(below english text)
Coerentemente con tutta la sua ricerca artistica, dove ogni opera è propedeutica a quella successiva,
Sarleti dopo aver riflettuto sulle cause della crisi finanziaria nelle precedenti mostre,
si concentra adesso, in questo nuovo progetto, sulla sua durevolezza.
Ormai dal 2008, assistiamo ad una sorta di crisi permanente, dove tutto sembra crollare da un momento all’altro, dagli istituti bancari fino ad interi stati sovrani.
Ma a parte l’ormai epica Lehman Brothers, l’economia continua irrefrenabilmente il suo corso e ancora esistono i paesi PIIGS e lo Shadow Banking.
Partendo da questo input ed includendo altre entità non bancarie ma con caratteristiche simili, tra cui l’ American international Group, la General Electric, o lo stesso sistema dell’arte, l’intera mostra si rivela come un vero e proprio bestiario contemporaneo che bene restituisce la sensazione di immobilismo precario, in cui stiamo vivendo.
Attraverso una geometria claudicante ed alla naturale instabilità della pittura,
le opere presentate tendono a rafforzare il senso di precarietà di questi soggetti, che seppur numerici si mostrano approssimativi.
Una finanziaria scritta correttamente si deve poi confrontare con la fallibilità umana, esattamente come l’idea di un quadro si deve confrontare con la mano dell’artista.
Ecco perché dipingere certi soggetti, è più plausibile che ritrarli artificialmente.
E nel caso specifico di Sarleti, la storia dell’Arte incontra l’infografica, i numeri delineano i tratti somatici dei dati e la pittura infine gli da un senso.
La ricerca formale quindi, da scelta estetica diventa necessario approfondimento analitico sia del linguaggio che del soggetto che ritroviamo esattamente sovrapposti
in ogni opera di questa mostra.

Consistently with all his research, where each work is preparatory to the next, Sarleti, after reflecting on the causes of the financial crisis in his previous exhibitions, in this new project focuses now on its durability”.
Since 2008 we have been witnessing sort of a permanent crisis, where everything seems to be collapsing anytime soon, from the banking system up to sovereign states.
But apart from the now epic Lehman Brothers, the economy uncontrollably continues its course and PIIGS countries and Shadow Banking are still existing.
In 2011 the Financial Stability Board has drafted a list of 29 banks officially believed too big to fail. By economic size and complexity of relationships they are considered G-Sifi (Global Systemically important financial institution) and their collapse would inevitably damage the entire world system.
Following this input and including other non-bank entities with similar characteristics, such as the American International Group and General Electric and the same art system, the whole show reveals itself as a real contemporary bestiary, rendering the feeling of precarious paralysis in which we are living nowadays.
Through a crippled geometry and the natural instability of painting, the works on display aim to strengthen the sense of insecurity of the subject above which, although numerical, reveal a sense of approximation.
A properly written federal budget should then confront itself with human fallibility, just as a work of art confronts itself with the artist's hand.
That's why painting several subjects is more plausible than to portray them artificially.
And in Sarleti’s specific case, Art History meets with infographics; numbers outline all the data physical features and painting finally gives them a sense.
His formal research, therefore, turns from aesthetic choice into a necessary in depth analysis of both the language and the subject. Needless to say these happen to overlap in every work of this exhibition.

Angelo Sarleti (Reggio Calabria, 1979, lives and works in Milan). Among his most recent and significant exhibition projects, the solo shows IN / OUT (2015) at the Musil of Cedegolo (BS), SPECIFIC (2014) at the Galleria Civica Segantini in Arco, Antologia (2013) at ViaFarini in Milan, Mammona (2012), Bilionaires (2009) and Not here (2006), at Artra gallery in Milan. Group shows include Le declinazioni della pittura at Francesco Pantaleone Arte Contemporanea in Palermo (2015), Allegoria, la pittura oltre se stessa at Fuoricampo Bruxelles (2013), L’ artista nel sistema e il suo tempo in Castel di Ieri (2013), Rupextre, in Matera (2012), Becoming rather then being at CareOf DOCVA in Milan (2011). Among the residency programs and international workshops in which he took part, Centre International d'Accueil et d'Echanges des Récollets at the Dena Foundation for Contemporary Art in Paris and Networking(2006) , Prato (2003-visiting professor Meshach Gaba). Since 2011 Angelo Sarleti also has been realizing and curating the infographics for the scientific annual reports of IRCCS Fondazione Don Gnocchi, Milan.