{"id":21803,"date":"2023-06-13T14:29:43","date_gmt":"2023-06-13T12:29:43","guid":{"rendered":"https:\/\/italics.art\/?page_id=21803"},"modified":"2024-06-07T12:05:25","modified_gmt":"2024-06-07T10:05:25","slug":"panorama-laquila","status":"publish","type":"page","link":"https:\/\/italics.art\/en\/panorama\/panorama-laquila\/","title":{"rendered":"Panorama L\u2019Aquila"},"content":{"rendered":"\n
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A city-wide exhibition curated by Cristiana Perrella<\/h1>\n\n\n\n

7 – 10 September 2023<\/h1>\n\n\n\n

After Procida<\/a> and Monopoli<\/a>, ITALICS<\/em> brought the third edition of Panorama to L\u2019Aquila. Since 2021, this multi-site traveling exhibition has been forging connections between art, architecture, antiquity and the contemporary, and the territory and its communities. <\/h2>\n<\/div>\n\n\n\n
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Maurizio Nannucci, Let’s Talk About Art<\/em>, 2023. Courtesy of the artist and Galleria Fumagalli<\/figcaption><\/figure>\n\n\n\n
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Sunday 10 September was the closing of the highly successful Panorama L\u2019Aquila<\/strong>, the third edition of the city-wide art exhibition conceived by ITALICS<\/em> \u2013 the first institutional network of art galleries to be established in Italy. Every year, in some of the most unique locations in our country, it brings art, architecture, antiquity and the contemporary together, involving the territory and its communities. <\/p>\n\n\n\n

Curated by Cristiana Perrella, the exhibition had the capital of Abruzzo buzzing with life for 4 days \u2013 from 7 to 10 September \u2013 when art, cinema, performances and meetings with the public took place with great enthusiasm and involvement on the part of the participants. Some 13,000 people crowded the city streets<\/strong> \u2013 most of them in L\u2019Aquila for the first time \u2013 bent on seeing every one of the 20 exhibition venues<\/strong>, the 60 artists<\/strong>, the 100 and more works of art,<\/strong> the series of 10 performances<\/strong> but also the cafes with the artists, the talks and the film screenings.<\/p>\n\n\n\n

In an itinerary that has involved museums and aristocratic palaces<\/strong> but also bakeries, bookstores, record stores, restoration workshops and private homes<\/strong>, \u2013 from the Caff\u00e8 Fratelli Nurzia to the Casino delle Delizie Branconio, the Museo Nazionale di Abruzzo | Castello Cinquecentesco, Palazzo Rivera and MAXXI L\u2019Aquila \u2013 to the sky above the city<\/strong>, Panorama<\/em> made the city the full-blown protagonist of the event, tracing out a composite portrait consisting of both its monumental historic features and the industriousness of daily life. In all of this, alongside the wound inflicted by the 2009 earthquake, the energy of reconstruction is clearly visible.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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Anri Sala, Fragmentarium II (Radica\/Afternoon, Afternoon Slightly After)<\/em>, 2023. Courtesy of the artist and Alfonso Artiaco<\/figcaption><\/figure>\n\n\n\n
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Taking its cue from the term wit(h)nessing<\/em><\/strong>, <\/em>coined by the feminist theorist, artist and psychoanalyst Bracha <\/strong>L. Ettinger<\/strong>, which extends the concept of witnessing<\/strong> from the individual to the collective and participatory dimension, Panorama L\u2019Aquila<\/em><\/strong>has put together an itinerary<\/strong> made up of places \u2013 not simple \u201ccontainers\u201d but generators of content inhabited by works <\/strong>that can give the public a new image of the city<\/strong>, a portrait drawn from its historical and monumental features and its daily industriousness.<\/p>\n\n\n\n

The kaleidoscopic festival presented over 100 works<\/strong>, including paintings, sculptures, installations, performances and site-specific works, realized between 1300 and 2023 and made by more than 60 artists, Italian and foreign, from the great names in Art History to established, mid-career or up-and-coming artists, and of course many artists from the local area such as Lucia Cant\u00f2, Gianni Caravaggio, Alberto Di Fabio, Ettore Spalletti, and Giuseppe Stampone.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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Gianni Caravaggio, Bandiera naturalizzata (L\u2019Aquila)<\/em>, 2023. Courtesy the artist and kaufmann repetto<\/figcaption><\/figure>\n\n\n\n
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The program of Panorama L\u2019Aquila<\/em> was structured around two large exhibition centers generously hosted by the private residence of Palazzo Nardis and the extraordinary construction site of Palazzo Rivera. There, thanks to a selection of works dedicated to political, social and gender issues, a dialogue between different eras in the History of Art was initiated. At the Museo Nazionale d\u2019Abruzzo | Castello Cinquecentesco, a military fortification in Parco del Castello, the Sala del Mammut hosted the documentation of a performance by Radha D\u2019Souza & Jonas Staal next to the monumental relic of the gigantic prehistoric mammoth. On the access bridge, a flag, the work of Gianni Caravaggio, waved for four days and was then left as a donation for the MuNDA. <\/p>\n\n\n\n

On Largo Tunisia, immediately after the Fontana Luminosa, the mosaic created by Alberto Di Fabio, a work of public art installed on a wall, was donated to the city as a commemorative reminder of the event. <\/p>\n\n\n\n

At the Oratory of Sant\u2019Antonio dei Cavalieri de Nardis, Massimo Bartolini\u2019s installation became site-specific as a result of its relationship with the playing of the Oratory\u2019s monumental organ for the collaboration in the event Jazz italiano per le terre del sisma<\/em> and the third edition of Performative03<\/em>, a MAXXI L\u2019Aquila project dedicated to performance and dance. For Panorama<\/em>, the L\u2019Aquila branch of the Museo nazionale delle arti del XXI secolo also hosted two works by Paolo Icaro in the courtyard, while in the Project Room<\/em>, Haim Steinbach\u2019s display hosted works by Alberto Burri, Michele Cammarano and Steinbach himself. <\/p>\n<\/div>\n<\/div>\n\n\n\n

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Massimo Bartolini, Monk\u2019s Duo<\/em>, 2023. Courtesy the artist, Frith Street Gallery, MASSIMODECARLO<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Paolo Icaro, Il Sogno dello Spigolo<\/em>, 1970-2023. Courtesy the artist and Galleria Massimo Minini<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n
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Haim Steinbach, Display #108 \u2013 everything and nothing<\/em>,
2023. Courtesy the artist and Galleria Lia Rumma<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Alberto Burri, Combustione plastica<\/em>, 1957. Courtesy Tornabuoni Arte \/ Michele Cammarano, Terremoto a Casamicciola<\/em>, 1883. Courtesy Giacometti Old Master Paintings<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n
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Emily Jacir, Noi<\/em>, 2021. Courtesy the artist and Galleria Peola Simondi <\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Diego Gualandris, Madonna del ratto<\/em>, 2023. Courtesy the artist and ADA<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n
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The Fondazione Giorgio de Marchis Bonanni D\u2019Ocre Onlus welcomed a focus panel that, starting with the research on futurism by art historian Giorgio De Marchis, explored the work of Giacomo Balla and Fabio Mauri, through archive materialfrom the collections of Giancarlo Gentilucci Arti e Spettacolo Impresa Sociale, MUSPAC – Museo Sperimentale d\u2019Arte Contemporanea, the Galleria Nazionale d\u2019Arte Moderna e Contemporanea di Roma and the Foundation itself. <\/p>\n\n\n\n

Santa Margherita in Forcella hosted a tribute to the artist Ettore Spalletti, while at the Corte dei Conti, the landscape that can be seen from the cloister of the Complesso Monumentale di San Domenico interacted with Pascale Marthine Tayou\u2019s large work in crystal, created for the occasion and set up in the center of the courtyard. Very importantly, the Casino delle Delizie Branconio was reopened, thanks to the willingness of its owners, and a work by Anri Sala found its place among the frescoes of the School of Raphael Sanzio.<\/p>\n\n\n\n

There was no lack of symbolic acts and political gestures that challenged the classic exhibition model, starting with the involvement of historic shops or new businesses: from the famous Caff\u00e8 Fratelli Nurzia, which hosted Alek O.\u2019s work, to the local F\u00f8rma Bakery where it was possible to buy bread by Luca Trevisani. The Palazzo della Cassa di Risparmio and small businesses such as the Sound Garden record shop, the Stile Novecento furniture restoration shop, and the Polarville bookshop were also involved, and finally, the city sky crossed by Maurizio Nannucci\u2019s aerial banner that invited the public and L\u2019Aquila\u2019s citizens to talk about art for the entire duration of the event.<\/p>\n\n\n\n

There was plenty of public participation in the performance art events: Jacopo Benassi in collaboration with the Casella Conservatory invaded the cloister of Palazzo Cappa Cappelli with his sound performance; Palazzetto dei Nobili, the ancient center of L\u2019Aquila\u2019s political life, with Chiara Camoni and the Centro di Sperimentazione, was transformed into a place where artisan practices were highlighted by the power of music and dance; the deconsecrated church that was once the studio of L\u2019Aquila painter Marcello Mariani reopened forthisoccasion,hosting the musical performance by Darren Bader.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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Jacopo Benassi, RIVOLUZIONE!<\/em>, 2023. Courtesy the artist and Francesca Minini <\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Darren Bader, antipodes<\/em>: quartets. Courtesy the artist and Galleria Franco Noero <\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n
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Alek O., Senza titolo (Il giorno della fine non ti servir\u00e0 l\u2019inglese)<\/em>, 2023. Courtesy the artist and Martina Simeti<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Joan Crous, M.XV (anno 23)<\/em>, 2023 \/ Giorgio Morandi, Natura morta<\/em>, 1948. Courtesy Maurizio Nobile Fine Art<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n
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Special initiatives included the third edition of the Italics d\u2019Oro<\/em> – an award that every year celebrates the intense bond between an artist and their territory \u2013 and this year was awarded to Ugo La Pietra (Bussi sul Tirino – Pescara, 1938). An artist, architect and designer, a tireless investigator of the relationship between the individual and the environment, La Pietra has always critically and unorthodoxly supported the humanistic, signifying and territorial component of art and design. The relationship between art and urban space has always been at the center of his work, and for this reason, in a city like L\u2019Aquila, which is being reborn and reimagined, it seemed particularly meaningful to present him with this <\/em>award. It recognizes the value of his practice and thought and their generative capacity in the context of a reflection on the reappropriation of public and private living spaces.<\/p>\n\n\n\n

Ad Minoliti, Argentine-born artists known internationally for their metaphysical abstractions aimed at dismantling modernist utopia and its most reprehensible and patriarchal aspects, were among the participants in the city-wide exhibition and designed a special project dedicated to Panorama L\u2019Aquila<\/em> and its visitors. In fact, their drawings, specially made for this occasion, appeared on the tote bags and T-shirts of the cultural mediators and guides who took the public on a tour of the exhibition. <\/p>\n<\/div>\n<\/div>\n\n\n\n

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Italics d’Oro Award 2023, to Ugo La Pietra<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Ad Minoliti, special project for Panorama L’Aquila <\/figcaption><\/figure>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n
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Eleanor Antin, Going Home ( from Roman Allegories)<\/em>, 2004. <\/em>Courtesy the artist and Richard Saltoun Gallery<\/figcaption><\/figure>\n\n\n\n
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Marco Tirelli, Senza titolo<\/em>, 2021. Courtesy the artist and Cardi Gallery<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Cristiano Bianchin, Raccoglitore di pensieri<\/em>, 2000-2007-2014. Courtesy the artist and Caterina Tognon Arte Contemporanea<\/figcaption><\/figure>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n
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Chiara Camoni, Sister #02<\/em>, 2021. Courtesy the artist and SpazioA<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Tatiana Trouv\u00e9, Senza titolo<\/em>, 2022 from \u201cLes dessouvenus\u201d, 2013-ongoing. Courtesy the artist and Gagosian <\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n
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Yael Bartana, Patriarchy is History<\/em>, 2019. Courtesy the artist and Galleria Raffaella Cortese \/ Ambrogio Borghi, La Chioma di Berenice regina d\u2019Egitto<\/em>, 1878. Courtesy Bacarelli \/ Vincenzo Castellini, Vergine orante<\/em>, 1779. Courtesy Alessandra Di Castro<\/figcaption><\/figure>\n\n\n\n
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Neapolitan Sculptor (circle of Luca Giordano), Diavolo o Angelo ribelle cadente<\/em>, 1660-80 ca. Courtesy Botticelli Antichit\u00e0<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Carlo Albacini, Saffo<\/em>, 1782. Courtesy Galleria Carlo Virgilio & C. <\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n
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Marie Cool Fabio Balducci, Senza titolo, scrivania, luce solare pro- veniente da finestra o apertura, spotlight, ambiente di lavoro<\/em>, 2014-16. Courtesy the artist and P420<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Christian Frosi, Audio 03 Peacock<\/em>, 2005. Courtesy the artist and ZERO… <\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n
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Mario Merz, SCIOPERO GENERALE AZIONE POLITICA RELATIVA PROCLAMATA RELATIVAMENTE ALL\u2019ARTE<\/em>, 1970. Courtesy Galleria Giorgio Persano <\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Giuseppe Stampone, Aprutium<\/em>, 2023. Courtesy the artist and Prometeo Gallery Ida Pisani <\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n
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Vincenzo Schillaci, L\u2019Erede<\/em>, 2023. Courtesy the artist and Galerie Rolando Anselmi \/ Master of the Madonna in the Cathedral of Spoleto, San Michele Arcangelo<\/em>, 1330-40. Courtesy Alessandro Cesati<\/figcaption><\/figure>\n\n\n\n
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Carl Borrom\u00e4us Andreas Ruthart, Sant\u2019Antonio abate visita san Paolo primo eremita nel deserto<\/em>, 1665-70. Courtesy Porcini<\/figcaption><\/figure>\n\n\n\n
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The days of the festival included a packed Public Program<\/em> with a series of events: important and rare art films such as Ugo La Pietra\u2019s La riappropriazione della citt\u00e0<\/em>, JR and Alice Rohrwacher\u2019s Omelia contadina<\/em>, Matteo Parisini\u2019s L\u2019universo di Luigi Ghirri<\/em>, Wim Wenders\u2019 Anselm<\/em> and Alessandra Galletta\u2019s Ettore Spalletti<\/em> were screened every evening at the Auditorium del Parco with At the Cinema<\/em>; two cafes in the historic center hosted the sessions of A coffee with the Artists<\/em>, where the public had the chance to meet and discuss art (and more) with the many artists in the city; the Book Corner<\/em> featured publications selected by the curator, while the talk Why is there so much art in Abruzzo?<\/em> described the vibrant regional artistic scene.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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Luca Trevisani, panpestato<\/em>, 2023. Courtesy the artist and Pinksummer<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Luca Trevisani, panpestato<\/em>, 2023. Courtesy the artist and Pinksummer<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n
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Alberto Di Fabio, Enigma della Materia<\/em>, 2023. Courtesy the artist and Galleria Umberto Di Marino <\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Stefania Carlotti, Spring Sunset<\/em>, 2019. Courtesy the artist and Federica Schiavo Gallery <\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n
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Ettore Spalletti, Colonna persa con ombra<\/em>, 2001. Courtesy Benedetta Spalletti<\/figcaption><\/figure>\n\n\n\n
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Ad Minoliti, Lobe with Peligro: Mostrx by Feli Quispe<\/em>, 2022. Courtesy the artist and Peres Projects<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Luisa Lambri, Untitled (Casa di Giulia Felice)<\/em>, 2020. Courtesy the artist and Thomas Dane Gallery <\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n
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Nicola Martini, Senza titolo<\/em>, from \u201cMolten\u201d, 2020. Courtesy the artist and Clima<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Enzo Cucchi, Insegne<\/em>, 1989. Courtesy the artist and Galleria Alessandro Bagnai<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n
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Armin Linke, Stefan Sch\u00f6nert, Patrick Kranse, Laboratori Nazionali del Gran Sasso (LNGS), Istituto Nazionale di Fisica Nucleare (INFN), LEGEND experiment, clean room, mounting of the liquid argon instrumentation, Gran Sasso Tunnel, L\u2019Aquila, Italy, <\/em>2021. Courtesy the artist and Vistamare <\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Davide Monaldi, Ravers<\/em>, 2023. Courtesy the artist and Studio SALES di Norberto Ruggeri <\/figcaption><\/figure>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n
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\u201cDialogue in diversity is the most fascinating element of <\/em>Panorama,\u201d stated Cristiana<\/strong> Perrella<\/strong>. \u201cThe challenge was to bring works, places, people, knowledge, history into relation with the contemporary, the everyday and the monumental, and through this multiplication of viewpoints, united by a single project, to generate a new vision of a place. L\u2019Aquila was the perfect city for such an event because it is full of stories to be told, things to discover, very different and often unexpected.\u201d<\/em><\/p>\n<\/blockquote>\n<\/div>\n<\/div>\n\n\n\n

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Pascale Marthine Tayou, Il Genio dell\u2019Aquila<\/em>, 2023. Courtesy the artist and Galleria Continua<\/figcaption><\/figure>\n\n\n\n
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Pascale Marthine Tayou, Il Genio dell\u2019Aquila<\/em>, 2023. Courtesy the artist and Galleria Continua<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Pascale Marthine Tayou, Il Genio dell\u2019Aquila<\/em>, 2023. Courtesy the artist and Galleria Continua <\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n
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A unique exhibition experience,\u00a0Panorama L\u2019Aquila<\/em>\u00a0has been able to perfectly epitomize the values of\u00a0ITALICS<\/em>. It has brought together the ancient, modern and contemporary, multiple styles, techniques and thoughts in art itineraries that led to the discovery of the most authentic and lesser-known aspects of our country, continuing the extraordinary journey begun in 2020 in the\u00a0web\u00a0pages of the\u00a0Italics.art\u00a0platform. A\u00a0format desired and shared by the consortium of galleries in a collaborative effort with the territories,\u00a0Panorama<\/em>\u00a0is symbolic of a\u00a0commitment\u00a0to expand steadily with a program and alliances that reaffirm the importance and\u00a0role of art galleries\u00a0in an ever-evolving cultural, local and global system.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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Alessandro Varotari, detto il Padovanino, Ecuba e Priamo<\/em>, 1630-40. Courtesy Galleria Canesso \/ Chantal Joffe, Work completed during a residency with the gallery in Venice<\/em><\/em>, 2023. Courtesy the artist and Victoria Miro<\/figcaption><\/figure>\n\n\n\n
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Artists<\/h3>\n<\/div>\n\n\n\n
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Carlo Albacini, Eleanor Antin, Darren Bader, Giacomo Balla, Yael Bartana, Massimo Bartolini, Jacopo Benassi, Cristiano Bianchin, Ambrogio Borghi, Alberto Burri, Gasparo Cairano, Michele Cammarano, Chiara Camoni, Lucia Cant\u00f2, Mircea Cantor, Gianni Caravaggio, Stefania Carlotti, Vincenzo Castellini, Marie Cool Fabio Balducci, Joan Crous, Enzo Cucchi, Radha D\u2019Souza & Jonas Staal, Alberto Di Fabio, Lucio Fontana, Christian Frosi, Piero Golia, Diego Gualandris, Shadi Harouni, Paolo Icaro, Emily Jacir, Chantal Joffe, Luisa Lambri, Armin Linke, Christiane L\u00f6hr, Beatrice Marchi, Nicola Martini, Master of the Madonna in the Cathedral of Spoleto, Fabio Mauri, Mario Merz, Ad Minoliti, Davide Monaldi, Giorgio Morandi, Maurizio Nannucci, Neapolitan Sculptor (circle of Luca Giordano), Nunzio, Alek O., Nicola Pecoraro, Diego Perrone, Robin Rhode, Carl Borrom\u00e4us Andreas Ruthart, Anri Sala, Vincenzo Schillaci, Ettore Spalletti, Giuseppe Stampone, Haim Steinbach, Pascale Marthine Tayou, Marco Tirelli, Luca Trevisani, Tatiana Trouv\u00e9, Alessandro Varotari, known as il Padovanino.<\/p>\n<\/div>\n<\/div><\/section>\n<\/div>\n<\/div>\n\n\n\n

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Panorama L\u2019Aquila<\/em><\/strong> was made possible through the support of the Municipality of L\u2019Aquila <\/strong>and under the patronage of UNESCO<\/strong> and the Ministry of Culture<\/strong>, and with the support of Belmond<\/strong> as main partner.<\/p>\n\n\n\n

This was the second year that Belmond <\/strong>participated as a <\/strong>main partner <\/strong>in support of ITALICS<\/em><\/strong> activities. Its commitment to Italy and the arts community goes beyond hospitality and its properties. The continuation of the partnership further reinforces the common goal of promoting Italy and its territory through art, inviting the public to see the country\u2019s culture and beauty from a unique and original point of view.<\/p>\n\n\n\n

The media partnership with Il Giornale dell\u2019Arte<\/strong> also continues, joined by a partnership with Sky Arte<\/strong>. <\/p>\n\n\n\n

The collaboration with Treccani Arte<\/strong> x Panorama was again renewed as well. With Treccani Arte x Panorama<\/em><\/strong>, the exhibition\u2019s key concepts were chronicled on social networks through Dictionary definitions.<\/p>\n\n\n\n

<\/a>For their collaboration, we thank Arti e Spettacolo Impresa Sociale<\/strong>, Fondazione Giorgio de Marchis Bonanni D\u2019Ocre Onlus<\/strong>, MAXXI L\u2019Aquila<\/strong>, MuNDA Museo Nazionale d\u2019Abruzzo<\/strong>, MUSPAC<\/strong>, Studio Fabio Mauri<\/strong>, and for special participation Accademia di Belle Arti L\u2019Aquila<\/strong>, Conservatorio Statale di Musica \u201cAlfredo Casella,\u201d<\/strong> Convitto Nazionale \u201cD. Cotugno\u201d with Licei Annessi<\/strong> and F\u00f8rma Bakery<\/strong>. <\/a><\/p>\n\n\n\n

Our heartfelt thanks also go to the General Directorate of Museums of the Ministry of Culture<\/strong>, in the person of Director Massimo Osanna<\/strong>, to the Superintendence of Archaeology, Fine Arts and Landscape for the provinces of L\u2019Aquila and Teramo<\/strong>, in the person of Superintendent Cristina Collettini, <\/strong>to the Municipality of L\u2019Aquila and in particular the AQ Sector Projects for Rebirth<\/strong>, <\/strong>and to MuNDA<\/strong>, in the person of Deputy Director Federica Zalabra<\/strong>.<\/p>\n\n\n\n

For support in the cultural mediation project, we thank the FAI<\/strong> Delegation of L\u2019Aquila<\/strong> and the Jemo \u2018nnanzi Association<\/strong>.<\/p>\n\n\n\n

We thank the BPER Banca<\/strong> for granting use of the outdoor spaces of the historic building on Corso Vittorio Emanuele.<\/p>\n\n\n\n

We also thank Forma Edizioni<\/strong> and Masciarelli Tenute Agricole <\/strong>for their technical sponsorships.<\/p>\n\n\n\n

Special thanks go to Bartolomeo Pietromarchi<\/strong> and all those who welcomed Panorama<\/em> into their spaces and made the event possible with their contributions, in particular, Giovanna<\/strong> Cennicola<\/strong>, Eugenia D\u2019Aurelio<\/strong>, Marianna<\/strong> D\u2019Ovidio<\/strong>, the tenants of Palazzo Micheletti, Giancarlo Gentilucci,<\/strong> the Nardis family, Fratelli Navarra, Valeria Pica, Vincenzo Rivera, <\/strong>and Maria Luisa Vicentini<\/strong>.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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Diego Perrone, Maschera dell\u2019idiota (Adolfo Wildt)<\/em>, 2013. Courtesy the artist \/ Gasparo Cairano, Compianto con Maria, San Giovanni Evangelista e Giuseppe di Arimatea (o Nicodemo)<\/em>, 1505 ca. Courtesy Galleria Carlo Orsi<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n
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Robin Rhode, The Moon is Asleep<\/em>, 2015. Courtesy the artist and Tucci Russo Studio per l\u2019Arte Contemporanea <\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Jacopo Benassi, RIVOLUZIONE!<\/em>, 2023. Courtesy the artist and Francesca Minini <\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n
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Lucio Fontana, Crocifisso<\/em>, 1954-55. Courtesy Galleria dello Scudo<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Christiane L\u00f6hr, Pferdehaararbeiten<\/em>, 2010-23. Courtesy the artist and Studio Trisorio<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n
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Lucia Cant\u00f2, Restrizione emotiva<\/em>, 2022. Courtesy the artist, Monitor and Fondazione Elpis<\/figcaption><\/figure>\n\n\n\n
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Giacomo Balla, Espansione Fiore n.17<\/em>, 1929 circa. Courtesy Bottegantica<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Fabio Mauri, Ballerino, Ballerina e Fondale di Anihccam del 3000<\/em>, copy from Fortunato Depero\u2019s mechanized ballet, 1980. Courtesy Collezione Giancarlo Gentilucci Arti e Spettacolo<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n
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Piero Golia, from Ritratto di Giulio II [Raffaello Sanzio, 1511]<\/em>, 2022. Courtesy the artist and Galleria Fonti <\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Nunzio, Avvoltoio<\/em>, 2019. Courtesy the artist and Galleria Mazzoleni <\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n
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Nicola Pecoraro, Focarelli<\/em>, 2021. Courtesy the artist and Ermes Ermes <\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Shadi Harouni, Xan\u00ee Xan\u00ee Xan\u00ee<\/em>, 2021. Courtesy the artist and Galleria Tiziana Di Caro <\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n
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Chiara Camoni e il Centro di Sperimentazione, Disco Tornio<\/em>, 2021. Courtesy the artist and SpazioA<\/figcaption><\/figure>\n\n\n\n

Photo Credits: Alessio Tamborini and Luca M. Fontana <\/p>\n\n\n\n

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Participating galleries<\/h3>\n<\/div>\n\n\n\n
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ADA; Galerie Rolando Anselmi; Alfonso Artiaco; Bacarelli; Galleria Alessandro Bagnai; Bottegantica; Botticelli Antichit\u00e0; Galleria Canesso; Cardi Gallery; Carlo Orsi; Alessandro Cesati; Clima; Galleria Continua; Galleria Raffaella Cortese; Thomas Dane Gallery; Massimo De Carlo; Galleria Tiziana Di Caro; Alessandra Di Castro; Galleria Umberto Di Marino; Ermes Ermes; Federica Schiavo Gallery; Galleria Fonti; Galleria Fumagalli; Gagosian; Galleria dello Scudo; Giacometti Old Master Paintings; kaufmann repetto; Laveronica Arte Contemporanea; Galleria Lia Rumma; Magazzino; Martina Simeti; Mazzoleni, London-Torino; Francesca Minini; Galleria Massimo Minini; Monitor; Maurizio Nobile Fine Art; Galleria Franco Noero; P420; Peola Simondi; Peres Projects; Giorgio Persano; Pinksummer; Porcini; Prometeo Gallery Ida Pisani; Richard Saltoun Gallery; SpazioA; Studio Sales di Norberto Ruggeri; Studio Trisorio; Caterina Tognon Arte Contemporanea; Tornabuoni Arte; Tucci Russo Studio per l\u2019Arte Contemporanea; Federico Vavassori; Victoria Miro Venice; Galleria Carlo Virgilio & C.; Vistamare; ZERO\u2026<\/p>\n<\/div>\n<\/div><\/section>\n\n\n\n

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Panorama L’Aquila<\/em>
Downloads<\/h1>\n<\/div>\n\n\n\n
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The Exhibition guide<\/a><\/strong>

The Agenda<\/a><\/strong>

The Map<\/a><\/strong>

Panorama Off<\/a><\/strong>, places of culture and landscape, exhibitions and events beyond Panorama L\u2019Aquila<\/em><\/p>\n<\/div>\n<\/div>\n\n\n\n

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With the support and under the patronage of<\/strong><\/p>\n\n\n\n

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In collaboration with<\/strong><\/p>\n\n\n\n

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With the special participation of<\/strong><\/p>\n\n\n\n

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Follow us<\/h3>\n<\/div>\n\n\n\n
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Stay updated on Panorama L\u2019Aquila with the ITALICS<\/em> newsletter<\/a><\/p>\n\n\n\n

Follow on Instagram @italics.art<\/a> and the hashtag #PanoramaLAquila<\/p>\n<\/div>\n<\/div><\/section>\n","protected":false},"excerpt":{"rendered":"

A city-wide exhibition curated by Cristiana Perrella 7 – 10 September 2023 After Procida and Monopoli, ITALICS brought the third edition of Panorama to L\u2019Aquila. Since 2021, this multi-site traveling exhibition has been forging connections between art, architecture, antiquity and the contemporary, and the territory and its communities. 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Since 2021, this multi-site traveling exhibition has been forging connections between art, architecture, antiquity and the contemporary, and the territory and its communities. Sunday 10 September was the closing of…","_links":{"self":[{"href":"https:\/\/italics.art\/en\/wp-json\/wp\/v2\/pages\/21803","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/italics.art\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/italics.art\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/italics.art\/en\/wp-json\/wp\/v2\/users\/6"}],"replies":[{"embeddable":true,"href":"https:\/\/italics.art\/en\/wp-json\/wp\/v2\/comments?post=21803"}],"version-history":[{"count":91,"href":"https:\/\/italics.art\/en\/wp-json\/wp\/v2\/pages\/21803\/revisions"}],"predecessor-version":[{"id":24992,"href":"https:\/\/italics.art\/en\/wp-json\/wp\/v2\/pages\/21803\/revisions\/24992"}],"up":[{"embeddable":true,"href":"https:\/\/italics.art\/en\/wp-json\/wp\/v2\/pages\/24959"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/italics.art\/en\/wp-json\/wp\/v2\/media\/25120"}],"wp:attachment":[{"href":"https:\/\/italics.art\/en\/wp-json\/wp\/v2\/media?parent=21803"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}