ANOMALYE NELLA STORIA

Santa Claus departs from the North Pole. The soundtrack follows his journey; basic piano arrangements of Christmas carols, then the sounds of flight, wind, distance, until the arrival in Milan, announced by the unmistakable sound of the tram "Gamba de Legn." The sleigh is built from two unupholstered sofa shells joined at the centre. It is not pulled by reindeer but by a procession of "Anomaly" poufs: headless, flesh-coloured animals advancing in single file through the fog. Trees, scattered gifts, displaced objects. Distracted by the beauty of the objects in the window, Santa crashes. The installation occupies the entire Moroso space as the scene of an aftermath: the overturned sleigh, the cargo spilled across the floor, the fog still settling.

The work begins with a commission and a contradiction. A figure who travels at impossible speed across time zones, who is immortal, who knows the desires of every child on earth - this figure is considered naïve, a story for those too young to know better. Yet other immortal figures who govern lives, wage wars, and create women from ribs are treated as articles of faith.

The installation does not resolve this contradiction. It simply places Santa Claus inside one of the most celebrated spaces of Italian design and lets him crash.

What follows the collision is not damage but something closer to infatuation, the moment in which a figure responsible for delivering the desires of others recognises, perhaps for the first time, that he too can be stopped by beauty.