Rossella Leone's works on display in Palermo in the exhibition Archaeology of the Gaze

The Polo Museale Regionale d’Arte Moderna e Contemporanea della Sicilia presents, in the halls of Palazzo Belmonte Riso, the exhibition Archeologia dello sguardo di Rossella Leone, curated by Bruno Corà and scheduled from June 1 to November 11.

The exhibition offers an articulated selection of works by Rossella Leone (Palermo, 1952) that range from the visual to the sound register, in tune with a “score” in which the reflections developed by the artist in recent decades converge, both on the ethical and aesthetic levels, both formal and thematic. The artist, since the second half of the 1980s, has been distinguished by her original use of autonomously fabricated paper, from the formless state of pulp to the sheet: paper that is no longer just a support, but becomes a pictorial material, moldable to the limit of bas-relief and sculpture. The conceptual core of the exhibition is the reflection on the drift and loss of contemporary man as an individual and as a society, to the detriment of nature, the environment and his own intellectual and sentimental growth.

On display are the different cycles developed by the artist, from the large introspective paintings on the theme of the Deliberate Fall to the Aphonic Scores, from the Talamas to the large Walls and Urban Canopies, to more recent works such as the installation Living that addresses the theme of addiction to the violence and horror that are now part of our daily lives, to the point of distorting even our very concept of beauty.

If in the aphonic scores, in paper or marble, the chiaroscuro vibrations were likened to scores of sonorous musicality entrusted to the intimate visual perception of the viewer (not infrequently translated into music by composers such as Tierry Bongart Lebbé, Paolo Aralla), on this occasion the artist proposes his spatializations and sound scores derived from the very long listening to the song of cicadas, which flowed into the musical performance Che non sia l’ultimo canto!.

Rossella Leone’s activity ranges from visual arts (exhibitions in Italy and abroad) to theater, with installations(Aquilone sospeso, Gibellina, 1983; Anche le facciate cantano, Teatro al Massimo, Palermo, 1996; Anatomie con Virgilio Sieni, Cantieri Cuturali alla Zisa, Palermo, 1997); scenic-musical actions and performances(Partitura afona, Biblioteca comunale, Palermo, 1992; L’immagine del suono with Tierry Bongart Lebbé, Atelier sul mare, Castel di Tusa,1992; Shiki with Tadashi Endo, Teatro Comunale, Cefalù, 1993; Come per una terra with P. Aralla, Gibilmanna, 1995); scenes and costumes made for ballet and major opera house productions both in Italy and abroad: San Rocco reads the list of Miracles and Horrors by E. Isgrò, Teatro Massimo, Palermo, Gibellina, 1983; Vincenzo Bellini’s Norma, co-production Teatro Bellini of Catania, Teatro de la Maestranza of Seville and Landestheater of Salzburg, 1999; Maria de Buenos Aires by Astor Piazzolla, Teatro Massimo of Palermo, 1999); Sette canzoni by F. Malipiero and Il marinaio by A. Russo, Maggio Musicale Fiorentino, 2000; Dialogues des Carmélites by Francis Poulenc, StaatsOper, Stuttgart, 2011. Among the artist’s most recent works is the reconfiguration of the historic garden of the convent of St. Francis at the Cenacle of Mount Zion in Jerusalem, commissioned by the Franciscan Custody of the Holy Land, developed as a large habitable sculpture, punctuated by other minimal sculptures, made from the classic white stone of the place.To experience silence under the large, centuries-old trees: the Judas trees (because everything begins with betrayal) and the almond trees (trees of vigilance).

The exhibition will remain open until November 11. For all information you can call +39 091320532, send an email to info@palazzoriso.it or visit the official website of Palazzo Riso.

Source: press release

Rossella Leone's works on display in Palermo in the exhibition Archaeology of the Gaze

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