In the polyphonic chaos of Till the cows come home, now staged at banquet in Milan, curator MASSIMO orchestrates a raucous, intimate, and searingly poetic confrontation with the post-now.
Anchored in a mood somewhere between speculative ruin and feral tenderness, the exhibition assembles works by Matteo Cremonesi, DemonLovers Inc., Bruno Muzzolini, Anita Pankoff, Giulio Scalisi, Marina Woisky, and Leilei Wu. These artists, disparate in medium but united in unease, meditate on the lived hallucination of our current ecological, social, and emotional climates.
The scenography evokes a collapsing domesticity—broken crockery, hair strands, the glint of beetles—suggesting that the home, once a symbol of safety, is now a porous site of loss and mutation. Through video, sculpture, installation, and text, the participating artists render a cartography of crisis: familial ghosts mingle with environmental trauma, and private griefs speak in chorus with planetary collapse. This is not dystopia as spectacle, but as texture: raw, intimate, and insistently plural.
What emerges is less a narrative and more a vibration. Repetition becomes a mode of resistance; ambiguity, a survival strategy. The fragments—"my blood, your blood, our blood"—function as both confession and contagion. MASSIMO’s curatorial hand does not attempt to resolve these dissonances. Instead, the exhibition becomes a slow-burn implosion of categories: human/animal, self/other, victim/perpetrator. If there is salvation here, it is in the act of staying with the trouble, together.
