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What makes a poster truly effective?
Toulouse-Lautrec knew it fully well: a few colours, distinct lines, clear marks that can grab the attention of the busiest passer-by. However, even bounded by these many limitations, posters sometimes become true works of art, just like the peregrine’s stoop, limited by the rules of physics but free and foolish at the very same time. Most of all, a poster must be beautiful.
It is with utmost pleasure that we unveil the poster of the seventeenth edition of Concorto Film Festival: an “android” fluctuating donkey, epigone of Henri Fuseli’s nightmare horses, a creature between fantastic and verisimilar characterised by extra-terrestrial sight. All the more coherent for a film festival with the aim of discovering the unusual, the new, the uneasy, the unexpected. Concorto’s bestiary welcomes an oneiric, cerebral, ancestral and ultramodern creature, asymmetric and vital.
Our thanks therefore go to Silvia Idili, author of the donkey that will keep us company in this 2018 edition of Concorto Film Festival.
Silvia Idili was born in Cagliari in 1982 and moved to Milan in 2007 where she currently lives and works. “In all this time I think I have an idea of who I am, but I think that full knowledge about oneself arrives at the end of one’s existence, when the circle is closed… painting for me is a good way to learn more about myself: it’s my inner research”.
Silvia Idili was shortlisted in many contemporary art awards, including:
Premio Pio Alferano 2015
Premio Rugabella 2013 “Age of Aquarius” curated by Fabio Carnaghi
Premio Celeste, fabbrica Borroni, curated by Gianluca Marziani
Premio Banca Profilo, Museo della Permanente
Premio Italian Factory, Fabbrica del Vapore

Main solo and duo exhibitions:
Crossbuilding, Silvia Idili and Francesco Irnem, Glenda Cinquegrana Art Consulting, curated by Francesca Franco and Rachele Paradiso, Milan 2017;
L’arte di forzare i maestri, Galleria Moitre, Turin, 2016;
Visionaria, Crèdit Agricole in collaboration with Careof DOCVA curated by Chiara Agnello, Milan, 2012;
Altrove, Studio d’arte Cannaviello, Milan 2012.

Main collective exhibitions:
Senza titolo, works from the Collezione Mameli, curated by Antonello Cuccu, Irgoli, 2017;
Extravaganza/Ultralight. Eccentricità e leggerezza dalla Collezione della Banca di Sassari in memoria di Angelo Tilocca, curated by Davide Mariani,
Palazzo Ducale, Sala Duce, Sassari, 2016;
Notre avenir est dans l’air, Antiquarium Alda Levi, curated by Fabio Carnaghi, Milan, 2015;
Close-Up, Palazzo Collicola Arti Visive, curated by Gianluca Marziani, Spoleto, 2015;
Il reale non basta, Museo di Arte Contemporanea di Lissone, sala Gino Meloni, curated by Stefano Pellizzari, 2015;
Il buco dentro agli occhi o il punto dietro la testa, curated by Massimiliano Fabbri, Museo Civico Luigi Varoli, Fusignano, 2014;
Contemporaneo.Doc/DOCVA, Maxxi Base, curated by Giulia Ferracci e Carolina Italiano, Rome, 2010;
Il raccolto d’autunno continua a essere abbondante, Careof/Via Farini, Fabbrica del Vapore, curated by Milovan Farronato and Chiara Agnello, Milan, 2009.