LAURINA PAPERINA
Last Party on Planet Earth

Martina Corbetta_Via Milano, 98. Giussano (MB)
21.05.2025 – 30.09.2026

Last Party on Planet Earth stems from the urgency to confront and question the present, and at the same time from the need to imagine alternative worlds. In an era marked by global crises, environmental devastation, and a widespread lack of care for the planet, painting becomes for Laurina a space of imagination, resistance, and resilience. The exhibition brings together a body of work comprising six drawings on paper from the Beastiarium series, a post-it installation entitled DOG/GOD, two large-scale posters, the monumental triptych Inferno-Purgatorio-Paradiso, and a series of large paintings stemming from a personal cosmology.

In Beastiarium (Legendary Creatures), Laurina reinterprets the tradition of medieval bestiaries through creatures drawn from folklore and mythology. Using a documentary-like, ironic, and irreverent language, she transforms legendary and unverifiable beings into figures suspended between reality and imagination. The result is a new atlas of Laurina’s imaginary.

DOG/GOD consists of 162 hand-drawn post-its juxtaposing images of dogs and divine figures from different cultural universes. The post-it, an ephemeral and everyday object, becomes a contemporary holy card, bringing memory, devotion, and the imaginary into dialogue. Through the shift from DOG to GOD, the work playfully and irreverently reflects on the boundary between the sacred and the profane, and on the subjective nature of the divine.

Movie Posters comprises two original film posters (Incontri ravvicinati del terzo tipo and Poltergeist)  reinterpreted through the addition of aliens, monsters, and imaginary creatures. The poster becomes an open space where different figures and references meet and transform, creating a play of appropriation and contamination between cinema and pop culture.

The triptych Inferno-Purgatorio-Paradiso, the central work of the exhibition, reinterprets Dante’s Divina Commedia by bringing together folklore, the sacred, and contemporary imagery. Three suspended islands gather creatures and symbols from different eras and cultural universes. The work transforms the afterlife into an open universe, where the artist’s nonconformist spirit explores themes such as guilt and death.

Laurina positions herself as an archivist of the imaginary. Her practice develops through a process of accumulation, layering, and transformation, in which each element acquires new meanings and new narrative possibilities.