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Alessandro Ceresoli

Francesca Minini

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Alessandro Ceresoli’s recent exhibition opened with a group of drawings that evoke the tradition of grotesque ceramics as much as that of grotesque drawing. These works, from 2009, combine images executed in black felt-tip pen and gold leaf with fragments of texts, all relating to a trip the artist made to Eritrea, which turned into a six-month stay in the capital, Asmara. The catalogue that accompanied the show also includes the story, dreamlike in part, yet not fictional, of the artist’s arrival in Asmara and his first impressions of the city. These are visionary and hallucinatory impressions that merge personal experience with the stories of the many Italians who lived in Asmara and interacted with the local population from 1880 to 1947, when Italy’s former colonial empire was officially dissolved.

The catalogue begins with a description of the city’s best-known structure, the

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