E. Cucchi / N. Despotović, La pelle del serpente

2015
E. Cucchi / N. Despotović, La pelle del serpente
E. Cucchi / N. Despotović, La pelle del serpente
E. Cucchi / N. Despotović, La pelle del serpente
E. Cucchi / N. Despotović, La pelle del serpente
E. Cucchi / N. Despotović, La pelle del serpente
E. Cucchi / N. Despotović, La pelle del serpente
E. Cucchi / N. Despotović, La pelle del serpente
E. Cucchi / N. Despotović, La pelle del serpente
E. Cucchi / N. Despotović, La pelle del serpente
E. Cucchi / N. Despotović, La pelle del serpente
E. Cucchi / N. Despotović, La pelle del serpente
E. Cucchi / N. Despotović, La pelle del serpente
E. Cucchi / N. Despotović, La pelle del serpente
E. Cucchi / N. Despotović, La pelle del serpente
E. Cucchi / N. Despotović, La pelle del serpente
E. Cucchi / N. Despotović, La pelle del serpente
E. Cucchi / N. Despotović, La pelle del serpente
E. Cucchi / N. Despotović, La pelle del serpente
E. Cucchi / N. Despotović, La pelle del serpente
E. Cucchi / N. Despotović, La pelle del serpente

For the catalogue of the exhibition by Enzo Cucchi and Nebojša Despotović  we exchanged views with the curator of the exhibition, Daniele Capra, on the editing project: we had almost agreed on a final project when, in the occasion of the transport of the works, we took enthusiastically the chance to visit Enzo Cucchi’s roman studio. Here, we wanted to share and discuss the project we had built until that moment – a sort of diary of the whole process which had led to the exhibition, in which the works could be illustrated not only by the critical texts but also by some anecdotes, dialogues and documents collected during the previous months. Also, the book would be turned inside out, with the cover inside, as a snake's skin after molting.
Enzo was enthusiastic about this, but he set a condition: there had to be two catalogues, one for his works and one for Nebojša's. He is very radical on his views, so it was quite useless to object that not only was this request quite incoherent with the exhibition project – being the last totally planned as a game of cross references between the works of the two artists –, but also it would turn out impossible to manage such a request in the existing project; it was necessary, thus, to plan the book from the beginning – or better the books, at this point, and try to find a different way to get to the original destination.
Hence the idea of creating a container with a simple bent paper – in which the curator’s text and an unpublished work by Tiziano Scarpa, who wrote it for the occasion, find place – which could hold together the two booklets, otherwise independent. Each booklet, along with the photos of the exhibition and the works, includes pieces of the conversations which took place between the two artists (together with the third, Tiziano Scarpa), and between them and the curator.

Photos: Federico Covre