Limbo is a hovering ground, an undefined space where the earthly and the otherworldly meet. A territory dedicated to artistic practices that investigate fluidity, impermanence and transience, reflecting the perpetual fermentation of their time. The inaugural exhibition FALENE draws on this liminal creature, the result of metamorphosis, dwelling between day and night, to reveal its nascent identity and experimental attitude through the works of Ludovica Anversa, Federico Arani and Leilei Wu. Indeed, the artists’ practices are linked by a tension towards hybridisation and contamination, condensed into leaning figures and environments that convey a strong yet elusive sensory dimension. These isomorphic resonances focus on sensual processes of deconstruction and crystallisation. A continuous material transfiguration that feeds layered and never linear narratives, often marked by a search for an ultra-temporal relationship with an organic, atavistic and obscure knowledge – understood as not immediately comprehensible or accessible. They celebrate an interweaving of meaning and value beyond simplistic dichotomies, approaching the principles of dark ecology and postnatural theories.

Ludovica Anversa explores the vulnerability and transformation of the body, painting figures that emerge and fade in a delicate dance between beauty, pain and tenderness. Her works suggest an ethereal and visceral reality in which the body is seen as a porous entity that challenges the boundaries between the perceived and the visible. Hovering between figuration and abstraction, Tender Rift (2025) and Bite Me, Tease Me, Forget Me (2025) lean towards each other, united by their very nature, permeable and destined to hold spectral echoes. Ethereal yet palpitating signals, imprinted in a membrane, now stretched to the point of extreme transparency that no longer separates the inside from the outside. These two glimpses are openings without direction, windows wide open to the darkness as well as glimpses through which light penetrates. Behind them, on the other side of the wall, rests the diptych Gloria No. 2 (2022), where, on the contrary, the haze thickens. But it allows a figurative detail to emerge, thinning the blanket just enough to offer the reverberation of an inaccessible narrative, imaginable through its own detritus. Underground, Bad Seeds #4 (2024) is the final track, dry but sensual, expressing the desire to narrate a presence through the partial erasure of its image. This investigation of transcorporeality is also central to the practice of Leilei Wu, who develops a hybrid sculptural language in constant renewal through the fusion of organic forms and synthetic materials. She subverts material and computational realities to the point of condensing their shadows into metaphysical impressions, the result of a highly speculative approach, questioning new technologies of production, reproduction and distribution, and emphasising the exploration of their relationship with ecology and mythology. SS03 No.1 (2025) and SS03 No.2 (2025) represent the fetishisation of new technologies, on the border between devotional celebration and reverential awe. They emerge from the other as divine entities independent of human will, offering enigmatic secretions that evoke amrita, the sacred nectar that gods and demons produce together to transcend mortality.In the second room is THS05 (2025), a vaguely anthropomorphic presence. As in the Anversa works, physicality manifests itself ambiguously here, beginning with a contracted, nervous posture that then stretches into a seductive curvature, inviting us to embrace its contradictory nature in order to go deeper. On the lower floor, THS02 (2024) presents itself as an empty throne, echoing the futuristic sanctity and relaxed posture of the earlier works, leaving one in a motionless state of unresolved waiting. Science fiction imagery links Wu’s work with that of Federico Arani, whose practice spans sculpture, painting and community projects, mixing influences from proto-science and evolutionary biology to create hybrid tools and images. His use of salvaged materials and archaic practices evokes a post-social and mysterious world, exploring themes of connection, corruption and the desire for lost knowledge. Untitled (Filter) (2025) represents the artist’s interest in the practice of juxtaposition, concealing its precious double and leading to the threshold by transforming it into a portal; along the same wall, Cuttlebone (2025) reveals the alchemical nature of the first work, revealing one of the uncontrollable and almost magical processes of enamelling and electroplating that recur in his work. Further down, Odradek Unit-09.2 (Radio Antenna Carrying Frame) (2025) adds complexity by embedding ceramics in a layering of craft, industrial archaeology and found objects. This wearable and speculative device relates to the existing in order to redefine it, activating the environment like a repeater to rethink its boundaries. The exhibition concludes with Study for dowsing (Ear) (2024), a site-specific installation that bathes the last room in a warm light, designed to cradle the small part of the alien body. If Odradek Unit-09.2 approaches Anversa’s works by using a disturbing presence to evoke invisible energies, Study for dowsing approaches Wu’s by using technology to invite listening to non-human presences; Each work is linked by a character of ambiguity and openness that is at times destabilising, claiming its own right to an opaque and permeable existence.

— Zoë De Luca Legge