomenizes the light, to dose its effusion and vibration with the delicate arpeggio of the threads.” Argan thus arrives at the definition of “detessitura.”
Starting in the very early 1980s, the Terzigno artist began to monumentalize gestural sign presences and color fields, to give them a more sensual charisma, loosening the ascetic linguistic analysis of the previous decade. In the works of the last two decades, one almost seems to glimpse, at times, outlines of landscapes and cultivated fields, glimpses of skies, silhouettes of clouds or leaves, flights of swallows or the germination of seeds and the micro earth tremor of natural life hidden in the rural and woodland humus. Thus that telluric soul identifiable with the germinal process of nature is accentuated. Emblema had somehow returned to a contemplation of the external world filtered, however, by the inflexible rule of a painting conceived as an “adventure into the unknown.”
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