Ultimo domicilio
    8.2 > 31.3.2018

    The images of Ultimo domicilio are a reflection on the existence and the existed, visual synonymous of the concept of passage. Galleria del Cembalo for the first time proposes twelve large works, each one dedicated to one of the portrayed homes.

    Homes talk about their own inhabitants even when they cease to live in them. Laura Serani describes this way Castore’s petite recherche, crawling down in the deepest fold of the private place par excellence: “Paintings hanging on walls, photographs, objects on bedside tables, books tucked away inside library nooks. Objects resonating with one other, reflecting desires and aspirations, memories and affections”.

    For about nine years Lorenzo Castore has been working in those silent houses, where life “looks like vaporized”. “I’ve known these houses for various reasons – he says – houses I lived in, or abandoned, houses I visited, my own houses, other people’s houses. They all say something about what I was seeking in years of moving”. He worked between Turin, Florence, Casarola, Sarajevo, Cracovia, New York, following the desire of finding traces of intensively lived lives. As those of Giacomo and Maria, grandparents of the author, lead of an “ordinary Italian story”, present in the objects of their home of Via Masaccio in Florence, released one month after the lady passed away.

    Likewise, the house of Casarola tells us about the Bertolucci family. To that place, described by Attilio as “disconnected not only from the plain but from the whole world”, the Bertolucci family stayed emotionally tied even after they moved to the capital in 1951. Thanks to some stock footage and the contemporary shooting, Castore describes the place of inspiration for Attilio and his sons Bernardo and Giuseppe, by means of the short film Casarola (8 minutes), shot in and around Bertolucci family house. An untouched place of imagination and affection. Besides the skillfully watercolored photographs, the film projection will tell about the relationship with the origin and the parental figure, an escape from reality between personal mementos and present time, in a rarefied atmosphere in which memories merge with dreams.

    Moreover, going across the ocean, Ultimo domicilio leads us to Brooklyn, in the apartment of Adam Grossman Cohen, filmmaker, son of the photographer Sid. Like his father, Adam transmits the tension towards absolute and metaphysical beauty and the house in New York, released in 2010, is the tangible testament of his inner turmoil.

    Lorenzo Castore talks about New York, as well as about Sarajevo, Mostar, Fontenay Mauvoisin, Rome, Milan, Finale Ligure and Cracovia, his home during six years, place of freedom and experimentation, “a true beginning” for the strengthening of his personal research. He portrays homes that are experiences at the same time and he talks about experiences, that are turned to homes that everyone carries inside. The volume “Ultimo domicilio”, curated by Laura Serani (L’Artiere, Bologna, 2016), shall accompany the exhibition.


    Lorenzo Castore
    Fontenay-Mauvoisin, Francia

    Lorenzo Castore
    Before & After Photography

    Lorenzo Castore
    Brooklyn, New York, Stati Uniti

    Lorenzo Castore
    Casarola, Italia

    Lorenzo Castore
    Cracovia, Polonia

    Lorenzo Castore
    Finale Ligure, Italia

    Lorenzo Castore
    Firenze, Italia

    Lorenzo Castore
    Mostar, Bosnia Erzegovina

    Lorenzo Castore
    Roma, Italia

    Press review