THE PAINTING GAME. Paola Masino’s collection of painted playing cards @ MAG Palazzo Bufalini
Dec 8 2017 – Apr 2 2018 all-day
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MetaMorfosi Art Gallery Cultural Association presents:
7 December/2 April – MAG Palazzo Bufalini, Piazza Duomo – by MetaMorfosi Art Gallery Cultural Association
Opening:  Thursday December 7 h. 12.00

The exhibition will bring to Palazzo Bufalini an extraordinary collection of painted cards coming from the Museum of Rome in Palazzo Braschi.

Conceived by Paola Masino, an unconventional writer and intellectual, the collection was created with the intention of considering playing cards as a work of art, reinvented according to the creativity of her many artistic friends. Carried out with patience and tenacity for four decades, Paola Masino’s project produces a very original bouquet of French, Neapolitan and tarot playing cards, created by the best interpreters of twentieth century art.

From Carla Accardi to Alberto Burri and Consagra; from Carlo Carrà to Campigli and Capogrossi, passing through Cagli, Carlo Levi, Renato Guttuso, Prampolini, Fausto Pirandello, Giosetta Fioroni, Antonietta Raphael Mafai, Pietro Dorazio, Mario Sironi – just to name a few – many important artists took up her invitation, creating these small works of art.

The exhibition The Painting Game. Paola Masino’s collection of painted playing cards, curated by Marinella Mascia Galateria and Patrizia Masini, is organized by MetaMorfosi, thanks to the precious collaboration with Roma Capitale, Department of Cultural Growth – Capitoline Superintendence for Cultural Heritage with the Archive of the twentieth century of Sapienza University of Rome and under the patronage of the Municipality of Spoleto and the City of Rome.

EXCERPTA – Enrico Corte and Andrea Nurcis @ Palazzo Collicola
Dec 16 2017 – Mar 18 2018 all-day

EXCERPTA is the widest, most articulated exhibition ever by Enrico Corte and Andrea Nurcis, two artists considered to be among the most unclassifiable, experimental and visionary among the Italian contemporary artistic panorama.

It is the very first time that both the Piano Nobile and the Exhibitions’ Floor at Palazzo Collicola are used together for a single exhibitions that intertwines languages, themes, concepts and narrative forms.

The exhibition features two anthological, individual routes and a good number of works signed together, a usual exhibition pattern of the two artists.

Opening: 16 December at 11.30

Urban Trekking and Thematic Guided Tours – April 2018 @ Spoleto
Apr 1 – Apr 29 all-day

Urban Trekking and Thematic Guided Tours
APRIL 2018


The Spoletium urban trekking, scheduled for Sunday, April 29 at 11.30 has been replaced with the guided thematic visit Spoleto’s Roman House:

Sunday 29 April at 11.30 a.m.
Spoleto’s Roman House _ Guided visit to the Roman domus of Spoleto
Meeting point: Roman House – Ticket office – Via Visiale

A new visit has been scheduled for Monday, April 30, 2018:

Monday 30 April 2018 _ at 16.30
A Noble Walk _ Guided Visit to Palazzo Collicola Arti Visive’s Piano Nobile
Meeting point: Palazzo Collicola Arti Visive – Ticket office
Free of charge for Spoleto Card holders (for non Spoleto Card holders € 3.00 per person)

Information and reservation: Soc. Coop. Sistema Museo – Piazza Collicola – Tel. 0743 46434 – 0743 224952 – e-mail:

Information: IAT di Spoleto – Tel. 0743 218620

Further info on

(Italiano) AEROPORTO DI SPOLETO. Nuove rotte artistiche con libera destinazione @ Palazzo Collicola Arti Visive
Apr 7 – Jun 3 all-day
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(Italiano) ARTquake @ Palazzo Collicola
Apr 7 – May 27 all-day
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On foot on the old Rome-Loreto way – Stage 6: Silvignano – Eggi @ Stazione FS Spoleto
Apr 22 @ 08:15
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Among the activities planned for the recovery of the old footpath from Rome to Loreto, that dates to the Middle Ages, the Spoleto CAI section proposes a hike from Silvignano to Eggi along the Via della Spina and the Sentiero degli Ulivi (Olive Groves’ Trail).

In the afternoon it will be possible to visit the churches in Eggi with professor Romano Cardella.

Length 9 Km – rise 290 m – descent 560 m – time 4,30 h ca
Medium difficulty – max height above sea level 620 m –  minimum height above sea level 320 m

– 8.15 Meeting at the Spoleto railway station (please be punctual)
– 8.30 shuttle bus leaves toward Silvignano
– 9.15 hike starts from Silvignano toward S.Maria di Reggiano – Bazzano Superiore – Bazzano Inferiore
– 13.45 ca. arrival at Eggi
Participants will have lunch at Eggi and will have a dedicated menu for € 15,00 (to be payed in advance at the Spoleto Tourist Office at the moment of registration – Ufficio Turistico di Spoleto – largo Ferrer, 6 – tel.0743-218620 –
-17.00 shuttle bus returns to Spoleto

Bad weather won’t prevent the hike from taking place. Hiking shoes are compulsory, hiking clothing (anti-rain) is advised.

Info and reservation: Ufficio Informazioni e Accoglienza Turistica di Spoleto largo Ferrer, 6 – tel.0743-218620 –

SUPERUTOPIAS – Toyscapes by Anna la Touche Riciputo and (H)eart(H)quake by Coletivo Barragem – Exhibition and videoperformance @ Casa dell’Architettura Spoleto – Palazzo Collicola Arti Visive Spoleto
Apr 28 – Jul 15 all-day
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Spoleto House of Architecture– Palazzo Collicola Visual Arts 
28 April 2018, h 17 – 15 July 2018
Fridays-Saturdays-Sundays 10.30-13.00 / 15.30-19.00
Opening: 28 April at 17.00

The Spoleto House of Architecture presents the exhibition LE SUPERUTOPIE toyscapes at Palazzo Collicola Visual Arts, featuring works by Anna Riciputo and the video performance (H)EART((H)QUAKE by Coletivo Barragem (Nivaldo Godoy and Panais Bouki).

Le Superutopie by Anna la Touche Riciputo are a synthesis of a way of looking at the built space through the Toyscapes, toy-landscapes that take shape of landscapes-borders of the utopian subconscious composed by fragments of architecture, art and costumes.

Astounding pop scenarios that are the result of a precise, formal analysis: the architect gathers the richness of the urban landscape, selects the city’s icons, pivots of history, and recomposes them in a contemporary stratigraphy.
The stratigrapy thus assumes the double meaning of a replacement of the work in a new landscape, and of direct, momentous fusion where parts of contemporary architecture blend with fragments of historical architectures.
The video performance (H)EART((H)quake by Coletivo Barragem (Nivaldo Godoy and Panais Bouki), picks up Anna Riciputo’s pop heritage and mixes the authors’ point of view on Spoleto in video sequences, recomposing the historical signs of the city mixed with Festival-Of-Two-World’s icons, all-the -while letting the post-earthquake temporary facilities surface.

The exhibition will be introduced with the catalogue published by ADD-art Edizioni, featuring collaborations bycoordinator of Casa dell’Architettura, architect Fabio Fabiani, director of Palazzo Collicola Arti Visive Spoleto, Gianluca Marziani, Addart curator Alessia Vergari, journalist Andrea Tomasini and the very illustrious architect Adolfo Natalini.

fb OFARCH Officina d’Architettura

SPOLETO A COLORI 2018 @ Spoleto
Apr 29 – May 1 all-day
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Spoleto a Colori returns from 29 April to 1 May 2018, with a schedule of events for all ages.

Aperitive  from 18:00 to 21:00
by the Chiostro di San Nicolò, live music and dj

Streetart, then Metamorphosis.
• Workshop “Mettiamoci all’OPERA… Creando” from 16:00 to 20:00 in Piazza Pianciani
• Inflatables, Auditorium della Stella from 15.30
• Street artists from 15:30 (Corso Garibaldi, Piazzetta dell’Erba, Via Portafuga, Torre dell’Olio, Via Salaria, Via Minervio, Piazza del Mercato)
• Mega Baloon Show from 23.00 in Piazza del Mercato
• “METAMORPHOSIS: between history and technology” from 23:30 to 03:00 at the “Rocca Albornoziana” featuring Radio 105’s “LO ZOO” .

• CREAttività presents “L’Isola che non c’è” at the public gardens in Viale Trento e Trieste: workshops for children aged 0-99.
• COLORbaby from 15:00 to 18:30 with many attractions for the youngest (animation, inflatables, street artists, sport, pony, agility dog)
• COLORmob: the first event in Italy featuring color powder, to have a great time with friends and family.
Starts at 18:00 until 20:30 at the “Ex ferrovia Spoleto-Norcia” parking lot.

All info on

(Italiano) Visite guidate tematiche e Trekking tour – Maggio 2018
May 1 – May 27 all-day

Sorry, this entry is only available in Italiano.

(Italiano) Mezz’ora dopo la chiusura – Nobili dimore. I palazzi gentilizi a Spoleto @ Palazzo Collicola e Arti visive
May 4 @ 19:30
(Italiano) Canapa nera. Guardavo le macerie e immaginavo il futuro @ Rocca Albornoz -Museo Nazionale del Ducato
May 12 – Jul 15 all-day
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Sorry, this entry is only available in Italiano.

(Italiano) Mezz’ora dopo la chiusura – ARTquake. Samuel ha un anno, quasi due @ Palazzo Collicola e Arti Visive
May 25 @ 19:30
VIVI LA VIA – Excursions on the St. Francis Way @ Spoleto - Monteluco
May 27 all-day
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The Municipality of Spoleto, in collaboration with Consorzio Francesco’s Ways, join the event VIVI LA VIA, which will take place along the Via di Francesco / St. Francis Way on 25, 26 and 27 May.

The event aims at giving value to the culture of walking and pilgrimage, with due regard for those who choose to embark on the journey, in harmony with the environment and the territory, and thanks to the active involvement of associations and local communities who live along the way.

Sunday, May 27, in Spoleto, you can participate in 3 different types of routes, to be faced on foot (in collaboration with the CAI Spoleto), by mountain bike (in collaboration with MTB Club) and horseback (in collaboration with Natura a Cavallo, Horse Centre Somma and Spoleto Country Club).

The event will be a special opportunity to discover the St. Francis Way and the places linked to the Saint in the stretch of the route on Spoleto’s territory, but will also offer musical and gastronomic events.

Participation is free of charge upon reservation.

Walking Itinerary
We will follow with possible variations the CAI ring path n. 1 that, starting from the Basilica of San Pietro and passing by the Church of San Giuliano, reaches Monteluco along the west side of the mountain. Return to Spoleto along the so-called “corta” (shortcut).
Altitude difference: about 500 m.

Mountain bike Itinerary
We will start from the Basilica of San Pietro and, after the Church of San Giuliano, we will reach the path for the Sasso Forato and we will reach Monteluco after passing through the hamlet of Le Aie. Return to Spoleto through Hotel del Matto, Valcieca and Giro dei Condotti.
Altitude difference: about 600 m.

Itinerary on horseback
From the SS Flaminia, South of Spoleto, we will take the Strada dei Patricani, CAI path n. 6, pass through the hamlet of I Camini and then reach Monteluco. Return to Spoleto along the “corta” (shortcut).
Altitude difference: about 500 m.


8.30         Gathering of participants at Piazzale Roma (Spoleto SUD exit)
9.00         Departure for Monteluco
12.00       Arrival in Monteluco
Medieval music with the Aegletes

13.00       Snack* or Lunch**
Possibility of guided tours of the Convent of St Francis accompanied by the friars
16.00       Departure for Spoleto

Snack: cured meat and cheese or sandwiches by Piero Quaglietti ‘s Chioschetto (variable price)
Lunch: full meal by Ferretti and Paradiso restaurants (€ 15, limited places, upon reservation).

Booking required before 18.00 on Saturday 26 May

We recommend technical clothing and a minimum of athletic preparation.

For info and reservations:

Itineraries on foot and in mtb
Tel 0743 218620

Itinerary on horseback
Sergio Parmegiani Palmieri
Tel 335 6041439

(Italiano) Visite guidate tematiche e Trekking tour – Giugno 2018
Jun 1 – Jun 29 all-day
ANDREA PACANOWSKI All’infuori di me – Exhibition @ Palazzo Collicola Arti Visive
Jun 30 – Oct 7 all-day
<!--:it-->ANDREA PACANOWSKI  All’infuori di me - Mostra<!--:--><!--:en-->ANDREA PACANOWSKI  All’infuori di me - Exhibition<!--:--> @ Palazzo Collicola Arti Visive | Spoleto | Umbria | Italia

The opening of Andrea Pacanowski’s exhibition, will take place on SATURDAY 30 JUNE at 12.00 at Palazzo Collicola Visual Arts. The exhibition is curated by Gianluca Marziani and included in the Festival Of Two Worlds’ official programme.

The Press Conference will be at 11.00 at the Piano Nobile’s gallery.

Who has not tried, at least once, a puzzle of hundreds of pieces? You will remember the images that usually make up the mosaic: long field landscapes and panoramic visions are generally the winners, with a higher share for unspoiled natures, cultural spots and human crowds. The puzzle inadvertently encloses the sense of today’s image: the disintegration of an order to be reassembled looks like the transitions between analog and digital, the transfers between device and print, the links between high and low definition… the analogical nature of the puzzle touches the close-up and depths of field, the tonal stirrups between areas of color, up to integrating the glitch (the error of position of the dowel) as a further exploratory possibility.

Andrea Pacanowski brings to Spoleto fifteen photographic works. All’infuori di me (Outside Of Me) gathers human masses, bodies in military order, people in uniform, ritual groups. They are collective patterns that come, in particular, from the religious assembly outside, from the places of aggregation of the most widespread monotheistic cults. The photos enclose pieces of humanity in a geographical frame that plays with pictorial abstraction and iconography of the web, creating an aesthetic short circuit of high workmanship, maintaining the purity of analog as a camouflage potential (simulating digital techniques through analog talent is a key step in contemporary photography). Those bodies concern the anxieties of our time, the boundaries of freedom, the need for spiritual guidance, the search for sharing, themes by the historical importance and political significance which are central in such a narcissistic era, narrated by Pacanowski with aesthetic ability and conceptual intelligence.

A photograph with a pictorial result, modulated by rhythms and grids, where colour becomes plastic structure, where rhythm compresses the internal dynamism of the image. Through the optical ambiguity of the puzzle, Pacanowski challenges the audience to the mobile vision back and forth, to define the focus, to dissolve the retinal ambiguities that the images contain. The works are photographic puzzles that break a number of certainties on the uses and abuses of digital. According to the author, each shot is a unique journey by the analogical sense, a slow immersion that requires technical knowledge, invention, the overturning of apparently immobile rules. The final image is the result of shots, combinations, stage lights and other tricks that Pacanowsky has refined in the context of Fashion, his original profession, a space of technical growth but also of robotic, emotionless perfectionism. Pacanowski felt the limit of the set and post-production, of digital as a glossy dictatorship: here he challanges the electronic staging, preferring the slow codes of an interior habitus, where the photographed skin turns into a complex geography where colours and tonalities define the invisible, where scratches and signs amplify the iconographic energy. His actions are sound trails that map out sinuous harmonies, localize details, expand emotional signals behind a body. Photography here takes the slow rhythm of the brush, revealing a metaphysical quality that leads us into a mysterious, ascetic, fatally spiritual ritual.
The Spoleto exhibition thus enters into the heart of the monotheistic cults: Christianity, Judaism, Islam. A photographic journey that tells the spontaneous methods of the great gatherings, according to an approach that captures the gravitational balances, the chromatic scales, the syncretic rhythms, the collective harmonies. An analysis to show the ethical value of each religion, the possible coexistence of diversity, the importance of dialogue as a cornerstone of a universal refounding. Pacanowski’s photography reaffirms all this, and does so with an aesthetic energy that breaks the judgment, cancelling the terms of superiority and inferiority, the dangerous personalisms, the extremist obsessions. Here we speak of harmony and freedom, of men and women who walk on the same planet, breathing the same oxygen, pursuing the same dreams, in search of that indestructible thing that everywhere is called Love.

It is photography that takes up its analogic essence, but with the best that printing and media can offer. It is not a return to the origins but the origin of a possible continuity, it is the resistance of the human factor that orchestrates fragments of universal beauty. A beauty that speaks to us of religions and syncretism, that enters the warm heart of the planet through a door of liberation of contents. Andrea Pacanowski invites us inside his rhythmic weavings, inside the multiplications of every single diversity, inside the chromatic noise of a vision that involves each of us. Because, as the title says, outside of me there are always all the others.

The exhibition ends on Sunday 7 October 2018
Palazzo Collicola:
Sistema Museo:

EUGENE LEMAY Ghost Witness Shadow – Exhibition @ Palazzo Collicola Arti Visive
Jun 30 – Oct 7 all-day
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curated by Gianluca Marziani

The opening of EUGENE LEMAY exhibition, is scheduled for SATURDAY 30 JUNE at 12:00 in Palazzo Collicola Visual Arts, Spoleto. The exhibition is curated by Gianluca Marziani and included in the Festival of Two Worlds’ official programme.

The Press Conference is scheduled for 11:00 at the Piano Nobile.

The Piano Nobile at Palazzo Collicola Arti Visive opens its 18th-century wings to host a new artist’s project, designed in a “sartorial” way on the domestic model of the rooms. The approach with Eugene Lemay follows the usual rules of a soft, inclusive insertion, re-created with camouflage ways that blend into the ancient without substantial changes.

Integration is the right word to capture the embrace between the nature of a noble apartment and the electrical energy of a contemporary artist. On the one hand the opulent splendour of the place, on the other the metaphorical power of Lemay, his social criticism, the monolithic harshness of the works. The apparent contrast is thus transformed into a fluid integration: now the never-aggressive fullness of the place, now the expressive essence of an art that attacks the eye, loading the rooms with an invisible, yet dense magnetism.

American Eugene Lemay (1960, Grand Rapids, MI) returns to Italy after his personal exhibition in Rome at the MACRO Mattatoio (curated by Micol Di Veroli, February – April 2015). Dimensions of Dialogue was the title of that exhibition, a phrase that well encapsulates Lemay’s ethical conscience, the political and militant nature of his work. The works at Palazzo Collicola are the stations of a journey in the pain of war, in the hypocrisy of politics, in the phobia and terror that blinds, in the wounds of the flesh and those of the heart. The American artist knows the noise of bombs, the screech of lethal weapons, the smell of pouring blood. At age 13 he moved from Michigan to Israel, passing his adolescence in a kibbutz, then becoming a voluntary soldier who took up arms and fought for Israel. A very hard experience that marked his life as an American Jew, shaping his talent as if it were a storm that shapes a mountain. There are normal lives that sometimes create extraordinary tales. And then there are extraordinary lives, without safe harbors, that are sublimated in universal works, destined for the Esperanto of the eye, to the collective dimension of natural values. Eugene Lemay enters the extraordinary of a nomadic existence, culturally fertile, impressive for its events and consequences. A life inside life, so involving that it becomes an artistic thrust, so as to produce consequences in the form of works and visual messages.

Gianluca Marziani: “I am struck by the double soul of some of the works, the ability they have to mould themselves on the individual habitats. When I saw the installations in the gigantic studio in New Jersey, I thought they breathed in silence, in a neutral environment that accepted them without conflict. Once set up in Spoleto, something completely changed in them, now they began a phase of faster breathing, as if they felt an anomalous place and tried to adapt to a habitat full of memories …”.

Phantoms, witnesses, shadows… it is them who guide us ideally along the stations of the Piano Nobile, we feel them inside the paintings, beyond the frames, among the false bombs of an installation, inside the pictorial impasto, in the monochrome backgrounds of the surfaces… Lemay crosses the evil of humanity with the metaphorical pace of art, avoiding the blackmail of realism, preferring the suspended pace of allegorical rites, of archetypal figures, of the dissolving black, of the clouding grey. Through digital elaboration and manual execution, bodies and faces are recreated that seem to have been born from plasticine, wool, steam, snow, cream… they are shadows of flesh, solid ghosts, silent witnesses of the evil suffered… Arctic and nebulous bodies, similar to white bears that embrace, bend, suffer, fall, stand up… Bodies of soldiers that could become everything we would have liked them to be… Bodies that are philosophical archetypes between Plato and Nietzsche, sometimes black like shadows in the darkness of the cave, like soldiers under a starless sky… Bodies that embody pain and the desire for rebirth, divided between a necessary evil and an even more necessary good… bodies that are ghosts on their way through the world, slow but elephantine in the heavy pace that tramples on wounded lands… bodies that seem solid shadows, eyewitnesses of collective pain… bodies that seek the light of the night, the stars of the day, the distant horizon of the events.

Gianluca Marziani: “Godot arrived among us together with the silent witnesses of Lemay. Samuel Beckett’s mysterious figure arrives among the living, blurs into the crowd of ghosts and mute shadows. He doesn’t introduce himself to anyone but we understand that he is Godot, archetype among the archetypes, witness and judge who guides humans to the edge of the abyss, stopping just before the fall. In front of the emptiness he sums up the evil in an instant, caressing the suffering Earth, asking ourselves which side we want to go to… Because evil has reached its peak and beyond that peak the black hole begins, the antimatter of existence, the end of the last Endgame. Godot accompanies us on the abyss and lets us look at the infinite emptiness but also at the light behind our backs, at the possibility of a new journey, of a plausible rebirth. The choice between the black hole and the light, between a long farewell and a long love is up to all of us…”

The exhibition ends on Sunday 7 October 2018
Palazzo Collicola:
Sistema Museo:

GIORGIO ORTONA – F.I.C.O. Feticci Individui Case Oggetti – Exhibition @ Palazzo Collicola Arti Visive
Jun 30 – Oct 7 all-day
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The opening of Giorgio Ortona’s exhibition, will take place on SATURDAY 30 JUNE at 12.00 at Palazzo Collicola Visual Arts. The exhibition is curated by Gianluca Marziani and included in the Festival Of Two Worlds’ official programme.

The Press Conference will be at 11.00 at the Piano Nobile’s gallery.

The exhibition is organized in collaboration with Settantasette Gallery (Milan).

Rome. Pigneto. Via Braccio da Montone: a low building is in front of us, whose first floor is Giorgio Ortona’s studio, in a district that stigmatizes the merits and faults of a complex city, fabulous in evidences but decadent in attitude; a metropolis that here at the Pigneto weaves mixed building with creativity, a multi-ethnic knot with a nightlife, proletariat and technological tertiary of the new generation. From here, between Casilina and Prenestina, an author’s gaze with a drone’s philosophy scans open-field heights offering a concentric and lenticular vision of a building speculative, commercial, dissonant, populous modern Rome…

Giorgio Ortona paints not only what he sees but what his eyes smell, what his ears taste, what his mouth hears… an apparent contradiction of the senses, a true mirror of a brush that resolves the semantic contrast inside itself: a dirty yet surgical painting, swarming but dry, realistic and mental at the same time. It is a painting of healed contrasts, where the same frame of raw wood, while imitating the building site pallet, is turned into a spacer with perfect calibration. A contradiction that is also resolved in the depths: you can glimpse lines, numbers and notches that reveal the architectural nature of the table, as if the background were the cellulose on which the author designs the visions. Here the soul of an architect comes out, his past at university and his mental disposition; the angle of view that emerges certifies an imprinting but also its short-circuit, thanks to a language, painting, that redefines the deep feeling of architecture.

Painting is the habitable architecture of interior spaces

Giorgio Ortona’s Rome becomes a matrix and a genetic code, a figurative genome that crosses multiple places of the 20th century. Don’t think, however, of the usual unmade suburban capital; here, on the contrary, the beautiful social housing of the 1960s is told, some Umbertine façades between Esquiline and Colle Oppio, some residential masterpieces in Prati and San Giovanni, many monolithic buildings that fit well into the urban context, often among snake-like bypasses, elevated roads, connections and strips of asphalt. Ortona maps the Capitoline city between roofs and antennas, balconies and public greenery, creates geographies of reinforced concrete, enhances the building site with the equipment of scaffolding and cranes soaring … one could say: for some time Rome was not so “Roman” in a picture; it should be added: a Rome so meticulous as to become universal, archetype of any place grown up for crossbreeds, cultural exchanges, collective energy, political power and economic investment.

Ortona’s Rome is also the city of beloved faces, of similar bodies, of sensitive objects that capture his emotional trust. It is a world of living affections and sensations, a watchful bond with the prose of everyday life: the city outside, people and objects in apartments, on terraces, in front of a door, inside a shop, standing on the street, wherever the body, a food or an object are biological integrations of the pulsating city. The self-portrait itself, now exhibited with some variations, involves t-shirts or vests that the author, having died out in the white paint, wore at the time of the photo, thus offering us a portrait by absences, by urban evocations, by background noises.

Ortona’s urban imaginary is born from above, through Google Earth’s panoramic images. Hence the creation of a pictorial grid in which realism joins the erasures of colour, the evoked absences, the sudden fades. Areas that did not deserve a celebration, that clashed in context, that polluted the architectural eye of Ortona, they just disappeared. Merely apparent absences that turn into bands of color, recalling Nicolas De Staël and Alberto Burri, electrifying the painting with abstract volumes, so plastic as to merge with the real city.

The paintings will be accompanied by Storie di Pittura (Stories of Painting), a video that tells the artist’s life and work. An appendix that summarizes the narrative of a unique journey in the city that does not sleep, in the neighborhoods with high human temperatures, in the private worlds of an artist who architect, day by day, his inner rooms. The video was realized by Sintesi Visiva.

A passer-by through the Pigneto would say: “how cool this picture by Ortona…”

F.I.C.O. ovvero, Feticci Individui Case Oggetti

The exhibition ends on Sunday 7 October 2018
Palazzo Collicola:
Sistema Museo:

GIUSEPPE PULVIRENTI Trademark SP – Exhibition @ Palazzo Collicola Arti Visive
Jun 30 – Jul 29 all-day
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Saturday 30th June, at 12:00, sees the opening of Trademark SP, an exhibition by Giuseppe Pulvirenti, curated by Gianluca Marziani, at Palazzo Collicola Arti Visive in Spoleto.

The exhibition is part of the official programme of the Spoleto Festival dei Due Mondi.

Achille Bonito Oliva: “If sculpture is a genre that seeks forgiveness, Giuseppe Pulvirenti achieves the aim: he avoids encumbrance and exalts his ingress into the realm of Form. Cleansed of any celebratory intent or any purely descriptive representations of a functional reality, the work of art is, instead, elevated to the role of dematerialized Space and entrusted to the temporal dimension of contemplation and reflection.

As Gianluca Marziani, the exhibition’s curator, writes, “Giuseppe Pulvirenti compresses the deep mystery of sculpture into his concise and wordless volumes. He eliminates all ornament in order to focus his intervention on the inner bones of the sculptural world and on the alchemic limbo that lies between Piero della Francesca’s egg and Kubrick’s monolith. These are sculptures as activators of meaning, sculptures that become inaccessible little strong boxes, vertebrae-like pieces of compacted material on the surface of which no openings appear.

Pulvirenti guides the viewer towards a form of pure reflection, underlining the degree to which all shapes – even the most mysterious – are innate in the human mind. The artist’s task is to drag them from the depths and make of them iconic facts, lingering to consider the ambiguity of volumes, the allusive potential of the object/sculpture – to which his choice of almost always enigmatic titles contributes. This is an art that assumes metaphysical functions in order to explore the mystery of archetypical and universal forms.

At Palazzo Collicola Arti Visive, Pulvirenti will be exhibiting two works in bronze and one in plaster. The two bronze sculptures, “Cruna Quadra” [square crest] and “Cruna Tonda” [round crest], both from 2018, will each stand on and against the floor and the wall, creating a physical sensation of transience. Both sculptures are signed, very evidently, with the artist’s initials – GP – and the year in which they were made, as was also the case with the works in his previous Trademark series, shown in March 2018 at the Galleria Valentina Bonomo in Rome. Here, too, Pulvirenti plays with the idea of objects produced in series, imprint the bronze with letters and numbers that distract from the their purely aesthetic appeal.

The exhibition is being presented in the room dedicated to Alexander Calder, the sculptor who, here in Spoleto, created “Teodelapio”, the 18-metre-high oneiric masterpiece that has stood in front of the station since 1962. Echoing Calder’s sculpture, Pulvirenti’s work in plaster, “Senza titolo” [untitled], again from 2018, will stand on the floor, just like the American artist’s famed Stabiles. A silent dialogue that offers a radiant homage to Calder’s surreal vertiginousness, his geometrical dilemmas, his short-circuiting of space and the notion of a reconstructed beauty.

What was previously Trademark, here becomes TRADEMARK SP, the two additional letters referring to the city of Spoleto and to the artist’s initials, GP: the “logo” for his mysterious alchemies in sculptural form.

Giuseppe Pulvirenti was born in Syracuse, Sicily (1956). He lives and works between Rome and Syracuse. From 1970 to 1975 he studied at the Istituto Statale d’Arte in Syracuse and the Accademia di Belle Arti in Rome where, since 1986, he has lectured in “Modellistica” [model making]. His work has featured in numerous international exhibitions, including: XI Quadriennale di Roma (1986), XLIV Biennale di Venezia (1990), Triennale di Milano (1994), Palais des Arts de Toulouse (1994), the Winchester Gallery at the Winchester School of Art, UK (1997), Rha The Gallagher in Dublin (1997) Pici Gallery in Seoul (2004), Tokyo Design Center in Gotanda (2004), 
Kuchu Teien Tenbodai Sky Gallery in Osaka (2004). Important recognition and prizes have included the Venice Biennale Purchase Award (1990). His major solo exhibitions have included: Framart studio in Milan (1992), Galleria Nuova Icona in Venice (1996), Fondazione Mudima in Milan (2000), and various exhibitions at the Galleria Ugo Ferranti in Roma (2004, 2006, 2009, 2012). In 2018 he had a solo exhibition at the Galleria Valentina Bonomo in Rome.

The exhibition ends on Sunday 29 July 2018
Palazzo Collicola:
Sistema Museo:

ROBERTA PIZZORNO Full of Emptiness – Exhibition @ Palazzo Collicola Arti Visive
Jun 30 – Oct 7 all-day
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The opening of Roberta Pizzorno’s exhibition, on SATURDAY 30 JUNE at 12.00 at Palazzo Collicola Visual Arts.

The exhibition is curated by Gianluca Marziani and included in the Festival Of Two Worlds’ official programme. The Press Conference will be at 11.00 at the Piano Nobile’s gallery.

Roberta Pizzorno brings to Spoleto the figurative results of a long work with Indian ink and watercolours. Two years ago the artist settled in Spoleto and started a fruitful collaboration with Palazzo Collicola Arti Visive, which originated a number of projects integrating given drawing techniques in Sistema Museo’s workshops. This exhibition is a report in progress, a synthesis that finds an ideal exhibiting workshop at the Sten & Lex hall.

The point: the start of everything, the primordial factor, the beginning of the cognitive journey. Point as prologue and first chapter of the existing, a suspended moment in which every shape is possible, every freedom is ready for the free ones, every beauty potentially available.

…cellular microworld, cosmic gigantism, plant life, animal world…

Point, line and curve define Pizzorno’s interior filiations, her inner cosmogony, her space of aesthetic awareness. The gesture, disciplined and daily, acts by lines and curves, creating flying bio-forms, gaseous volumes, solids without apparent weight. Indian ink and watercolour share the executive process and recreate two parallel but dialoguing worlds, united by a gesture that acts as a bridge between the formal souls.

The point, similarly to a cell, begins to hear the noises of the Planet, records clear sounds and subliminal trails, looks for the next point to define the narrative chain of the line, of the sliding forward, of the dialogue that does not stop but recreates the phrases of our conscious dream.

Dealing with the line, that is, the path of the form, the development of an idea in its necessary skeleton.
The line as an ambition for knowledge, a search for the open margin, an adventure into the pulsating mystery of the future. A line that always travels forward, following the movement of the hand and the eye of the feelings. The line as a watchful conscience of the progress.

…directions of the essential black&white, harmonic rhythms, directions of the colour beyond the essence…

That soft line confirms the clarity of a pacified gaze, free from worldly chains and social ties. Pizzorno comes out of the appearances of reality to build visual subjects that fly in the gravitational radius of fantasy. They are complex embryos where human, animal and plant belong to the same biological consciousness. The pulsing metamorphosis becomes the genetic reason of his lovable bodies, the harmony of the dialogue guides the rituality of the continuous gesture. They are forms that produce wonder…

Our artist practices harmony and balance as if it were a respiratory rite. Her projects have no knots or protrusions, on the contrary they appear fluid and musical, pure entropy in a huddled form. The work turns into a continuous self-portraying through emotional fragments, a diary that stretches along the ritual curves of life. Point, line and curve make the gesture a kind of continuous and conscious breathing, so similar to the contracting and expanding of the universe.

Addressing the curve, that is, the form in its complexity, towards the sense that defines a project.
Curve as a plan of intuition, a cosmic and inner seismograph that draws the short-circuit, the cohabitations, the final harmony. A curve that speaks of evolution, synaesthesias, beauty. Soft corners that walk the slope and then hover in the air through the watercolour,

…drawing to understand, until the eye begins to see again…

I like to think that the artist’s flying bodies are cosmic eyes that enclose the secret formulas of emotions, feelings, clear beauty, cognitive clarity. Bodies of bright ink, dark, to engrave like sensitive grooves, majestic in their ethereal fullness. Bodies made of Indian ink, bodies of a very Italian and geolocalized Made in China. Bodies also made of liquid watercolor, gestalt membranes of a private and exciting Made in Herself.

The exhibition ends on Sunday 7 October 2018
Palazzo Collicola:
Sistema Museo:

TTOZOI – GENIUS LOCI (REWORKS) – Exhibition @ Casa Romana
Jun 30 – Oct 7 all-day
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The opening of the TTOZOI duo’s exhibition, on SATURDAY 30 JUNE at 16.00 at the Casa Romana in Spoleto.

The exhibition is curated by Gianluca Marziani and included in the Festival Of Two Worlds’ official programme. The Press Conference will be at 11.00 at the Piano Nobile’s gallery.

GENIUS LOCI, conceived by Stefano Forgione and Giuseppe Rossi, curated by Gianluca Marziani, originates from the idea of creating works of art directly in the chosen historical places, through the original technique of natural proliferation of mould on jute, with further painting additions.

Gianluca Marziani: Mould becomes a pure linguistic code, a biological application that leads painting to the limit of its possible mutations. TTOZOI’s grammar regenerates the archetypal models of Calzolari and Penone, bringing the iconographic orbit back into the evolutionary perimeters of the painting. The natural action is not dispersed but takes place on circumscribed surfaces, under the control of the space of action. An event between randomness and control that radicalizes the link between Art and Nature, making biology a collaborative and elaborative phenomenon. A lively dialectic that brings the creative factor into the beating heart of the natural cycle…

The “naturally informal conceptualism” or “the naturally absolute informal” that is at the base of TTOZOI’s work, evolves its natural creative process, coming into contact with three UNESCO sites, universal symbols of Italian architectural and archaeological culture: the REGGIA DI CASERTA (November 2017) with its Sanniti necropolis dating back to the 4th century BC, brought to light in 1990 in the area below the second courtyard; the AMPHITHEATRE OF THE POMPEI ARCHEOLOGICAL COMPLEX (December 2017) where the duo used the ambulacra, buried by the eruption of Vesuvius in 79 and then brought to light; finally the COLOSSEUM (soon), the largest amphitheatre in the world, global symbol of Rome and icon of Italy. Within this process that becomes molecular and conceptual fusion, the exhibition arrives at the CASA ROMANA in Spoleto, a sort of exhibition spin-off that inserts a private residence between the three monumental stages.

Gianluca Marziani: The three chosen areas represent the apotheosis of the Italic genius, the archaeological peak of ancient lustres of human genius. Inside this monumental cycle a passage of recollection was needed, an intimate dimension of the natural process. A domestic adaptation that would bring the works back into the space of the domestic cycle, where historical memory is linked to the design of modern habitats….

The Roman House in Spoleto, dating to the beginning of the first century A.D., is a stately home discovered by Spoletan archaeologist Giuseppe Sordini in 1885-1886 and dug several times until 1914. It is located partly under the Town Hall Square and partly under the Town Hall of which it occupies the foundations. Today it is the most visited site by tourists in Spoleto.
In Spoleto there will be a rigorous selection of the works from the first two stages, as well as a project of site-specific proliferation, designed for the impluvium of the Roman House. Fifteen works will be inserted with camouflage and respect for the environment, almost to blend the living nature of stones with the controlled nature of natural mould.

Gianluca Marziani: The integration with the places occurs through branched proliferation. No longer something purely formal but a process that integrates visible and invisible, memory and present, history and news, individuals and communities…

In the first two stages the artists created the works in situ, installing some sealed showcases in which the canvases remained for about 40 days: Time and Nature did the rest. During the gestation it is the canvas that captures the humus, the soul of every place, going beyond the visible, allowing the memory of the cultural “container” to be transferred to it through two factors: the “emotional conditioning” and the “environmental conditioning”, able to evoke the history and the suggestions of the chosen places in the observer’s mind.

The informal process, carried out by four hands, involves the use of organic materials (various flours), water and natural pigments on jute canvases, then placed in special cases that encourage the natural proliferation of moulds, with always different manifestations; feeding themselves on the organic part only, the spores interact with the work according to an unpredictable, apparently chaotic scheme. TTOZOI actually monitors the progression of the process, until it decides to interrupt it, according to a declination of “saving from aesthetics in pureness”. Only at this point will the canvases be pictorially finished and completed, leaving the traces of the passage of nature visible.

Gianluca Marziani: Informal painting finds its most significant evolution, an aesthetic landing place that distorts the interpretative factor of the works. All abstract appearances are transformed into a process with a high figurative value, where what we see leads us far beyond the pure form, into the pictorial stratification of memories, experiences, dynamic processes, external contributions…

Thursday 19 July, 2018 a personal exhibition is scheduled at the Reggia di Caserta. A closing exhibition will be held, finally, in a prestigious Capitoline museum, so as to expose all the works made in the three monumental complexes. In Caserta the complete cycle that was realized in the months of proliferation inside the Sanniti necropolis will be exhibited.

Stefano Forgione (Avellino, 1969) and Giuseppe Rossi (Naples, 1972) are the two artists who operate under the pseudonym of TTOZOI since 2010, when their personal exhibition was held at Castel Dell’Ovo (curated by Luca Beatrice). Stefano (Degree in Architecture) and Giuseppe (Degree in Economics) are both self-taught. Since their adolescence they have been experimenting with various artistic techniques (charcoal, Indian ink, watercolour, acrylic, oil, spray, collage…) and approached the History of Art to deepen their knowledge of Informal culture, following their aesthetic and conceptual vocation. In December 2006 the common passion for informal themes will bring the two together again, after years spent in various Italian cities. At the centre of their confrontation there is the awareness that “Art has always been Contemporary” and that “the Artist cannot operate without the past”: hence the elaboration of a project – based on “concept” and “form”, “time” and “matter” – that is becoming the spokesperson of a small revolution in the experimental field of painting. TTOZOI is the creator of the so-called “intervention void”, a real expectation, following the simultaneous four-hand action on the canvas.

The exhibition ends on Sunday 7 October 2018
Palazzo Collicola:
Sistema Museo:

YIGAL OZERI Where are we going? – Exhibition @ Palazzo Collicola Arti Visive
Jun 30 – Oct 7 all-day
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The opening of YIGAL OZERI exhibition, is scheduled for SATURDAY 30 JUNE at 12:00 in Palazzo Collicola Visual Arts, Spoleto.

The exhibition is curated by Gianluca Marziani and included in the Festival of Two Worlds’ official programme. The Press Conference is scheduled for 11:00 at the Piano Nobile.

Painting is defining new relationships with technological media, confirming itself as the most attractive, absorbing and intense visual code of the new millennium. Centuries pass, progress flows but the idea that painting embodies a solid permanence, a densely biological language, detonator of resistant metaphysics and symbols that can be handed down does not change. Painting has many dialogues with the photographic world: a virtuous combination to encode a transmedia aesthetic, a metaphorical mirror of a present with a high visual consumption. In a historical period of linguistic revision, it was natural for the photorealist code to regain its operational and conceptual centrality. Also because today, far from the beginnings of Chuck Close and Richard Estes, the hyperrealist language absorbs digital cells and modifies painting into a hybrid, calibrated on 3D and 4D projections, on smartphone operating systems, on shooting and editing photographic software. Hyperrealist painting has thus been transformed into post-digital painting, a sort of pictorial GMO that has metabolized analogical photography, sedimenting various traces of future memory in its mixture.

Yigal Ozeri’s post-digital painting focuses on WOMEN…

Eva continues to fuel the ecstasy of two-dimensional art. She, the First Woman of desire, the milestone of the narrative, the erotic archetype of humanity still radiates the artistic ambition of the trace, the outline, the sign, the color… The creation generally pursues resisting icons, seeks out the whims that are the Stonehenge of emotional education. Woman has always been swimming at the center of artistic thought, guiding the historical document but also the revolutionary action, the change, the militant struggle. Telling the story of a woman in a painting means acting from the beginning to frame complexity; it means loving and sharing, using the language of the body and the gaze, chemistry and alchemy; it means hiding ethical messages in the folds of a dress, in the reflection inside the eye, in the posture of the face, in the objects worn…

Woman as symbolic detonator for a social, political, cultural rebirth…

Yigal Ozeri (1958) is an Israeli author who lives and works in New York, in the city that best stimulates his imagination, in a perpetual physical rhythm that sticks to his thematic intentions. From the streets, from the faces, from the bodies on the way, the artist gets sensations that he transfers in his shoot with the models in pose, when he defines the portfolio from which he will obtain the images to paint. Let’s not think, however, of the old codes of hyperrealist painting, today there are no catalogues of streets, machines, shop windows or other fetishes of the American model. The lucid coldness of his predecessors turns into a warm, emotionally involved eye, in search of fluid eroticism, of a Raphaelite but also digital youth, and of a barrier-free sensuality. Ozeri’s women are revolutionary detonators that act on the eye. They don’t scream, they don’t embrace weapons, they don’t distill hatred, they look ahead and forward, towards the upset world, the psychotic drifts, the cultures of terror. They do so from their silent places, from the quiet contexts in which they live their pictorial eternity. They look at each of us, striking our eyes, our civic conscience, acting with slow and prolonged release, as it happens with Literature and Poetry.

That feminine look, so calm and suspended, has something revolutionary about it…

Ozeri’s universe is reconnected to a Western tradition, especially Italian, of female portraiture, from the virginal faces of 16th-century Florence to the neoclassical white of Antonio Canova, through the 19th century by Giovanni Boldini, the 20th century by Amedeo Modigliani… Ozeri crosses the matrices of the feminine and leads them to an urban, multiracial, heterogeneous epic. His creatures are the Madonnas of our times, the Saints of a chaotic present, the great ladies of a virtual but not always virtuous today. They are the amazons of the visible city, the sherpas of our inner journey, the young mothers of humanity who see the future. They are the answer to the culture of violence, a soft counterattack of beauty blows and poetic actions. You can be sure: the future of humanity will have to pass through the trajectories of the sublime, of ecstasy, of desire, of beauty…

Ozeri’s women come straight from the present, yet they seem out of time, beyond the space of creation, floating like stars across the centuries. Their looks, their postures, their bodies are fragments of a long sentimental discourse, born with life and destined to last beyond ourselves, beyond the contingency of everyday life. Ozeri’s women symbolize a resisting iconography, proof of a perennial regeneration that only painting (and sculpture in part) can make possible. Because these girls of radiant sensuality, shining in their glances, magical in their way of looking, tell the story of the indissoluble resistance of the painting, the ability to infect the future with the memory of an eternal present. They are no longer simple models but a model of beauty that can be handed down, a semantics of the indissoluble, a trace of the infinite imagined and dreamed of.

Those women seem to tell us, “Where are we going? What are we doing? How can we improve things?” There are no answers in the paintings, of course, because art only deals with questions. At the same time, their eyes guide us across the threshold, into the ocean of doubt, evoking the possibility of an island, of a safe harbor for our conscience. A place to clarify the gaze, trying to provide an answer.
The only male figure in the exhibition is the artist himself, a black-and-white foreground who observes like a demiurge in front of the students. The expressive face and the hair have the meticulous impact of the portraits by Bronzino and Rembrandt, that surgical way of managing the climax with admirable dramaturgy. Yigal Ozeri embodies the eyes of our possible answers, resembling a guide who observes us as Beauty reveals the coordinates of the island.

The exhibition ends on Sunday 7 October 2018
Palazzo Collicola:
Sistema Museo:

Jul 7 – Jul 29 all-day
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GIORGIO FACCHINI talks with the works of the Collezione Carandente… accompanied on the precious journey by jewels by Arman, Bury, Calder, Fontana, Lichtenstein, Picasso, A. Pomodoro, G. Pomodoro…

curated by Gianluca Marziani

The opening of the ARTIST’S JEWELS exhibition, will take place on SATURDAY 7 JULY at 12.00 at Palazzo Collicola Visual Arts. The exhibition is curated by Gianluca Marziani and included in the Festival Of Two Worlds’ official programme.

Giorgio Facchini, from Marche, contemporary jewel sculptor, returns to Spoleto with an exhibition inside the Collezione Carandente at Palazzo Collicola Arti Visive. It is a selection of unique pieces, and an outside sculpture, all done following a chronological thread and miltiple figurative keys. The performing quality, the visionary theme and the expressive strength provide the contents for his dialectics between gold and XXth-century art, in an iconographic process that touches Informal Art, Surrealism, Spatialism, Cinetic Art and Constructivism. Facchini’s works converse with the works included in the Collezione Carandente, interesting duets in which his creations, placed inside display cases, enter in vituous tune with the chosen work. A unique project, conceived with an artistic approach, to give the jewel the universal character of a small-sized, pure sculpture.

Gianluca Marziani: “A man-sized sculpture, dark monolith by the complex plot, challenges the intimate vision and creates a short-circuit between the full scale and the huddled dimension of the small scale. The work offers an iconic bridge between sculptural jewel and thorough sculpting, where the relief’s reasons confirm the hybrid approach of an author by the slipping, contaminated nature. If the jewels yearns for the body as if it was an exhibiting space, likewise the melting sculpture contracts its soul in a gigantism of precious thing by the modelistic heart.”

Tommaso Trini: “Sculpture innervates each of Facchini’s artifacts, as shown by the circularity of portrayed features.
Symbolic signs and allegorical figures always conjure a plastic concert, a chromatic choir by the peculiar, circular eloquence, though knotted down to a plane. Facchini creates refined sculptures, open toward the outside, without inflating them in rowdy monuments. He prefers hermetic meetings. His internationally-known jewels’ geometrical construct is also circular. They don’t just embrace life-pulsing wrists, they shroud ears and chests like convex constructs, a convexity already held dearest in De Chirico’s paintings. Facchini’s creations are a curved flow of precious stones and metals on shields of light. The strength of the essence makes them even more a model, the more essential they are.

Carlo Bo: “Facchini starts as a goldsmith and then becomes a sculptor. Following his family’s tradition, he is an inventor, a creator. You could also say that by dint of perfecting his first reasons, he could later pick up some backlashes of truth and penetration…”

Vittorio Rubiu: “The start of his style is relating to some sort of primordial or symbolic form, detaching from geometry to then reactivate it, following a more intimate, hidden willfulness, always with a very selected taste of matter, an invention, an experimentation that have little to do with traditional goldsmithing. Hence his constant interest for sculpture and his capacity to apply the spatial theme of sculpture to the jewel with an intensity, clarity and firmness that challenge the meticulousness of the performance, no matter how rich and admirable…”
Giancarlo Menotti: “As everybody knows, gold is evil, but in Facchini’s hands it can become fragile and delicate like a melodic sentence.”

Gianluca Marziani: “Thinking wearable sculpture as a journey from micro to macro, where balance, spatial harmony anc compressed tension count more than dimension. Facchini’s jewels originate from a projecting that looks like a sculptor’s modular passages magnifying drawings sprouting out displacing visions; here the process is reversed, the drawing is shaped to fit the volume to be worn.”

The artists chosen for the dialogue are Alexander Calder, Sol LeWitt, Leoncillo, Beverly Pepper, Carla Accardi, Franco Angeli, Fausto Melotti, Giuseppe Capogrossi, Mario Schifano, Toti Scialoja, Luigi Ontani, Mario Ceroli, Henry Moore, Giuseppe Uncini, Alberto Garutti, Gianni Dessì, Shay Frisch, Giovanni Albanese…

A special section of the exhibition features some jewels created by great XXth-century artists. A hall will feature works selected by Facchini and Marziani among the best proposal on the international market. Masterpieces by Arman, Pol Bury, Alexander Calder, Lucio Fontana, Roy Lichtenstein, Niki de Saint Phalle, Pablo Picasso, Arnaldo Pomodoro, Giò Pomodoro…

COLLEZIONE CARANDENTE The project of the Carandente Collection grows on solid foundations, along never-static roots that speak of Italian art in the second half of the twentieth century, of now legendary sculptors, international names but also local artists who have fueled the cultural consciousness of Spoleto and its extensive surroundings. The foundations of this museum concern the historical core of its collection, a heritage that Giovanni Carandente built with dedication and passion, documenting the artistic events of Spoleto, design dreams (Sculptures in the city), fixed events (Spoleto Prize, Festival dei Due Mondi), the Group of Spoleto, the research of Italian and foreign masters, up to the special relationship with Leoncillo Leonardi, the most important of the “local” artists, inventor of the Spoleto Prize, among the main architects of the city’s cultural maturation. Starting from here was necessary: the philological qualities of the heritage, its iconographic peculiarities, the private connections that have become the historical conscience of the project and of its necessary evolutions. On this basis, convinced that a collection must follow the spirit of the times, it was necessary to shape a new exhibition layout, creating more rigorous and connective settings, using white as a living counterpoint, inviting the public to a reborn empathy, to an emotional and sensory journey, to an assonant narrative between memory and future.

BIOGRAPHY Giorgio Facchini was born in Fano in 1947. When he was very young, while devoting himself to drawing, he attended the studio of a goldsmith, an uncle of his. He later met sculptor Edgardo Mannucci, fundamental for his formation, while continuing his studies in Venice. He made his debut with some jewels, first informal and then spatial, made with the “osso di seppia” technique (Italian for cuttlefish bone). The first exhibition takes place at the Fanesi Gallery in Ancona. In 1967 he won first prize at the Bevilacqua La Masa in Venice. In 1969 he began to create kinetic jewels. In the same year, Pierre Cardin invited him to Paris to present his jewellery together with his autumn/winter fashion collections. In 1970 he took part in an exhibition at Fumanti, a Roman jewellery company specialising in artists’ pieces. Also in the 1970s, exhibitions at the Galleria Levi in Milan, La Nuova Pesa in Rome, La Triennale in Milan. In 1971 he won the First Prize at the VI Gubbio Metal Art Biennial. In 1972 he exhibited at the Drummonds jewelry store in Melbourne. In these years he developed his ties with the Festival dei Due Mondi, until in 1974 he minted the gold medal commissioned by the Festival. In the same year he exhibited in the United States at the Wichita Museum. In 1981 a new solo show at Drummonds, then a large exhibition at the Pinacoteca di Macerata. In 1992 he participated in Oro d’Autore. In 1997 he held a solo exhibition at the Archaeological Museum of Milan. In 2001 he was featured in important exhibitions at Palazzo Pitti in Florence and Mole Vanvitelliana in Ancona. In 2006 he received a tribute within the International Review G.B. Salvi in Sassoferrato. In 2009 he participated in the exhibition “Italian sculpture in the jewel of an artist from the second half of the 20th century” at the Attilio and Cleofe Gaffoglio Museum in Rapallo. In 2010 he exhibited at the Sturni Antiquities Gallery in Rome. Besides jewelry, Facchini is dedicated to sculpture and medallistics. He has taught plastic disciplines at the Academy of Fine Arts in Macerata and at the Brera Academy in Milan.

The exhibition ends on Sunday 29 July 2018
Palazzo Collicola:
Sistema Museo:

Thematic guided tours and city tours – August 2018 @ Spoleto
Aug 5 – Aug 26 all-day

Warning: The thematic guided tour A noble walk scheduled for Wednesday 15 August at 3.30 pm at Palazzo Collicola Arti Visive has been rescheduled to 11.30 am (Wednesday 15 August).
Meeting place of the participants with the guide: Palazzo Collicola Arti Visive – ticket office.

Thematic guided tours and city tours – September 2018 @ Spoleto
Sep 2 – Sep 30 all-day
(Italiano) PER NON DIMENTICARE… La Grande Guerra in Valnerina e nello Spoletino – Mostra documentaria @ Archivio di Stato - Sez. Spoleto
Oct 14 – Dec 31 all-day
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Sorry, this entry is only available in Italiano.

PICASSO. INTIMATE PORTRAIT | Photos by Edward Quinn @ Palazzo Bufalini
Dec 15 2018 – Mar 31 2019 all-day
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Photos by Edward Quinn

15 December 2018 – 31 March 2019
MAG Palazzo Bufalini Piazza Duomo Spoleto

On the occasion of the forty-fifth anniversary of his death, and in conjunction with numerous exhibitions around the world dedicated to him, Spoleto celebrates the genius of the Spanish artist with the exhibition PICASSO. INTIMATE PORTRAIT Photos by Edward Quinn, presenting a large series of shots, some of them unpublished, taken by Edward Quinn (Dublin 1920-Switzerland 1997), the photojournalist who followed Picasso (1881-1973) to the Côte d’Azur and portrayed him, with his permission, for about twenty years.

From December 15, 2018 to March 31, 2019, MAG MetaMorfosi Art Gallery in Palazzo Bufalini in Piazza Duomo will feature about eighty photos (two sizes on display 40×50 and 30×40 cm) that tell the story of an absolutely private Picasso: among his women, lovers and friends, among his children, the result of many passions over the years, among the many friends and acquaintances who populated his canvases as well as the laid tables and the beaches by the sea. As many as 26 of these photos are unpublished and never printed before. The photos come from the Quinn Archive, Zurich, and were selected by the exhibition’s curator, Wolfgang Frei, the photographer’s nephew.

The exhibition, produced and organized by MetaMorfosi under the patronage of the City of Spoleto, is the result of the special friendship that linked Picasso to Edward Quinn, as his nephew explains by reconstructing their first meeting on the Côte d’Azur: “”Lui, il ne me dérange pas”, (“He does not bother me”) says Picasso after having been photographed for the first time during his work on March 23, 1953. So Quinn became one of the few photographers who was allowed to photograph him at work and who was accepted in his private life.

Born in 1920, Quinn moved to Munich in the late 1940s. Probably there has never been a place like the Côte d’Azur of the 1950s and 1960s where so many stars, politicians and artists have lived or spent their holidays. One of the personalities who settled on the Côte d’Azur was Picasso: he already was a star. Quinn managed to take his first photos of Picasso with his two children in 1951. The artist liked the photos and agreed to the request for further shots. Two years later, the first photo shoot took place with Picasso working with ceramics. Quinn did not belong to the breed of the insistent paparazzi, like tabloid photographers. In this he was too much of an Irish gentleman. He soon became a friend of Picasso, as shown by the 1954 dedication to the linocut “Toros en Vallauris”: “Para el amigo Quinn – el buen fotógrafo”.

“Even if Quinn – Frei tells us – was a dear friend, it was almost never possible to make an appointment with Picasso in advance. Often Picasso gave the order not to be disturbed. Almost all visits were unexpected and improvised. However, this was in line with Quinn’s way of working: his shots did not need long technical preparations. He didn’t use the tripod and refused to artificially light the rooms and have Picasso pose for a photo. The aim was to show under what conditions the artist created his works”.

The objective was unconventional, credible, authentic, documentary photography. The photographs on display, many of which have never been published, reveal how the artist was inspired by everyday things and people, but also by the extraordinary things that surrounded him. In this vision of his personality, of the people behind the images, also clichés about reality and opposites become visible: free time alongside work, everyday life in relation to art, Casanova and the family man, the clown and the extrovert joker, but also the very attentive master.

A fascinating intimate portrait of the artist that covers a period of over 20 years and tells an unusual Picasso, authentic and rich in humanity.

A selection of images in the exhibition can be downloaded from the following link:

Photos by Edward Quinn

15 December 2018 – 31 March 2019
MAG Palazzo Bufalini Piazza Duomo Spoleto


Tuesday/Sunday 10.00-18.30
25 December: 10.00-12.30 – 15.30-18.30
31 December: 10.00-18.30
1 January: 12.30-18.30

ENTRANCE: full 5.00 € reduced 3.00 €
INFORMATION: 0743 225302

MetaMorphosis Press Office
Maria Grazia Filippi

EXHIBITION | The intentional reuse of Roman worked stone in the Lombard Period @ Tempietto del Clitunno e Museo Nazionale del Ducato di Spoleto
Dec 18 2018 – Oct 6 2019 all-day
<!--:it-->MOSTRA | Il riuso consapevole dell’antico in area spoletina in età longobarda <!--:--><!--:en-->EXHIBITION | The intentional reuse of Roman worked stone in the Lombard Period<!--:--> @ Tempietto del Clitunno e Museo Nazionale del Ducato di Spoleto

From 18 December 2018 to 6 October 2019
National Museum of the Duchy (Spoleto) and Temple of Clitunno (Campello sul Clitunno)
The intentional reuse of Roman worked stone in the Lombard Period

Organized by Associazione Italia Langobardorum and Polo Museale dell’Umbria

Opening: Tuesday, December 18 at 12:00 at the Temple of Clitunno and at 15:00 at the National Museum of the Duchy of Spoleto.

The respect and emulation of the ancient, very widespread in the Lombard period, is one of the most obvious phenomena of that process of acculturation and integration of Lombards, very important for their affirmation. It is along the Flaminia Nova, in the stretch between Spoleto and Campello, that one can find numerous monuments that testify to the reuse of ancient materials in buildings of the early Middle Ages and Romanesque age, many of which arose near cemetery areas outside the city.

The exhibition is part of the cycle of events entitled Longobardi in vetrina (Lombards in the limelight), a project within a series of activities promoted by the Associazione Italia Langobardorum – management structure of the UNESCO site Longobards in Italy. The places of power (568-774 A.D.) of which the municipalities of Spoleto and Campello are founding members – for the dissemination of knowledge of Lombard culture.

The exhibitions will be accompanied by educational and training activities and conferences that makes this project the first nationwide exhibition dedicated to the Lombard people, the largest in terms of extension and involvement of institutions and archaeological heritage. The 15 exhibitions will all be inaugurated by the end of January 2018 and will be collected in a single printed catalogue and in a single virtual exhibition created with MOVIO, the multifunctional open source platform promoted by MiBAC, used to create and publish exhibition guides, digital extensions of real and virtual exhibitions.

Longobardi in vetrina is part of the project Exchange and sharing between museums to enhance the Lombard heritage for which the Association has obtained from MiBACT the admission to funding under Law 77/2006 ‘Measures for the protection and use of UNESCO sites’.

EXHIBITION | Manual Intelligence: Craft Production and Techniques in the Lombard Period @ Museo Nazionale del Ducato di Spoleto
Jan 24 – Jul 21 all-day
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L’intelligenza nelle mani. Produzione artigianale e tecniche di lavorazione in età longobarda

Manual Intelligence: Craft Production and Techniques in the Lombard Period

24 January – 21 July 2019
Museum of the Duchy of Spoleto | MuCiv – MAME of Rome

Thursday 24 January at 16 – Spoleto
Tuesday 29 January at 11.30 a.m. – Rome

15 exhibitions are held at the same time and 7 themes are treated within the project Longobards in the limelight. Exchanges and sharing between museums to enhance the Longobard heritage, conceived and coordinated by Italia Langobardorum Association, management structure of the UNESCO site “Longobards in Italy. The places of power (568-774 A.D.).

An ambitious project that enjoys the patronage of the Ministry of Heritage and Culture and obtained the contribution of MIBAC Law 77/2006, dedicated to Italian UNESCO sites.

The project aims at raising knowledge about Longobard culture through the enhancement of the museums located in the seven monumental complexes that are part of the UNESCO site, but also of those sites that were involved by the passage of the Longobards. Collaboration and synergy between museums are encouraged by temporary exchanges of artworks, divided into thematic exhibitions, hosted in the 6 museums of the UNESCO site network (National Archaeological Museum of Cividale del Friuli, antiquarium of Castelseprio, Museum of Santa Giulia in Brescia, National Museum of the Duchy of Spoleto, Diocesan Museum of Benevento, TECUM Museums of Monte Sant’Angelo) the Temple of Campello sul Clitunno, and eight other museums throughout Italy.

Exchanges between museums, temporary exhibitions and cultural support activities are also enhanced by an online virtual exhibition created with MOVIO ( and by a single catalogue, characterising this project as the first exhibition to be held nationwide, conceived as a set of exhibitions on Longobard culture; the largest exhibition in terms of territorial extension and involvement of institutions and historical-archaeological heritage.

Spoleto has focused on the theme of Manual Intelligence: Craft Production and Techniques in the Lombard Period.

Two exhibitions, promoted by the City of Spoleto, will be held at the Museum of the Duchy of Spoleto and at the MuCiv – MAME of Rome.

These exhibitions illustrate the technical-productive knowledge of the Lombards in Italy and identify the processes that led this people to integrate their technical heritage, typical of the Germanic population, with the Roman-Byzantine Mediterranean matrix, in a period of transition between the late ancient period and the early Middle Ages.

The Lombards had a particular “vocation for iron, steel and metallurgy” in line with the high technological level of production processes in the rest of the Germanic world, distinguishing themselves in the production of jewellery, weapons and tools.

To illustrate their craft skills, metal objects found in the necropolises of Nocera Umbra (PG) and Castel Trosino (AP) were selected. These objects were created with different techniques: mould casting, cloisonné, punching, filigree, damascening and niello.

Finally, there is also a brief reference to ceramic production, which shows its own clearly identifiable characteristics.

Opening ceremonies will be held on Thursday, January 24 at 16 in Spoleto and on January 29 at 11:30 in Rome.

Further information at

EKATERINA VORONA – DREAMSCAPE | Exhibition @ Palazzo Collicola Arti Visive
Mar 30 – May 26 all-day
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by Gianluca Marziani

The first opening of the double exhibition of EKATERINA VORONA is scheduled for Thursday, February 14 at 18:30 in Rome at 28 PIAZZA DI PIETRA; the second will take place on Saturday, March 30 at 12:00 in Spoleto at PALAZZO COLLICOLA ARTI VISIVE. The two exhibitions are curated by Gianluca Marziani and have been organized in collaboration with Francesca Anfosso and Anna Vyazemsteva.

Palazzo Collicola Visual Arts continues its strategic research between cultures and geographical identities to define a wide-ranging close-up on contemporary painting. 2019 will see a focus on some Russian authors, starting in spring with the Moscow artist Ekaterina Vorona, who presents the results of the last five years of production. A clear figurative distillate of the aquatic landscape, a homogeneous vision that metabolizes the European research of the late nineteenth century with silent but significant conceptual shifts.

There will be about forty works, all in large format, selected by the curator Gianluca Marziani. A homogeneous choice that enters the ambitious heart of Ekaterina Vorona’s painting, making the colours shine on the imposing walls of the museum. A production linked to the last five years of research, entirely documented in the catalogue, published by Carlo Cambi and accompanied by a critical analysis by the curator himself.

Piazza Collicola, 1 Spoleto
Palazzo Collicola Contacts:
Sistema Museo Contacts:

The exhibition ends Sunday, June 2, 2019

EXHIBITION | Gianni Asdrubali: Surfing With The Alien @ Palazzo Collicola
Jun 27 – Sep 13 all-day
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Gianni Asdrubali: Surfing with the Alien
curated by Marco Tonelli and Bruno Corà
Palazzo Collicola
Inauguration: Saturday 27 June 2020 – h 11.00

Almost twenty-five years later, Gianni Asdrubali (Tuscania, 1955) is again a protagonist in Spoleto, with a solo exhibition that takes stock of the work of one of the most interesting contemporary Italian painters, who established himself on the national and international scene as an innovator of abstract, aniconic and gestural research since the 1980s.

The exhibition, curated by Marco Tonelli (Director of Palazzo Collicola) and Bruno Corà (President of the Foundation Palazzo Albizzini Collezione Burri and member of Palazzo Collicola’s Scientific Committee), is a retrospective of his work through the most representative and enigmatic as well as evocative cycles of paintings such as Aggroblanda, Trigombo, Malumazac, Zeimekke, Azota, Stoide, Azotrumbo, Tromboloide.

Scheduled for 21 March, suspended due to the Covid-19 lockdown, the exhibition vibrantly announces the reopening of Palazzo Collicola and its activities, albeit with many changes in programming due to the pandemic.

The exhibition’s title Surfing with the Alien (one of the most famous tracks by American virtuoso and brilliant guitarist Joe Satriani), means to communicate the unstable balance, dizzy leaps and acrobatics in the void of a dynamic painting that looks like fluctuating in the dimensions of space, each time generating new plots and surprising trajectories.

As Asdrubali himself once wrote: “Surfing is an action generated by absence. But this surfing is not smooth, it is contrastingly bumping, it is running away, going away, to then return and bang into its own beginning, but every time it returns and bumps into itself it deforms and opens the structure, transforming the ‘figure’ of the image, which is never the same. The interaction is the figure of this struggle, of this contrast between surfing and the alien”.

Asdrubali’s figure is an extreme one, an artist whom critic Filiberto Menna listed in the Astrazione povera group, Flavio Caroli in that of Magico primario, and that Giovanni Carandente invited at the Venice Biennale in 1988.

At Palazzo Collicola, the exhibition unfolds through the rooms at the ground floor, which once housed the permanent collection of the Modern Art Gallery (since 2019 rearranged at the museum’s second floor), where two other works by Asdrubali are kept, including a spectacular Tromboloide from 1992. An interactive project, ZUMBER, by the ORAMIDE research group, has been realized on this work and will soon be available on the museum’s website

The exhibition will be open to the public from 27 June to 13 September 2020, it has been realized with the collaboration of Galleria Giraldi, Galleria A Arte Invernizzi, Galleria Matteo Lampertico, Galleria Consorti. During the exhibition, a catalogue with texts by Marco Tonelli, Bruno Corà and an interview with the artist Davide Silvioli will be published. 

Opening times:
June-July: Fri-Sun 10.30-13.00 / 15.30-19,00
August-September: Thur 15.30-18.30 | Fri-Sun 10.30-13.00 / 15.30-19,00

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