flashback exhibition

Sergio Cascavilla > The Time Wanderers

Sergio Cascavilla, installation view at Pala Alpitour

Sergio Cascavilla, born in Turin in 1966, is one of the artists called to interpret this seventh edition of Flashback. His work has always been between different domains (he has also designed for Alessi) and his works are very colorful, close to comics, narratively surreal. 
Such visionary approach has passed through the abstract plots that hide everywhere in reality; the colors, the lines and the organic seductive color crosshatches are the result of a technical virtuosity, which is his particular feature. The concept of abstraction of Sergio Cascavilla’s works is contaminated by the decoration, thus affirming the need to consume a relationship with ornamentation. For Flashback he has developed nine works, eight of which for the image of Flashback 2019 and a large 10x4m wall painting that the artist shall develop in Pala Alpitour.

Eva Marisaldi > Hidetoshi Nagasawa

Eva Marisaldi, installation view at Flashback

Cambiando dimora: i passi nel tempo
curated by Michela Casavola

Eva Marisaldi’s eclectic work will dialog – in “another abode”- with the somehow ascetic visionary one of Nagasawa, in an unprecedented space and poetic balance. Two generations and two different languages that meet in a universal journey, united by a shared emotional tension, in a harmonic chord ensured by a shared lightness, elegance and poetry  of the work, by a close aesthetic and sensitive point of view. Traveling significantly characterized the life and work of the two artists, same as the curiosity for sciences, physics and for the world of nature.  
They are both influenced by the passing of time, by the reason of the journey and by the temporal suspension. 

Hidetoshi Nagasawa, installation view at Flashback

Traveling is a constant in Nagasawa’s life and artistic practice. At the age of 26, he made a one year and a half bicycle journey towards Europe, through several Asian countries (Singapore, Pakistan, Iraq, and Syria), up to Turkey, Greece and then Italy Nagasawa’s search leads us to works permeated by the feeling of lightness, of flying into the air and of an aerial trend. The great work Yugao-Jole (2005-2013) is an example of it. In the version presented for Flashback in Turin, we see it hanging from the ceiling by steel cables.  Here, its volumetric stellar geometry dominates. 
The movement also characterizes the Surround aerial sculpture, 2018, by Eva Marisaldi. This work looks like a wave suspended on top, swinging from a wall to another one, reminding the moving wake of the migratory birds in chronophotograph. The wave simulates the journey of the birds, oriented by the stars as compass points, traveling also in the night, while sleeping, perhaps attracted by the luminosity of Yugao-Jole’s copper star. Also the Cornucopia video, 2005, developed with Enrico Serotti, offers the opportunity of a visual-sound perceptive experience. The video is an animation directly produced by the sound.  This means that it is the very sound that generates the animated image. 

Cambiando dimora: i passi nel tempo has been realized thank to the support of Art Defender Insurance which is dedicated in the first place to the safeguard of artworks, antiques, vintage cars and luxury goods, but also offers a wide range of personal insurances.

Marco Gastini > Gli anni 80

Marco Gastini, Gli anni 80, at Flashback

In cooperation with Archivio Gastini

At one year since his passing away, Flashback celebrates Marco Gastini (Turin, 1938 > 2018), one of the most appreciated names of Italian painting related to matter, in a solo exhibition.
In the works in the exhibition, as well as in the nineteen-eighty glossary of the artist, the wandering matrix can be observed in the succession of the most various materials – parchment  (Il peso della pelle, 1981; already exhibited Städtische Galerie im Lenbachhaus in Munich and to the 40thInternational Biennial Art Exhibition of Venice, both in 1982);  glass and metals such as iron  (Retablo, 1986), copper and tin – organic elements such as coal and the vegetables similar to carobs (Grande nero, 1982); the wood  of the beams that support the roofs of the mountain houses, of the boxes, of the track sleepers or of the 3D assembled tables. 
The complexity of the pictorial dough in these works increases thanks to an intense chromaticism, where it is hard to recognize pigments and binders, as required to enable the loss of the observer within the environment, in order to allow the painting’s opening to the meeting. One of the greatest ingenious Italian artists after World War II, even though with a look at the ancient taste for doing, in an exhibition where all the elements suggest the multiplication of the reading levels and of the painting surfaces. 

flashback exhibition 2018

Francesco Valeri
The shores of another sea
live painting

Francesco Valeri, Porto San Giorgio 1979, known as ‘Lu FRA’, was one of the artists called upon to interpret flashback 2018, dedicated to sci-fi anthropology, to the meeting between worlds and the contact among them. Francesco Valeri’s work is characterised by a powerful colour, a trait both naive and caricatural, both from the past and the future, charged with humour and sarcasm. His figures have an African touch, a continent which holds a special place in his heart. His artistic expression is by and for the people which are also the subject of his work.

The image represents a timeless context, hanging in the balance between past and future, between new and ancient; two characters belonging to different traditions and identities establish a contact, a meeting made by strange tools: a bulb comes out of the westerner’s ear, while the club-scepter of the “indigenous” tickles his cheek. What world are we in? Francesco Valeri’s sign tells us that – between Picasso and the graffiti – the very role and function of art is to overstep andcross the space-time dimensions, to intersect and connect the levels and reactivate the ‘mechanism of thinking’. In this saturated colorful universe, every option suddenly becomes viable, provided that we remain open and willing. Thus, every age is actually present and we can again today – as in other moments of our history – deeply connect different temporal areas: the ancient, the modern and the contemporary in its becoming.

For flashback he has created live The shores of another sea: a 60 sqm live painting that has embraced the theme of the event and has projected it in a timeless dimension.


Tony Matelli
The Wanderer, Hunter and Reverie
courtesy Gian Enzo Sperone

Three life-sized figures are placed on plinths, some shaped as rocks, some shaped as logs. Around the sculptures, the walls are decorated with a wallpaper with sea motifs: a digitized picture of waves dissolving on the horizon. Tony Matelli erases reality and unveils a far, imaginary place, on the shores of another sea. We, therefore, like survived castaways from an island of dreams, are invited to embrace our fears, our anxieties, and our curiosity and sense of mystery. The three figures, all self-portraits of the American artist, present almost grotesque characteristics, maybe displaying the way the emotions are animating the artist’s mind. In every character we find conflicting impulses, the same impulses, the same fears and the same curiosity that are part of the journey towards the ‘other’ and the ‘beyond’.

In Wanderer the artist portrays an explorer that travels with a long stick, accompanied by three monkeys, and even though the group seems more likely to be found in the city maybe it’s in the new equipment that we find what we need to imagine a new world. Reverie (the dreamer) represents a character who is apparently carefree, with workout clothes and white socks, playing a small guitar. It’s as if every doubt evaporated in a moment of relaxation. But the tree behind the figure and the rope hanging from a branch behind his neck symbolise the lurking fears. In Hunter Matelli becomes an unlikely hunter, armed with only a rope and whose clothes are seemingly inappropriate. It’s as if the camouflage fabric, suitable to hide among the leaves, had been replaced by a fantastic uniform, perfect to wander in the world of dreams. The stunned expression on his face reminds us of the feeling of smelling a mysterious smell, halfway between repulsion and attraction, between the fear of finding out something unpleasant and the desire to meet something new.

All characters, all castaways, all of them busy trying to represent the contrast and the comparison between fear and curiosity, between bewilderment and desire for knowledge, all visions and feelings resulted from the journey towards the ‘other’ and the ‘beyond’.

Tony Matelli (1971 Chicago, Illinois) is an American sculptor who belongs to the realist sculpture school. He’s known to the general public for the artwork Sleepwalker. He exhibited in the greatest museums in the world such as the Palais de Tokyo in Paris and the Hermitage in Saint Petersburg and with important international galleries such as Marlborough Gallery, Andréhn-Schiptjenko, Gary Tatintsian and Perrotin.