interno 38 
Lisa Nocentini
Reality show
polychrome pottery and maize, h cm 51, 2004
literature / art
The nimble factory of tragedy / Genesis of the wildwood / The auto da fé of the matter / Notes on the sculpture of Lisa Nocentini / Oh, die Dummheit der Wissenschaft! / Notes on the sculpture of Francesco Bocchini / Notes on the paintings of Davide Baroggi / The bone is the soul / The discipline of the cartographer / Per lumina, per limina / The god coming from a machine / Foundations
The nimble factory of tragedy / Genesis of the wildwood / The auto da fé of the matter / Notes on the sculpture of Lisa Nocentini / Oh, die Dummheit der Wissenschaft! / Notes on the sculpture of Francesco Bocchini / Notes on the paintings of Davide Baroggi / The bone is the soul / The discipline of the cartographer / Per lumina, per limina / The god coming from a machine / Foundations
essays / art / Notes on the sculpture of Lisa Nocentini
Notes on the sculpture of Lisa Nocentini
in Dalla terra al sogno (“From earth to dream”)
noèdizioni, Montelupo Fiorentino 2006
METAMORPHOSIS
The anatomic table is enhanced by new, unexpected elements – new bodies. Zoomorphic and anthropomorphic creatures: gracefulness wins over horror, genuineness prevails over brutality affecting all metamorphosis. Here one is confronted with a light, pacified pouring out of forms and traits – each one of them pouring into another with no conflict, nor violence involved. No clamour. It is Bosch’s genealogy, yet deprived of its most desecrating vein. The labour of hands spreads over the friction between nexus, it reaches the analogue arrogance and the scar born out of the man-animal junction, it soothes and moulds, and takes care of the hybrid, by bringing it to life. And, as it proceeds its moulding action, it seems to say: “Be afraid” and “Do not be afraid” – of your nightmares. It invites one to entrust.
IL RIVESTIMENTO DEI SOGNI (“THE COATING OF DREAMS”)
This is indeed a true procreation provoked by the same intelligence that guides the botanic germination. It has no explicit design, yet it brings in itself the impression of a secret, exact reasoned order. This is an order of motherhood, where women in labour mingle with the babies and where you can see the babies going back to the moment of childbirth. The procreation is suspended inside a hint, a sudden appearance, a discreet leaning forward – framed ovals, eternally astonished faces emerging from orifices, rings or grooves. As it almost gets frozen inside the envelope of placenta, within a firm and filamentous sheath of colour; life also lessens its own impetus – clotted inside a thin pellicle akin to the lactescent ether of dreams. Similar to the coming of dreamed things as through a coating made out of a thin, viscous layer.
LA PICCOLA PARATA (“THE SMALL PARADE”)
It looks like these statues are setting up a small parade, as they stand on tiny wheeled pedestals with tow ropes – these rickety toy vehicles remind of the games of one’s far-off childhood. What kind of accompaniment music is associated to these semi-trailer sculptures? Sounds of faint gasping and rolling of tin drums, a crooked sonatina played by toy trumpets and the silvery acoustics of a mechanic player piano – here is the petite marche of a mutant progeny.
