Miart 2025

ArtNoble Gallery is pleased to present at Miart 2025 Tu sei qui (You Are Here), a new and previously unseen series by Aronne Pleuteri (Italy, 2001).

In Pleuteri’s work, painting detaches itself from any consolatory or escapist impulse. Far from visions that see the canvas as a refuge or an imaginary elsewhere, his practice engages directly with the present. In the new series Invasione Uccelli (Bird Invasion), the window to the sky—an archetype of Western painting—is systematically obscured: marks that narratively appear as flocks gather until they veil, deny, and erase the horizon. The drill painting technique that generates them is not just an expressive gesture but a mechanical interference, almost an internal sabotage of the image. Space folds in on itself, leaving a precise statement: you are here—not elsewhere.

In previous works, Pleuteri explored a more playful relationship with material; now, the small figures that once populated his paintings are reduced, absent, overwhelmed by the transforming landscape. In this new phase, painting becomes an ethical declaration—more essential and restrained, focused on marks that multiply until they overpower the space. It is not about representing disorder but about becoming permeable to it.

The landscape, far from being romantic, is no longer a backdrop but an autonomous actor: cloud, smoke, noise, chaos. Nature is neither idealized nor hostile but an impartial force that acts without intent. Pleuteri pursues a research process in which material is not merely functional to painting but becomes necessary in its resistance and interference.

Words—whispered, mentally etched during the painting process—accompany the gesture, piercing it with meaning. They exist as an open declaration, suspended between presence and disappearance, between construction and erasure, between action and dissent.

Within this same spirit of disruption arises the idea of Mototromba (Motorbike-Trumpet), a performative sculpture designed specifically to circulate on asphalt and rupture the fabric of habit and daily action. The Mototrombe (Motorbike-Trumpets), built from industrial scrap materials and remnants of the automotive industry, become a sonic and visual manifestation of modern chaos: a landscape colonized by industry, goods, and flows of people—yet, like birds, endowed with a vast and secret energy that seems to escape human will. Each Mototromba, with its shrill sound, becomes a declaration of interference, an act of dissonance that overturns the order of the everyday.

The very concept of performativity is integral to this project, suggesting a future action in which the artist envisions assembling an army of Mototrombe to invade traffic and disrupt circulation, amplifying the friction between the city’s rhythm and the intrusion of a disturbing element. In this sense, the work also becomes a metaphor for an apocalypse, where chaos is not merely destruction but transforms into poetry, harmony, and music—a form that emerges from disorder. The title, Primo prototipo di mototromba (First Prototype of a Moto-Trumpet), encapsulates this disorder as a pretext for a total sensory experience—a symphony of the end of the world.