
Giulia Cenci
In his 1922 poem “The Waste Land,” T. S. Eliot describes an acute aridity: “Here is no water but only rock / Rock and no water and the sandy road.” Giulia Cenci channels this concurrence of dryness and death in an installation that takes its title from another Eliot reference: dry salvages, 2023. The central installation comprises various sculptural assemblages in a syncopated spread throughout a large garagelike space that gives the scene the semblance of an abattoir. Each structure deploys variations of similar elements—reclaimed shower cabins, animal mannequins, a sculpted human head, the