Allochories is the public sculpture presentation by Loris Cecchini. His work occupies a fertile space where the precision of scientific data meets the indeterminacy of poetic experience. To understand his monumental and public production, one must begin with the theoretical foundations of his practice: the module as a minimal unit of meaning, and as the atom of a constructive language in constant transformation. Allochories stems from the idea of a form arriving from elsewhere and, through the very act of landing, transforming the place that receives it. The exhibition reimagines the garden as a space historically shaped by measure, symmetry, and the control of living forms. Through modular sculptures, it introduces “allochronic” presences: artificial organisms that appear to take root in the space, following their own logics of propagation, adaptation, and growth. The concept of allochory, the biological process through which seeds, pollen, or organisms are dispersed elsewhere, offers a key to understanding the work not as an isolated object, but as a relational event. Here, the sculptures do not simply occupy the garden; they take root within it. They spread through the landscape like cells, branches, fluid structures, or suspended presences, activating a subtle dialogue with the geometry of the parterres, the rhythm of the pathways, and the living breath of the site. The series Arborexence, Waterbones and Sequential Interactions in Alfalfa Chorus translate the seriality of the module into a language that belongs neither entirely to architecture nor to nature. Their forms seem to emerge through processes of growth, drift and sedimentation, evoking biological structures, invisible systems and the movements of air and water. In this sense, Cecchini’s work functions as a sensitive form of dissemination, making perceptible what usually remains latent within space: the rhythm of time, the tension between order and mutation, and the porous boundary between artifice and the living. In Allochories, the garden becomes a hosting organism: a historical body that allows itself to be crossed by new presences, new relations, and new forms of attention. The presentation imagines landscape as a field of forces in constant transformation, where every form carries both rootedness and displacement, belonging and otherness, structure and dispersion. In this context, sculpture becomes a threshold: a material language that brings the invisible to the surface, gives form to states of transition, and poetically inhabits a sense of elsewhere. The artist explains, “In line with my research over recent years, I have concentrated on an idea of particulate sculpture with a strong organic matrix. It is a choice that allows me to act in a spatially eccentric manner relative to the architectural context, fostering a powerful relationship between the notion of structure and that of sculpture—that is, a more purely artistic intervention.”
Allochories, curated by Selcan Atilgan, co-curated by Valentino Catricalà and Daria Borisova