Song of the Sirens” by Nathalie Djurberg and Hans Berg at Gió Marconi

A nose, an ear, a pair of buttocks: enlarged anatomical fragments modeled in clay with an almost marble-like finish star in this fifth solo exhibition by the duo Nathalie Djurberg and Hans Berg at Gió Marconi. Bathed in semi-darkness, “Song of the Sirens” unfolds through stop-motion animations in which each film revolves around a single monumental sculptural element — solemn and absurd at the same time —, isolated and deliberately distorted to intensify its symbolic resonance. Clay figures with exaggeratedly accentuated features orbit these fragments in slow, almost ritualistic gestures, constructing an ambiguous and unfinished narrative, suspended between attraction and anticipation: nothing is fully revealed, and every action remains on the verge of happening, sustaining desire rather than satisfying it. Marble-like sculptures, with other fragments of the human body, punctuate the exhibition's path, echoing the anatomical motifs projected on the walls and reinforcing the sensation of inhabiting a landscape suspended between a garden and a dreamlike vision — enhanced by a field of monumental flowers emerging from a thin layer of mist spread across the floor and walls of the gallery. The siren of the title functions as a metaphor for a desire without a fixed object, emancipated from possession: that suspended moment between dusk and dawn when the eye still does not distinguish completely, and the imagination intervenes to complete what is missing to see.