La miserabile

Photo by Gianluca Di Ioia

Diego Marcon – promising artist born in 1985 – inaugurated his work entitled “La miserabile” at the Milan Triennale, open to the public until August 26, 2018.
Living is wretched and spares no one. This may be why, for his first solo exhibition in an institution, the artist has decided to turn the space of the Impluvium at La Triennale di Milano into a silent, disconcerting room. As he himself states: What I find pathetic is the human condition and the way it constantly drags itself along as its own burden. That’s why my characters are so exhausted.
La Miserabile is an existential condition, a state of mind, and a scene that takes shape from a central figurative group: a bedstead on which a sick female figure is resting. All around, a number of people watch over her body, busily performing enigmatic little tasks. The image of the dying girl, which is a recurrent theme in sentimentalist art, is conveyed in the style of children’s illustrations and cartoons, in an atmosphere of numb torpor.

Photo by Gianluca Di Ioia

The setting is unadorned, accentuating the emotional power of the work and carving out a space of neuroses and frenzied closure to the outside world, in which those who inhabit Marcon’s world – the wretched, or the miserabili – are indefinitely and inescapably trapped. Isolated in the half light, as though he wished to protect them from prying eyes, these figures appear to the viewer in a
place of contemplation, inviting us to dwell on the actions frozen in place. Regarding his installation, Diego states: all the elements combine to define the miserable, while leaving the opaque contours: the elements of the design, its translation in vinyl, the wall-mounting – which revisits the display and enjoyment modes of most of ancient and classical art, the use of neon lights and reflectors as lighting of the work and emptiness, that leaves the space of the Impluvium bare and which is an integral part of the work.
For furhter information, visit www.triennale.org.

Photo by Gianluca Di Ioia
Photo by Gianluca Di Ioia