04.10.2025 - 20.12.2025

Préludes o della forma in-attesa

Greta Ferretti, Olga Lepri e Sara Pacucci

Galleria Marignana Arte

Publication with text by Jonathan Molinari

Marignana Arte is pleased to announce the opening of the exhibition Préludes o della forma in-attesa, which will open to the public on Saturday 4 October 2025. The group show presents the work of three young artists – Greta Ferretti, Olga Lepri, and Sara Pacucci – who, through painting, explore the theme of waiting as a space for poetic and artistic reflection. All three artists, under the age of 30, studied at the Academy of Fine Arts in Venice. In music, Préludes are short pieces performed in an extemporaneous manner. In opera, they are
often played with the curtain closed, before the performance of the main work. The term derives from the Latin praeludere (prae– “before” and ludĕre “to practise, to play”) and, in a broader sense, means “to announce, to give a sign of what is to come.” The act of “playing” (with words, sounds, or colours) is therefore the moment that precedes and, in some way, generates the work that will emerge from it—as if in the prelude every possibility were still open, undefined, suspended, and, in a certain sense, awaiting. The paintings by Sara Pacucci, Greta Ferretti, and Olga Lepri exhibited in the show all investigate—each from her own original perspective—this “space of waiting” where dream and reality, vision and concealment, memory and presence blur and merge to make room for the arrival of the unforeseen. […] “Painting conceals and reveals,” Olga Lepri has said in an interview, “it is a system of layers and juxtapositions, of points of light and contrasts: it highlights the non-obviousness of reality. The uncertainty of the visible provides an opportunity to trigger the imaginative and interpretative activity of reality.”

“For Olga Lepri, whose works inhabit the third and final room of the exhibition, the prelude instead manifests itself as a condition of waiting and suspension that redefines the relationship between the human and the real. It is a time of the “not-yet” – as she herself has defined it – in which the viewer does not recei- ve a complete image but is called to confront uncertainty, compelled to imagine what has not yet been given. In this sense, the prelude becomes anticipation: not mere waiting, but an exercise in interpretation, omen and pre-vision, in which perception moves between premonition and the present. An attentive reader of Derrida, the artist reflects on how, in drawing and in writing, the hand precedes sight, relying on the memory of marks to open a passage towards the invisible: “the hand advances – Derrida wrote – it rushes forward, certainly, it launches itself, but this time in place of the head, as though to precede it, prepare it, protect it” (Jacques Derrida, Memoirs of the Blind: The Self-Portrait and Other Ruins, Paris, Réunion des Musées Nationaux, 1990, p. 12). In Olga Lepri’s works, the image thus sketches itself as a blind gesture. Works such as Battito (Slipaway), Applauso (Slipaway), and the diptych Ascesa / Caduta stage this temporality: bound to rhythm, to omen, to the ambiguous mobility of forms always oscillating between emergence and dissolution. “


Extract from the exhibition publication  with text by Jonathan Molinari

ph. Enrico Fiorese
"Ascesa (Slipaway)", 2025  |  Pittura ad olio su tela, su tavola | 
 97,6 x 70 cm