Bipersonale A.T. Anghelopoulos e Micaela Legnaioli

A cura di Sabrina Consolini

Lords Luxury, Roma

From 24/10/2018 to 31/12/2018

Double personal entitled “Passages-Passages” by A.T. Anghelopoulos and Micaela Legnaioli curated by Sabrina Consolini in the new spaces of the Lords Luxury, an art meeting soon to be opened in Via del Crocifisso in Rome. The exhibition, which stages two different and refined artistic visions of the two artists, both Roman by adoption, A.T. Anghelopoulos (Teramo 1963) and Micaela Legnaioli (New Delhi 1970), is among the exhibition events of the III Edition of the Rome Art Week 2018, the week of contemporary art that will be held from 22 to 27 October and that will involve the capital with numerous artistic events with free admission.

On display more than twenty works, including paintings and works of materials and both on display three different cycles of works for Anghelopoulos the new Point of View, the Passages and the Inner Life and for Legnaioli the Traces and the new series of works on metal in copper and zinc.

Anghelopoulos and Legnaioli represent two exemplary points of view in the current artistic panorama and, of both, one of the most famous and important Art Historians, Professor Claudio Strinati, was also involved. The exhibition is a moment of encounter of two visions that, in the difference, share the same interest and love for art and the characters of history from both “portrayed” in an innovative way, in the name of an idea of contemporary art, which recovers harmony and beauty with very refined results.

There is a beautiful and tight dialectic, even spatial, between the two artists with the last welcoming blacks and the shaded golds of Anghelopoulos’ Point of View that create openings, unexpected thresholds of “cuts” towards new horizons and beyond the two-dimensional space of the canvas. “His perception sometimes reminds us of Klee, sometimes Rothko”, Strinati wrote about him; while the Traces of Legnaioli’s works are “paths of three-dimensional labyrinthine fingerprints in relief”, as Strinati defined them, similar to the “Cretto di Burri a Gibellina”.

The last two series of Micaela’s works on metal, very refined and precious, are all made on large sheets of zinc for women and copper those of men both, engraved, carved and oxidized with acids and salts. Material works that, in the concretions and in the different colors, want to represent the character and life experiences of the characters represented. His works invade the space of the viewer on the contrary. The two artists seem to remember the different but complementary visions of space that, in Baroque architecture, animated Bernini and Borromini.

Anghelopoulos finds the natural space narrow and seeks a spatial expansion, while Legnaioli contracts it with the space of the observer and adores the masses whose profiles she sharpens and exposes them to grazing light.

For the expressive elegance and complexity of the contents, which look at each other, there is for the viewer a moment of pleasant observation of the works and meditation on the results, different and personal, of two remarkable artists.

Translated with