FRANTUMAGLIA | 在此地与彼时之间
'Things are neither present nor absent, real or unreal, but flickering ralationality of trans/matter.'
— Karen Barad
‘Frantumaglia’ is a disused Italian word meaning ‘a collection of fragments’, also used to talk about indescribable feelings. It’s the title of a recent book by Elena Ferrante, the famous Italian pseudonym writer. The book is a memoir, an autobiography joining reality and fiction, placing and playing the reader between dream and matter. A similar attitude is found in Li Li Ren’s exhibition: an impalpable premise shaping up the experience in the gallery, which becomes a place where the real and the imagined merge for the duration of the show.
The exhibition unfolds on both floors of the gallery, with sculptural elements in glass, resin, marble, bronze, memory foam and water. The pieces inhabiting the spaces are interior， everyday objects we are well used to: a mattress, a chair, car bits, some swim fins, and even some hands evoking gestures and basic emotions. However, in their present state, these elements appear more like familiar ghosts, or traces embodying a mirage-like narrative, a distant idea of being.
Entering Frantumaglia catches by surprise. Walking into what might look like the aftermath of some traumatic event, witnessed by the elements of broken objects sparse around the gallery, we are left to wonder on the state of disorder as a feminist intervention. As a matter of fact, it’s in the patriarchal, capitalist world, all about real estate building and propulsive making, in the era of ‘just do it’, that destruction, un-building, un-worlding are the only alternative, the only solutions. In the exhibition, turning destruction and collapse into an aesthetic, we are forced to think about the inevitability of change and decay: our own bodies collapse and we cannot escape that. With this awareness we move around the space, experiencing a rupture of time, entering a mental state of displacement by which we suddenly and intimately realise that time is diluted, diffused.
In Frantumaglia, past, present and future merge, and time, like water, flows across and connects us. Parallelly we notice that the materiality of the pieces is crucial to this experience: it’s itself in constant flux, in continuous action. Static objects but alive and mutating— from permanent to contingent, from soft and ethereal to hard and heavy. Sculptural materials constantly alternate and shift, manifesting their transformative powers. In the new materialist tradition, we start perceiving that it’s in the relationships between the objects that the exhibition takes its form. Difficult to grasp but present everywhere, meaning is created in the interdependencies of the objects and entities populating the gallery.
As we proceed through space, the works are choreographed in order to activate an osmotic narrative which navigates feelings of intensity, fear, shock, followed by recovery, healing, intimacy and rebirth at last. And while we find and witness signs of the irreparable and forming, water in fact becomes an essential element— a vessel for life and hope, a place holder to imagine, from the intensity of a stretched present moment, a new future.
任莉莉的个展“ Frantumaglia | 在此地与彼时之间” ，将于2021年11月19日在北京七木空间开幕。
Frantumaglia | 在此地与彼时之间
“Frantumaglia "是一个不再被使用的意大利词语，意为 “碎片的集合”，来谈论不可描述的感受。意大利作家埃莱娜-费兰特的自传回忆录，以此
“Frantumaglia|在此地与彼时之间”，呈现出一种创伤性的事后现场。散落的破碎物见证的无序状态，引人思考。这是由建造驱动的时代，房地 产和制造业，“Just do it ”是父权制的资本主义的精神。展览呈现出的一种毁坏与瓦解的美感，世界在建造，而我们自身的空间却与此同时，不可