{"id":150228,"date":"2025-02-10T11:00:43","date_gmt":"2025-02-10T10:00:43","guid":{"rendered":"https:\/\/www.castellodirivoli.org\/?post_type=mostra&p=150228"},"modified":"2026-03-19T12:48:44","modified_gmt":"2026-03-19T11:48:44","slug":"enrico-david-domani-torno-im-back-tomorrow","status":"publish","type":"mostra","link":"https:\/\/www.castellodirivoli.org\/en\/mostra\/enrico-david-domani-torno-im-back-tomorrow\/","title":{"rendered":"Enrico David \u2013 Domani torno"},"content":{"rendered":"
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Dinnisblumen, 1999
Wool on dyed canvas
300 x 200 cm
Raf Simons Collection, Antwerp<\/p>\n\n\n\n

Exhibition curated by Marianna Vecellio<\/p>\n\n\n\n

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30 October 2025 \u2013 22 March 2026<\/strong>
Manica Lunga, Third Floor<\/p>\n\n\n<\/div>\n\n\n

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Castello di Rivoli Museo d\u2019Arte Contemporanea presents Domani torno<\/em> (I\u2019M Back Tomorrow), a comprehensive retrospective dedicated to Enrico David (Ancona, 1966), curated by Marianna Vecellio. The exhibition offers an in-depth overview of the artist\u2019s practice, spanning painting, textile works, drawing, sculpture, and immersive installations, all exploring the inner dimensions of the contemporary human condition.<\/p>\n\n\n\n

Specifically conceived for the Manica Lunga, the exhibition unfolds through a dialogue between figuration and abstraction, focusing on the body as a metaphor for transformation. With a layout that evokes theatrical scenography and design displays, the exhibition retraces the key moments of David\u2019s artistic production, including new works created for the occasion.<\/p>\n\n\n\n

Domani torno<\/em> is both a personal and artistic journey: from his origins in Ancona to his move to London in 1986, the exhibition follows the development of a practice grounded in the quest for a linguistic universe in which to exist. Through various media, David explores the human figure as a site of metamorphosis and reflection. In this journey, drawing plays a central role as a unifying language, since, as the artist states, \u201cthe space of dreams and the space of drawing are both infinite.\u201d<\/p>\n\n\n\n

Many works arise from the urgent need to process traumatic experiences, such as the sudden loss of his father. \u201cCreativity, for me, is an opportunity to change the condition of pain\u201d, David says. \u201cIt is a redemption, an alternative destination to suffering. Art is what makes reality more bearable.\u201d Starting in the late 1990s, David\u2019s installations became fully interdisciplinary worlds: visionary stages weaving together current events, memory, popular culture, and theatrical rhetoric. Notable examples include Madreperlage<\/em> (2003), Absuction Cardigan<\/em> (2009), and Ultra Paste<\/em> (2007), where the artist constructs scenographic devices imbued with emotional and symbolic tension.<\/p>\n\n\n\n

Over time, the artist\u2019s practice has evolved toward increasing formal synthesis, culminating in sculptural work that delves into the face as a site of connection and knowledge. Beginning with the exhibition Life Sentences<\/em> (2014), David investigates the face through hyper-expressive, material renderings in wax to evoke emotion and intensity. Among the works on display are: Trenches to Reason<\/em> (2021), two suspended forms blending geology and technology; Tutto il Resto Spegnere<\/em>, presented at the Italian Pavilion of the Venice Biennale in 2019; and a selection of sculptural studies including Sign for Lost Mountaineers Hair Grooming Station<\/em> (2004), Pebble Lady<\/em> (2014), and Racket II<\/em> (2017). Numerous drawings, newly produced large-scale paintings, tapestries, and embroidered canvases, along with the ongoing Teatrini<\/em> series (begun in 2005), complete the exhibition.<\/p>\n\n\n\n

\u201cIn an era dominated by artificial intelligence and digital dematerialization, Enrico David\u2019s work stands as a statement of resistance to decoding, and as an ode to the physical body, sensory experience, and the power of imagination\u201d, as the curator Marianna Vecellio says. The exhibition offers a reflection on contemporary identity, particularly the relationship between body, gender, and self-perception. \u201cIn my work, gender has a kind of unconscious irrelevance,\u201d the artist says. \u201cIdentities brush against each other, they exchange, they are put back into question.\u201d<\/p>\n\n\n\n

Domani torno<\/em> (I\u2019M Back Tomorrow) is ultimately an invitation to reclaim one\u2019s own imaginary world\u2014both a visual and conceptual exploration of the human being in constant transformation.<\/p>\n\n\n\n

The exhibition will be accompanied by a bilingual English\u2013Italian catalogue published by Walther K\u00f6nig. The book features previously unpublished essays and interviews by the exhibition\u2019s curator at the Castello di Rivoli, Marianna Vecellio, and the Museum\u2019s Director, Francesco Manacorda, as well as philosopher Federico Campagna and art historians Dawn Ades and Polly Staple.<\/p>\n\n\n\n

The exhibition will also be an opportunity to present Untitled<\/em>, 2024-2025 in Italy, produced by Castello di Rivoli Museo d\u2019Arte Contemporanea in collaboration with Kunsthaus Z\u00fcrich, supported by the Directorate-General for Contemporary Creativity of the Italian Ministry of Culture under the Italian Council 2025 program. The work will be significant in the exhibition itinerary and reflects Enrico David\u2019s commitment to a mature sculptural practice, focused on material and formal experimentation.<\/p>\n\n\n\n

With thanks to White Cube and Michael Werner Gallery for their support of the exhibition.<\/p>\n\n\n\n

Il centro dei miei occhi \u00e8 160<\/em> (1995-2025) by Enrico David is produced by Castello di Rivoli Museo d\u2019Arte Contemporanea in collaboration with<\/p>\n\n\n\n

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Produced thanks to the support of<\/strong><\/p>\n\n\n\n

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Enrico David- Domani torno – Backstage <\/p>\n\n\n<\/div>\n\n\n

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