Mondi Lontanissimi 远望之地

叁拾空间将于2026年3月14日推出艺术家 Fiamma Camerlenghi（斐丫玛·卡梅琳吉）的首次个展“ Mondi Lontanissimi 远望之地 ”。展览由申玉亭策划，将持续至4月19日。

展名 Mondi Lontanissimi 取自意大利文化巨星 Franco Battiato 于 1985 年发行的同名专辑。 “Mondi”一词为“世界”的复数形式，意在召唤出如群星般分散、交错却又彼此牵引的历史与文化引文；“lontanissimi”作为“遥远”的最高级，则以其优美的音调，承托起一种兼具诗意与戏剧性的畅想。“极致遥远的诸世界”描述的是空间上的绝对边缘：距离远到足以松动现实的桎梏，从而通往某种精神栖居之所的可能。与之相对，中文展名“远望之地”则提示了一种更具主动性的观赏姿态，也呈现了一种艺术理想的期冀——如果能够协力将想象推至极限，借由目光的探索，或许就能共同建构跨越文化藩篱的梦景。

Fiamma 的创作广泛取材于不同文化土壤中丰饶而流动的资源：印度南部的传统舞戏“婆罗多舞”（Bharatanatyam）、欧洲现代芭蕾舞剧《牧神的午后》（L’après-midi d’un faune）和作为文化符号被反复重述的埃及艳后克利奥帕特拉（Cleopatra）……然而，Fiamma对这些经典的借用并不拘泥于考据式的复现，而是以更灵动的方式将其重新转化。在她精心构筑的“戏剧装置”中，这些经典形象与角色被重新安置于更简洁、更轻快的叙事之中。手工搭建的微型结构，以及略带稚拙感的服装与布景，显露出一种亲切的气息。

在循环往复的屏幕时间里，角色们持续演绎着来自不同时代与不同文化语境的剧目片段：都市情景、古典神话、宗教舞剧、流行恋曲……这些源自文学与历史叙事、并经由电视与电影不断加固的集体意象，被同时作为布景与形式材料并置重组，从而生成一种在熟悉与陌生、辨识与异化之间摆荡的张力：既诱发沉浸，又触发间离（Verfremdung）。在既有认知被轻轻松动之际，打开的是一种更宽阔、更富想象力的可能——这使那些看似早已定型的文化形象脱离被动接受的轨道，重新进入可被再度调度和发明的状态，获得“流行”的生命力。

Fiamma 的作品所激发的是一种更具普遍性的情感共鸣，那些由故事所唤起的神秘、优雅、抒情或滑稽，牵引着观者的感官。也正因此，进入展览不只是对文化语意的辨认，而更像是一次漫游。真实与演绎在此短暂交叠，视线摆荡在轻盈而愉悦的流动之中。沿着这些彼此映照、彼此渗透的形象、情绪与线索，作品将驱动着我们逐步接近一处处尚未定型、却始终向未知敞开的“远望之地”。

SENSE Gallery is pleased to present Mondi Lontanissimi, the first solo exhibition by artist Fiamma Camerlenghi, opening on March 14, 2026. Curated by Shen Yuting, the exhibition will remain on view through April 19.

The exhibition title, Mondi Lontanissimi, is borrowed from the 1985 album of the same name by the iconic Italian cultural figure Franco Battiato. The word mondi, the plural form of “world,” evokes historical and cultural references dispersed like constellations—scattered, intersecting, yet held in mutual tension. Lontanissimi, the superlative form of “distant,” carries with its lyrical sound a mode of imagination that is at once poetic and theatrical. “Extremely distant worlds” suggests an absolute spatial edge: a distance so vast that it may loosen the constraints of reality and open onto the possibility of a spiritual dwelling place. By contrast, the Chinese title, “Land of Far Vision”, points to a more active mode of spectatorship, while also expressing an aspiration toward an artistic ideal—namely, that by collectively pushing imagination to its furthest limits, and through the exploratory act of looking, we might together construct a dreamscape that transcends cultural boundaries.

Fiamma’s practice draws extensively from the abundant and fluid resources rooted in different cultural traditions: Bharatanatyam, the classical dance-drama of southern India; the European modern ballet L’après-midi d’un faune (Afternoon of a Faun); and Cleopatra, the Queen of Egypt, repeatedly retold as a cultural symbol. Yet Fiamma’s engagement with these classics is not bound to an antiquarian mode of reproduction. Instead, she reworks them in a more agile and animated manner. Within the carefully constructed “theatrical installations” she creates, these canonical figures and characters are relocated into narratives that are lighter, simpler, and more nimble. The handmade miniature structures, together with costumes and sets marked by a slightly naïve quality, give rise to a sense of intimacy and warmth.

Within the looping temporality of screen time, the characters repeatedly perform fragments of dramas drawn from different eras and cultural contexts: urban tableaux, classical myths, religious dance theatre, popular love songs… These collective images, originating in literary and historical narratives and continually reinforced through television and cinema, are juxtaposed and recomposed as both scenery and formal material, thereby generating a tension that oscillates between the familiar and the strange, recognition and estrangement: at once inviting immersion and triggering Verfremdung. As established ways of knowing are gently unsettled, what opens up is a broader and more imaginative horizon of possibility—one that releases those seemingly fixed cultural images from the circuit of passive reception, returning them to a state in which they may once again be rearranged and reinvented, and allowing them to recover the vital force of the “popular.”

What Fiamma’s works evoke is a more universal kind of emotional resonance: the mystery, elegance, lyricism, or playfulness stirred by these stories draws the viewer’s senses into their orbit. For this reason, to enter the exhibition is not merely to recognize cultural meanings, but rather to embark on a kind of drifting passage. Here, reality and enactment briefly overlap, and the gaze sways within a light, pleasurable flow. Following these mutually reflective and permeable images, moods, and narrative threads, the works lead us gradually toward a series of “lands of far vision” — places not yet fixed in form, yet always open to the unknown.