UPCOMING ADA MARINO – NICO MINGOZZI

ADA MARINO –

NICO MINGOZZI

Opening: September 24, 2026, 6.30 PM

September 25 to November 7, 2026

Tuesday to Saturday, from 3 PM to 7 PM.

The show is part of Milano Centrale Festival

Curated by Glenda Cinquegrana and Rebecca Delmenico

Glenda Cinquegrana Art Consulting is pleased to present a two-person exhibition dedicated to Ada Marino (Naples, 1982) and Nico Mingozzi (Ferrara, 1976). Curated by Glenda Cinquegrana and Rebecca Delmenico, the exhibition is part of Milano Centrale Festival, curated by Chippendale Studio. Dedicated to Contemporary art, the festival will take place from 2 to 4 October and will bring together 30 artists, 13 curators and 16 exhibition venues across the area surrounding Milan’s Central Station, extending north-east towards the Naviglio della Martesana. With this show, the gallery launches a new series of paired two-person exhibitions, in which the dialogue between distinct artistic practices enriches the interpretation of each artist’s work.

Ada Marino’s practice encompasses photography and installation, transforming the photographic medium into a tool for psychological and anthropological investigation. As Delmenico observes, her images seek to construct a symbolic space in which memory, identity and the body become privileged sites for a reflection on the female condition. Marino creates carefully staged scenarios in which biography becomes critical material capable of addressing universal themes such as trauma, the intergenerational transmission of memory, patriarchal violence and the possibility of rebirth.

Through a photographic language that retains a rigorously theatrical structure, trauma is merely suggested through symbols, gestures, absences and compositional tensions. Her visual imagery remains constantly suspended between realism and visionary, surreal dimensions. For Marino’s first solo presentation in Milan, the gallery will exhibit a selection of works from the Pater Familias series, featuring images that embody the power of the Pater, alongside photographs from the New Moons series, characterized by a positive and hopeful outlook towards the future.

Nico Mingozzi’s practice, by contrast, questions photography as an instrument of preservation and memory, dismantling its apparent stability and identity. Using images collected from flea markets, Mingozzi transforms documentary material drawn from family archives, photographic albums and anonymous collections into a site of conflict. Through a process involving cuts, scratches, burns, sutures and reconstructions, he highlights the fragile nature of the image as a constructed representation, revealing its deterioration, loss and transformation into other, less immediately apparent meanings. The faces of his figures become surfaces onto which both a seemingly certain identity and a more uncertain one are projected—the latter shaped by our own projections and phantoms—in a process through which the familiar becomes uncanny. The physical dimension of Mingozzi’s practice lies in his intervention upon the photograph as a body, with the gesture

functioning as a means of exposing a wound, a rupture or a trauma embedded within the memory itself.