Un tout sans fin, 2025

Like imperceptible veils scattered throughout space, Andreoni's works establish elliptical, sometimes intricate links between architecture, history, and collective memory. These are oblique connections that reveal a latent chronological dimension—a time that is not openly declared on the visual level, yet contributes to orienting the overall balance.

Even where the formal structure appears sparse and essential, it is often a detail—an acoustic fragment, a fleeting allusion-what disrupts the plot and reveals the principle on which the entire narrative is based.

Indeed, in the internal evolution of the work, each layer of interpretation corresponds to a counterpoint that completes it, corrects its scope, or delicately undermines its coherence. In this sense, Andreoni behaves like a dowser, seeking sound, extracting it, shaping it as if it were plastic matter, until he develops a total aesthetic experience. This sensation is further reinforced by the adoption of an often site-responsive ap-proach, which feeds on the input offered by the context to seek a portal to further symbolic planes.

The installation Un tout sans fin (2025), conceived for the 18th Art Quadriennale, uses Claudia Cardinale's voice as the epicentre of an investigation into memory, the persistence of recollection, and the cinematic imagery linked to Cinecittà. Recorded live at the age of 86, while singing the ballad Sinnò me moro-composed by Carlo Rustichelli for the film The Facts of Murder (1959)—the actress restores painful, irregular intensity to the melody, like the echo of a distant time that brutally marches on in spite of everything. The sample comes from the water contained in a travertine baptismal font from the Marche region—a solid, octagonal body, whose form and content immediately evoke an idea of infinity and cyclicality. Inside, partially submerged, a small bronze sculpture that belonged to the actress introduces a further, more intimate layer of interpretation. Everything holds together, but not explicitly-clarity is not the goal. If anything, it is listening that suggests a labyrinthine game, a system of references, in which each element is attuned to a return, never identical, never definitive.

Text by Giorgia Achilarre

video documentation (coming soon)