Edera — Group Exhibition at Castello Superiore di Marostica, 12 December 2025–11 January 2026

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EDERA, curated by Lavinia Xausa and Sofia Marcon, in collaboration with Associazione Culturale Futura and with the support of Fondazione Banca Popolare di Marostica – Volksbank, takes its name from ivy — a plant that clings, embraces, and endures. Through this gesture of attachment, the exhibition reflects on care not as sentiment but as structure: a way of holding together what is fragile, dispersed, or on the verge of disappearing.

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Set within the historic walls of the Castello Superiore di Marostica, the exhibition brings together the works of Alberto Scodro, Giulio Polloniato, Link Hg, Lucia Bonomo, Riccardo Rizzetto, and Sandro Bonomo — practices that listen to the tensions animating the local landscape: a territory marked by precarity and transformation, yet still capable of moments of clarity, shelter, and small astonishments.

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Here, ivy becomes metaphor and method. It grows by touching, extending, searching for support; it binds without fixing, envelops without erasing.
Similarly, the artists in EDERA explore forms of relation that emerge through proximity — between body and site, memory and material, community and terrain. Their works trace the gestures through which places accumulate stories: the slow weathering of stone, the persistence of rural labour, the reverberations of intimate rituals, the quiet negotiations between the built and the natural.

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Rather than proposing a single reading of the landscape, EDERA unfolds as a polyphony of sensitivities. Together, these works suggest that care may reside not in grand gestures but in the subtle architectures of everyday life — in the ways we tend, mend, remember, and remain attached.
Within this framework, ivy is not only a plant but a principle: a way of holding, of staying with, of letting things grow where they insist on growing.

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compianto al salice piangente piantato

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compianto al salice piangente piantato is a project that weaves together personal memory, ecological transformations, and territorial politics through a reflection on the landscape of the Vicentine hills. Beginning with the disappearance, in the artist’s family garden, first of the cherry trees — long-standing identity symbols of the area — and later of the willow that had replaced them, the work investigates how climate change rewrites both the affective and material geography of a place.

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The project takes shape as a letter to the artist’s hometown, where the agricultural past is often preserved cosmetically while the anatomy of the territory changes rapidly: hills encased in concrete, extreme alternations of drought and violent rain, an emerging hydrological vulnerability that no longer aligns with official narratives. Water, a central element in the work, is understood not only as a resource but as an unruly presence: a force that eludes attempts at containment and contradicts the infrastructures designed to stabilise it.

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Through an assemblage of materials, images, traces, and writing, the project moves between botany, domestic hydrology, and ecological critique, revealing the fragility of a territory that tries to preserve an image of itself even as the climate profoundly reshapes its conditions of life. The compianto thus acquires a political dimension: not a nostalgic lament, but a recognition of ongoing losses and an invitation to read the landscape as a space of shared responsibility.

 

Ultimately, compianto al salice piangente piantato unfolds as an exercise in listening: to the plants that give way, to the water that exceeds, to the words that shift, to the hills that resist and transform. It is an attempt to remain beside what is disappearing, continually interrogating the conditions that make such disappearance possible.

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