Out of Order

On the ground, they appear merely as scraps—an accumulation or deposit of forms that have fulfilled their purpose—yet upon closer inspection, one discovers they are neither garments anymore nor quite something else; indeed, Fuori Uso emerges from this space of suspension to become three-dimensional, inhabiting the wall as a silent presence.
Fuori Uso strips the garment of its original function, reconstructing it through interlacing and stitching, and transforms it into a suspended presence while preserving its memory: the garment itself does not remain, but its presence does; the function is gone, yet a form remains that continues to pose questions. It is, therefore, a gaze capable of recognizing value even in what seemed spent—capable of reading the history carried by the garment, now liberated from its everyday purpose and brought into a new state of being.
In the exhibition, every element belongs to the same vocabulary: folds, voids, surfaces, materiality, and erasures; the works on paper capture the origins of *Fuori Uso*—the initial gesture, the most intimate scale.
As Nadia Nespoli writes: “Fuori Uso neither represents the body nor narrates the act of dressing; it inhabits a threshold where that which has been worn, folded, and used continues to exist, entrusting the viewer with a simple, open question: when an object ceases to be useful, can it still possess a presence?”