The solo show Incoveniente presents a corpus of new works inspired by the inconvenient, a concept that the artist takes as a starting point for a non-linear reflection on the unexpected, the unforeseen and the non-convenient, understood as obstacle as well as resource. The exhibition turns, in this way, in a research on the complexity of art and of life itself, and embraces with empathic poetry the surrounding world through heterogeneous, familiar and evocative materials, such as street market tables, gift wrapping paper and isothermal blankets.
The artist quotes the word in the Enciclopedia Treccani (the Oxford Dictionary for the English version) and comments: “inconvenient adjective causing trouble, difficulties, or discomfort : she telephoned frequently, usually at inconvenient times. Origin: late Middle English (originally in the sense [incongruous] or [unsuitable]): via Old French from Latin inconvenient-, from in- ‘not’ + convenient- ‘agreeing, fitting’ (see convenient). Current senses date from the mid 17th cent. Thesaurus: awkward, difficult, inopportune, untimely, ill-timed, unsuitable, inappropriate, unfortunate; tiresome, troublesome, irritating, annoying, vexing, bothersome; informal aggravating. This word bounces in my mind even as a suitable title for the show. What makes me think this way? To make an artwork and to make an exhibition can turn out to be “inconvenient”? What motivates us, when a serious inconvenient happens, to make something anyway? I choose outdoor market tables, rescue blankets and gift wrapping papers to make and present a new range of works inspired by the ‘inconvenient’.”
After structuring the suggestion through a precise linguistic definition, Bruna Esposito leaves the strict etymology–that considers the inconvenient as a synonym of disproportioned, unsuitable, untimely, or worse, of obstacle, damage or discomfort–to transform such negative acceptions into a potential resource or opportunity.
