Serena Fineschi from Siena

Museums and galleries have reacted to the moment with digitalization and virtuality. What are your "strategies" for establishing new relationships?
In reality we should no longer talk about strategies but talk about artists, of their research and their works. These are the relationships we should cultivate with perseverance and greater attention.
In 2018 with Laura Viale and Alessandro Scarabello I founded MODO asbl, an independent cultural association based in Brussels. It is a place of daily practice, headquarters of our studies, as well as a useful space to renew and enrich the dialogue on the centrality of the work of art. The idea of ​​MODO is to bring the importance of the work of art as a pivot and element of production of cultural value back to the center of contemporary discussion, proposing moments of dialogue in which the invited guests converse intimately and discuss, opening a reflection on the meaning and importance of the work of art in the contemporary panorama.
I firmly believe that we must start again from this concept and from the artists' production spaces where everything originates (intimacy and work came together into the world) and that these can become free territories of dialogue, encounter, comparison, growth and education. For years there has been a lack of independent criticism that courageously disagrees, the same courage to be recovered in artists to be disturbing and authentic with the urgency that defines them. Only by creating opportunities for discussion, where artists can support themselves, help each other, confront, by fighting with honesty and facing each other with esteem, it will be possible to redefine the exercises of a different approach to the contemporary and create new disorders of thought.

How do you imagine the world, when everything will start again?
I can't imagine what will happen but I know that the saturation of visual information has polluted our way of seeing, worn out the strength of the apparition, worn out the wonder of amazement, slowly consuming our ability to imagine. This has been happening for some years now and it is essential to recover the slowness of contemplating the work, which certainly does not exhaust the reading, but it determines a fundamental value and a substantial practice to be redeemed: educate our gaze.
In this historical phase, radical transformations that can create fluid bubbles of resistance between artists are essential, critic, gallery owner, collector and institution where among the urgencies there is also that of training, converse and dialogue with the new spectrum of the digital audience, so that renewed practices of coexistence are established that do not make us so subordinate to approximation and indifference.

We are realizing that we can live with less mobility?
I have always thought that the works should travel and move, much more than artists.
They are the works that have the power of vision and travel; they cross borders, they explore new spaces and wander endlessly, inhabiting every possible interval. They are the ones who have to move.

When all this is over: one thing to do and one never to do again.
With Laura and Alessandro we are working on the possibility of creating a MODO office in Italy too, precisely because we believe that there must be new places where artists (and not only that) can meet, dialogue and create new thinking opportunities.
Reconsider museum programming from the deadly ritual of mass events to new, smaller visions, inaugurations on a more intimate scale that can bring the public closer to the contemporary more slowly, comfort and attention. A way to educate a new audience, more aware and prepared that it can also become critical mass, as happens in many other countries where art education, particularly the contemporary one, it starts from the foundations of growth and continues throughout the entire period of schooling, creating thoughtful looks. We dangerously risk drifting adrift and leaving the production of the contemporary to other countries.
Italy is among the most culturally backward countries in Europe, we must open our eyes, now.

Serena Fineschi she was born in Siena. He lives and works in Siena and Brussels.
In his work the body is the dimension and measure that determines it. Serena Fineschi's work is carnal extension, in which the body gives and receives. The formal textures of his work continually expand and compress, producing euphorically tragic fissures, places of transit that provide new reflections and tangible experiences, intimate and social.
His work has been presented in numerous public and private venues in Italy and abroad including the Musées Royaux de Beaux-Arts de Belgique, Old Masters Museum, in Brussels, the Italian Cultural Institute in Brussels, provincial Bozar, Center for Fine Arts in Brussels, the Frédéric de Goldschmidt collection, the Thalie Foundation in Brussels, Asbl workshop in Brussels, Belgium; the Raffaele de Grada Museum of Modern and Contemporary Art in San Gimignano, the SMS Santa Maria della Scala Museum Complex in Siena, the Palazzo delle Papesse Contemporary Art Center in Siena, the Corderie dell'Arsenale, the Manifesta12 Biennial in Palermo, Casa Masaccio Contemporary Art in San Giovanni Valdarno, the Palazzo Magnani/Palazzo da Mosto Foundation in Reggio Emilia, the Contemporary Hospital, Ospedaletto complex in Venice, Palazzo Monti in Brescia, in Italy. In 2018 with Alessandro Scarabello and Laura Viale he founded MODO asbl, independent cultural association for the promotion of contemporary art based in Brussels.
His latest exhibition is “We want to talk about love?”, edited by Marina Dacci, solo show at Palazzo Monti, of Brescia, inaugurated on 15 February 2020 and suspended for the Covid-19 emergency (reopening in the planning phase).