Subcultural Remnants

Simone Bertuzzi (born 1983) and Simone Trabucchi (born 1982) are together, since 2003, the duo of artists known as Invernomuto. Invernomuto lives and works between Vernasca and Milan. Both are also known for their musical projects, Palm Wine and STILL. With these projects, they develop different approaches to sound within a subcultural-underground context. The two designers seem to privilege the theme of the image in motion and sound. With their many subjects and forms, Invernomuto explores the remains of subcultural currents.

Myths and Symbols

The observer’s eye overlooking the world must not be obscured by prejudice and shame. This is the only way to reach true meaning, which hides in unknown cultures. Stories, symbols, and mythological tales are passed on and then forgotten. We require an exploration of indigenous forms now unknown to the “vulgus” (“people”). Within this process, the inauthenticity of the used materials plays a fundamental role. It underlines the fictitious character of the mystifications they inspire.

Indecipherability

During the artistic maturation process, the duo does not aim to create “closed works”. Instead, they work as an embryonic cell that contaminates by coming in contact with external factors. They open up to new influences, gather new sources of knowledge, and generate complex and almost indecipherable works.

This indecipherability relates to the style of the two young designers. They have reached a point where the public’s trouble of understanding has increased. This made it necessary to use clearer signs and symbols. Now, it opens up a dialogue with all who relate to art and who want to get closer to it.

Prima delle Sabbie

Their project for the National Gallery in Rome is a chasing of desert sounds, lights, and visions. The project is a conversation with important work from the permanent collection of the museum: Fiume con foce tripla (River with triple estuary) by Pino Pascali.

The two containers constitute the real subjects of the “dramatic” exhibition. They meet at a crossroads and decide to travel separate roads. It is a love story that dies, as it represents a meeting point; the crucial junction between man and woman. A junction between east and west, north and south. Between Muslims and Christians, between conquerors and conquered. This meeting point expresses itself within the symbolic and decorative beauties, characterizing the Sicilian style.

Sicily is a fundamental crossroads between people that cross the Mediterranean through the centuries (…)

“The legend inscribed in the vases date back to the times of the Arab domination in Sicily. Art and legend have intertwined to the point that it becomes impossible to distinguish whether it was the legend that inspired art or, vice versa, the artifacts that prompted the legend.”(…)

According to Gourdgieff, “pre-sand Egypt” is an ancient civilization before the Egyptian one. It is the protector of essential wisdom, where sand is the metaphor of the way of life. It represents the universe, buried by time and unreachable for our modern society. To conclude, this refers to the mysterious style of the duo. The duo feels nostalgic about ancient cultures that disappeared in the “sands” of the time.

Recent works

At the moment, Invernomuto is developing a new submission for the Liverpool Biennial (2020) and the 58th October Salon / Belgrade Biennial (2020). Another project, Black Med, made in 2018 for Manifesta 12 (Palermo), took part in the performance program of the 58th Venice Biennale in 2019. In 2020, it develops further during Fondazione Morra Greco (Naples).

Recent solo shows include:

• Prima Delle Sabbie in Galleria Nazionale, Rome and NN Contemporary Art, Northampton (2019).
• MED T-1000 in Pinksummer, Genoa (2019) / Leto Gallery, Warsaw (2019) / Artspeak, Vancouver (2015)
• Anabasis Articulata in Triennale di Milano, Milan (2014) / Marsèlleria, Milan (2014)
• I-Ration in ar/ge kunst, Bozen (2014)

Website Invernomuto
Instagram Invernomuto