Debora Bolsoni, (No names, but names), 2016. Exhibition view, detail

And it is precisely in this formal ambiguity that the poetics of the project are rooted. (No names, but names) allows the public to circulate among the works, whose arrangement voluntarily recalls a cemetery. Each of these pieces is composed of different mediums, between "dess-tures" and "sculp-ssins", and supported by a small cart, thus playing with the idea that these tombstones could, at any time, roll away.

Debora Bolsoni, Printf air (detail), 2015, drawing on ceramic tiles, 20 x 15 cm

This play on words refers to the potential arrangement of the drawn silhouettes, which actually refer to a world of objects. These everyday objects are tools that we often underestimate, that we take for granted, and that exist only to be put into action. It is these entities, these presences that Debora Bolsoni invokes in her work, as a kind of extension of the human body.

Two environments complete this installation by illustrating the importance of drawing in Debora Bolsoni's artistic practice: they stage his way of interpreting drawing as spatial work, and the importance of the silhouette as a drawn motif, as a way to bring to life vibrating, material entities (to quote directly the work of Jane Bennett, Vibrant Matter), in order to activate them, to set them in motion before our eyes.

One of the adjoining rooms contains a sample of Debora Bolsoni's plastic experiments, playing on the ambiguity between the exhibit, which becomes sculpture, and sculpture, which is the exhibit: a spin off from the Print Fair. and Pinus by Debora Bolsoni. These two metal structures expose, maintain, and in a sense hold a series of drawn ceramic tiles, which alone represent a manifestation of Debora's real interest in building materials. His way of using tiling, or even cement, sand, etc… refers to his interest for both the house and the city. In his work, electrical outlets and manhole covers are used as equivalents, thus connecting the servant to the public, not as two opposite or separate areas, but as a continuity, or even a reflection between one and the other. 'other. The drawn ceramic tiles, with their vintage appearance and their landscape patterns (a small seagull, a flower), bring a nostalgic reference to nature. These correspond with human portraits (the silhouettes), thus connecting the object to the subject as usual. The landscape, the human figure and the still life dialogue but nevertheless fail to communicate, never managing to meet.

The other room contains a key work by Debora Bolsoni, Mimesis lesson, composed of several slate fragments, cut into different shapes and framed in wood. Each piece of Mimesis lesson is created with the aim of taking the form of a classic device linked to vision, mainly windows, mirrors and lenses, which by their diversity, represent in a sense different ways of seeing. On these supports, a unique silhouette of chalk was drawn, thus linking all these separate pieces. Mimesis lesson is a mimetic work, because the viewer's gaze allows these forms to exist as visual devices; but also because these forms are themselves references, and refer to the history of the gaze and vision.

This exhibition is about silhouettes, the mixture and the interdisciplinarity which characterizes the origins of drawing and sculpture; a project about the arrangement of objects, and their ability to return our gaze to us, or to condition our way of seeing, which is a very common theme in the work of Debora Bolsoni.

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