UNE AUTRE SCENE / NOT ALL FORMS ARE BOUND BY TIME

25.06.25 - 30.09.25


THEY TRAVEL THROUGH SPACE, EPOCHS SUSPENDED GENTLY WITHIN TIME, NEITHER FIXED IN THE PAST NOR ANCHORED TO THE PRESENT,
BUT RESONATING IN QUIET CONTINUITY.

THIS EXHIBITION REIMAGINES THE DECORATIVE ARTS THROUGH AN EXPANDED LENS OF THE 20TH CENTURY, SPANNING FROM 1899 TO 2011. IT OFFERS NOT A LINEAR CHRONOLOGY BUT A DIALOGUE—ONE THAT UNFOLDS ACROSS FORM AND GESTURE, CONTEXT AND NARRATIVE. THE WORKS ARE NOT ARRANGED BY ERA, BUT INSTEAD ENTER INTO A CONVERSATION THAT DEFIES HISTORICAL LOGIC.

SCENERS GALLERY PRESENTS UNE AUTRE SCÈNE: FROM THE REFINED ARABESQUES OF EUGENIO QUARTI TO THE PRIMAL ABRASIONS OF RYOJI KOIE; FROM THE ORNAMENTAL CLARITY OF GUGLIELMO ULRICH TO THE RADICAL SOFTNESS OF MARZIO CECCHI; FROM THE TAILORED AUSTERITY OF PAUL DUPRÉ-LAFON TO THE CONCEPTUAL PROVOCATIONS OF UGO LA PIETRA.

QUARTI, A LEADING FIGURE OF ITALIAN LIBERTY, CARVED FURNITURE WITH ORNAMENTAL RIGOR, WHERE GOTHIC RESTRAINT MET VENETIAN OPULENCE. RYOJI KOIE, WORKING IN POSTWAR JAPAN, DISTILLED RAW INSTINCT AND IMPERMANENCE. CECCHI, THE SENSUAL FUTURIST, BLURRED THE LINE BETWEEN STRUCTURE AND BODY, TURNING DESIGN INTO GESTURE—ALMOST LIKE SKIN. UGO LA PIETRA, BOTH THEORIST AND CRAFTSMAN, ENVISIONED FURNITURE AS CRITIQUE, RIGID GEOMETRIES VEILING SOCIAL COMMENTARY. LÉON JALLOT, AT THE DAWN OF ART DECO, BROUGHT GRACE TO UTILITY, SHOWING THAT FUNCTION ITSELF COULD CARRY POETIC WEIGHT.

AND IF FORM SEEMS TO DISSOLVE, CLOSER ATTENTION REVEALS ITS RESILIENCE. THESE PIECES ARE NOT NOSTALGIC RELICS NOR
ABSTRACT ESCAPES, BUT CREATIVE RESPONSES SHAPED BY THE CULTURAL, POLITICAL, AND SOCIAL TIDES OF THEIR TIME. PRESENTED IN
THE INTIMACY OF A COLLECTOR’S ROOM, THE INSTALLATION BREAKS WITH CONVENTION, OFFERING NOT A MERE DISPLAY OF PERIODS, BUT A LIVING NARRATIVE. THESE CONVERSATIONS FORM UNE AUTRE SCÈNE, SCENERS GALLERY.