Vittorio Messina

SCULTURA OLTRE LE MURA-Collettiva di scultura italiana Museo delle Mura Roma

The group exhibition Sculpture beyond the Walls, curated by Ludovico Pratesi, brings together the works of seven Italian artists - Vittorio Corsini, Daniela De Lorenzo, Eugenio Giliberti, Carlo Guaita, Nunzio, Alfredo Pirri, Marco Tirelli - to reflect on the different expressions of contemporary sculpture of the last decades in relation to the architectural space, understood both in a physical sense but above all historical and symbolic, inside the Museo delle Mura, housed in the ancient Porta San Sebastiano. The latter was built in the Middle Ages within the walls of the Aurelian Walls and in the modern age had two moments of exceptional interest: in 1536, it was in fact adorned by Antonio da Sangallo to accommodate the triumphal procession of Charles V, invited to Rome by Pope Paul III Farnese and in 1571 welcomed the leader Marcantonio Colonna, after his victory in the Battle of Lepanto.
The works, located in the two circular rooms on the second floor in correspondence with the towers and in the rectangular hall that allows the passage between the towers, build an itinerary that presents types of sculptures, comparing different languages, materials, shapes and styles. We begin with works of a more expressive character, characterized by elements of strong impact, to continue with works of a rigorous and minimal nature, to indicate the ability of contemporary sculpture to abandon the heaviness of traditional materials to indicate openings towards symbolic, conceptual or visual readings. dream.
It is an exhibition itinerary that connects the two towers through a redefinition of the visual and physical perception of the spectator, who is confronted with a dialogue between tradition and modernity, based on the relationship between artwork and historical site. "In a moment that seems to be characterized by a tendency towards the dematerialization of the work, the artists invited to Sculpture beyond the Walls pay attention to the formal physical components of sculpture in relation to historical architecture, to activate devices of perception that relate the work with the genius loci of the building ", points out Ludovico Pratesi.