What is more human than the fragility applied to the uncertainty of the present, the lack of shared security? In these years the artistic creations that approach the lack of solidity, given by the fear of a future that has changed due to the economic crisis, multiply. We often surround ourselves with objects that show the world our mental state, our sensations; this happens above all for artists, who know how to convey emotions into something physically visible for everyone. At this point the material becomes decisive, it is the true manifestation of fragility.
Paper, fabric, thread, video, natural elements that will disappear in a short time; all this is transformed into a disturbing manifestation of the limit of the object which, as the title of the Viola Invernizzi exhibition well summarized, “is fragile to the eyes”, because its delicacy appears immediately to the eye. Like the sensations that we experience and that in a short time change and are lost, sometimes forever, often for a limited time that we do not know. Fragility is a protagonist of the beginning of the Millennium. (Alessio Moitre)

The 5 di Cinque exhibition was organized by the Moitre Gallery with the aim of presenting the research of five emerging artists, all born shortly before or shortly after 1989, the year of publication of the famous Due di Due, the Bildungsroman of Andrea De Carlo from which the title was inspired.
If the young age unites all the artists, they are distinguished by the expressive means used: the installation.
The variety of means used offers a wide panorama through which it is possible to compare different ways of conceiving artistic experimentation and contemporaneity.

“I started photographing the Nina’s Drag Queen in November 2009 and I can’t stop anymore” recalls Valentina Bianchi, “the moment of preparation before the Show is incredible, difficult to explain in words. Difficult, and perhaps useless, to explain in words the metamorphosis that leads to the creation of a drag queen, a transformation that is first of all visual ”. This is why Bianchi immersed herself in the life of the school, focusing precisely on the intermediate stages of this transformation: make-up, dressing, rehearsals. However, the construction work of the drag queen character is not only aesthetic: the aim is in fact to find a new identity that does not deny the starting one, but rather becomes its most honest and faithful affirmation, as in the famous phrase of Almodóvar . The adepts seem to know well that the character they will have to play is actually already present, and any other trick or disguise will only be a means to make it visible; for this reason they are not afraid to show themselves in the preparation phase, they offer themselves proudly to the gaze of the camera.