A video remembering some scenes from my solo exhibition “Colors of an Apocalipse / The decomposed publicity posters”. It took place in LENNO, Lake Como, exactly 5 years ago, from 3 to 5 July, 2015, in the amazing setting of St. John Baptistery (XI Century).  The octagonal Baptistery and its enchanting structure  gave strenght and evocative power to my exhibition which displayed 25 works from my “Lacer/actions” project (macro photos of torn advertising poster on outdoor billboards, natural cracks and scratches, urban and industrial corrosions). Each artwork was introduced by a phrase  from “The Apocalypse of John”. Images and words to suggest a trip through hopes and tragedies of human life and beings. These some pictures from that beautiful event welcome by lot of visitors. Video: Soundtrack: God of The Drow – Audiomachine

Lenno Lake Como 2015

Photo by Roberto Alborghetti - Lenno, Lake Como, 2015 (8)

Colors of an Apocalypse Show was exceptionally displayed at the Romanesque Baptistery of Lenno, Lake Como, Italy.  



The Limonaia in Boboli Garden is hosting an exhibition on the Age-Old Bond between men and horses The horse was one of the last beasts to be tamed by man.

It was only in the latter part of the fourth millennium BC, somewhere on the central Asian tundra, that the horse ceased to a mere prey and its fate began to interweave ever more closely with that of man.

Curated by Lorenza Camin and Fabrizio Paolucci and hosted in the 18th century Limonaia in the Boboli Garden in Florence from 26 June to 14 October, the exhibition sets out to explore this age-old bond through a selection of items, often overlooked in exhibitions to the benefit of more eye-catching works, illustrating the myriad facets of a relationship that impacted every aspect of daily life.

“The place where the taming of the horse first occurred and was further developed is still one of the most hotly debated issues in scholarly literature today. But it would seem illogical to imagine that the horse began its age-old history of coexistence with man anywhere other than in eastern European and the Eurasian tundra”, Camin and Paolucci write in the catalogue published by Sillabe.

Tools required to master the beast (bits, snaffle bits, spurs, stirrups and so forth) are showcased alongside works of art selected to illustrate, as directly and as realistically as possible, the leading role played by the horse in the ancient world. The circa 100 items on display, from dozens of Italian and foreign museums, cover a period of over 2,000 years stretching from the Early Iron Age to the later Middle Ages.

The numerous items on public display for the very first time include the Populonia Gig. This extremely rare example of an Etruscan carriage, discovered in the so-called “Fossa della Biga” (or “Two-Horse Chariot Ditch”) in the mid-20th century, has been reassembled following recent restoration commisssioned expressly for this exhibition. The gig, in wood, iron and bronze and dateable to the early 5th century BC, was a slow vehicle used to carry personalities of rank and for wedding processions and funeral corteges.

As Eike Schmidt, Director of the Gallerie degli Uffizi, so effectively puts it:  “The whole concept of this exhibition appears to be encapsulated in one of the exhibits on display, a splendid pair of 4th century BC bronze and ivory chanfrons designed to protect the horse’s forehead, nose and muzzle: the silhouette of the metal sheeting, shaped and embossed follows the outline of the horse’s elongated anatomy, but on the inside, far from displaying the anatomy of a horse, it depicts the features of a human face sporting a helmet on its head. The horse and its rider become a single, fused being. From the Old Stone Age to the end of the 16th century, the exhibition explores this relationship which has marked the history of mankind from the outset and which is still so surprisingly relevant to our own time”.

“Riding Through Time”, a multivision product devised and directed by Gianmarco D’Agostino, completes the exhibition with some 300 square metres of screenings. The visual correspondence between the exhibits on display and images from life paired with an immersive soundtrack will unquestionably enrich the visitor’s exploration of the friendship between man and horse down the centuries.

The exhibition catalogue is published by Sillabe.



Until next August 20, there is the opportunity to visit in Turin, at MIIT Museum (Corso Cairoli 4), the “TEMPO. MEMORIA: Daring to Dream Again” exhibition. The project is curated by Sergio Gomez (curator and owner of Art NXT Level Project/33 Contemporary Gallery) with the Cultural relations partnership by Renèe LaVerne Rose (ACS Publisher and Editor in chief). The exhibition explores the themes of TIME and MEMORY from a variety of world perspectives. From cultural, political, psychological, religious, or personal view points, curator Gomez invited a selective group of international artists to visually articulate and interpret to their discretion ideas of time passing, memory, dreams and our personal perceptions on such concepts.

The exhibition features twenty-five extraordinary visual artists representing the United States (Chicago, Illinois, New York City, Miami, Florida), Mexico, Korea, Philippines, Peru, Germany and Iran. This international exhibition invites the viewer to an exploratory journey experiencing global interpretations of TIME and MEMORY while reflecting on their own personal emotions and memories.

The MIIT is a new museum exhibition space created by Guido Folco and located in the heart of the city of Turin, Italy, in an ancient palace of the 1700’s and in a fervent neighborhood of galleries, museums and foundations. It is strategically located a few steps from the Egyptian Museum, the National Museum of Cinema at the Mole Antonelliana, Palazzo Madama, the MAAO Museum of Oriental Art, the Royal Palace, the GAM and to all major cultural and tourist attractions of the capital. The word “MIIT” in some foreign languages, evokes the idea of “meetings” cultural and artistic, recovering from the English word “meet” and the German “mit” the sense of sharing and exchange of experiences and knowledge. Partners and collaborators of the MIIT include museums, foundations, academies, auction houses, universities, galleries and public and private collections, archives of historical art, the Italian Cultural Institutes around the world, and the Italian company Made in Italy which the MIIT and its monthly magazine “Italia Arte” have established working relationships and cultural connections over the years.





The Forte Belvedere in Florence is getting set to host this year’s edition of its annual fixture with great art.  Following the two international exhibitions showcasing the art of Giuseppe Penone and Antony Gormley, the former Medici fortress’ bastions this year will be hosting the works of Jan Fabre, one of the most innovative and important figures on the contemporary art scene.  A “total” artist, Fabre, who born in Antwerp in 1958, lets his imagination run riot in the very different spheres of sculpture, drawing and installation, performance art, film and the theatre

The exhibition, entitled Jan Fabre. Spiritual Guards, promoted by the Comune di Firenze, will pan out between the Forte Belvedere, Palazzo Vecchio and Piazza della Signoria.  In fact, it will be one of the most complex and multifaceted exhibitions that this Flemish artist and author has ever produced in any public space in Italy.  For the very first time, a living artist will be expounding his art in three venues of outstanding historical and artistic importance at once.  Roughly one hundred of Fabre’s works dating from 1978 to 2016 will be on display, including bronze and wax sculptures, performance films and works made of wing cases of the jewel scarab.  Fabre will also be presenting two new works specifically devised and produced for this occasion.  The premiere is going to be an event of outstanding visual impact with strong symbolic connotations:  on the morning of 15 April, two of Fabre’s bronze sculptures will be – temporarily – joining the open-air museum that is Piazza Signoria.  One of them, an exceptionally large work entitled Searching for Utopia, will interact with the equestrian monument to Grand Duke Cosimo I, a Renaissance masterpiece by Giambologna, while the second, called The man who measures the clouds (American version, 18 years older), will stand proudly on the Arengario outside Palazzo Vecchio between the copies of Michelangelo’s David and Donatello’s Judith.  In both works observers will be able to identify the artist’s own features in his dual capacity as knight and guardian, as a mediator between heaven and earth, between natural and spiritual forces. Against art that placed itself in the service of political and financial power – the art of Piazza della Signoria with its marble giants (the David, Hercules and Neptune) and its biblical, mythological and local figures (Judith, Perseus and the Marzocco Lion of Florence) – Jan Fabre pits an art seeking to depict and to embody the power of the imagination, the mission of the artist as “spiritual guard”.  And he does this in a square designed and used since the Renaissance as a figurative agora` and stage setting, a square which has become an iconic paradigm of the relationship between art and the public space, and in which the symbolic and spectacular function of the modern monument has been configured in exemplary language. Also starting 15 April, Palazzo Vecchio will be hosting a series of sculptures interacting with the frescoes and artefacts housed in some of the rooms open to the public, particularly the Quartiere di Eleonora, the Sala dell’Udienza and the Sala dei Gigli.  The works on display will include a huge globe 2.5 metres in diameter and totally clad in iridescent beetle wing cases, its shape and size interacting to perfection with the celebrated globe in the Sala delle Mappe geografiche, made by Ignazio Danti in the 16th century.


The following month will see the inauguration of the exhibition at the Forte Belvedere, on 14 May, where the bastions and the villa will be showcasing about sixty works of art in bronze and in wax, along with a series of films focusing on some of the artist’s historic performances.  Curators Melania Rossi and Joanna De Vos, together with the project’s art director Sergio Risaliti, have chosen the Forte Belvedere as the thematic heart of the Jan Fabre. Spiritual Guards exhibition both for its spatial characteristic and for its historical connotations. The fortress once served not only to defend Florence from outside attack but also to protect the Medici family in troubled times, thus it was a stronghold for both external and internal defence suggesting a journey through the life, the ambitions and the woes of the powerful Medici lords and alluding to opposing human perceptions and sensations such as control and abandonment, but also to opposing needs and desires such as armed protection and spiritual elan so deep and so deep-rooted as to influence the form of architecture and the configuration of natural space, especially here at the Forte Belvedere where the need for protection in the awareness that one is still defenceless is particularly easy to grasp.

These ambiguities which form not just history but the entire experience and vitality of mankind, will be represented by two sculptural alignments consisting in seven bronze scarabs placed on the fort’s lookout posts and a series of full-figure self-portraits of the artist – all of them maintain the original silicone bronze colour for that reason they have glow reflecting surrounding countryside like a spiritual halo – which will be populating the corners of the bastions outside the villa, surrounding it.

The scarabs are angels of metamorphosis, guardians who symbolise in ancient religions and in Flemish and Italian vanitas paintings the transition between the earthly dimension and the afterlife with their ceaseless movement.  At the same time, they have a splendid carapace which dramatically highlights the vulnerability of that “regal” body. Thus also Jan Fabre, who defines himself, lives and expresses himself as a knight of despair and a warrior of beauty, who sheds and dons his weapons by deploying his army in its shining, iridescent armour in Florence’s highest point.

This legion is called on here to tell of devotion to life, to defend the fragile and pure beauty that art is capable of generating, against an invisible foe who comes from inside and outside at once, always ready to strike and to wound.

The exhibition will continue on the first floor of the villa, which will be open to the public again for the first time in many years, with wax sculptures and with films of the artist’s performances in a setting of contiguity and continuity both with the works on display outside and with the magnificent Florentine cityscape.

The spectacular bronze integration in Piazza della Signoria and the work produced with jewel scarab wing cases on display in Palazzo Vecchio will be interacting with the urban fabric and with one of the most visited historical palazzi in the city, forming a perfect visual and conceptual complement to the exhibition. The exhibition’s motto and device, Spiritual Guards, should be interpreted as an encouragement to live a heroic life, be it in war or unarmed in defence of the imagination and of beauty.

It is worth recalling here that Jan Fabre, in the course of his long career which began in the 1970s, has a long history of interaction with Florence, where his work has been shown in many collective exhibitions and where he has also brought several of his productions for the theatre.  Two of his bronze busts from the Chapters series, in which he portrays himself with astonishing horns and donkey’s ears, joined the Uffizi collections in 2012, while he received the Michelangelo Award for sculpture in the second edition of the Settimana Michelangiolesca in 2015.



Technical Data and Exhibition Services


Exhibition title

Jan Fabre. Spiritual guards


Exhibition to run

Piazza Signoria and Museo di Palazzo Vecchio 15 April – 2 October

Forte di Belvedere, 14 May – 2 October


Exhibition venue

Piazza Signoria, Florence

Museo di Palazzo Vecchio, Piazza Signoria, 1 – Florence

Forte di Belvedere, via di San Leonardo, 1 – Florence


Exhibition promoted by

Comune di Firenze


Art Director

Sergio Risaliti


Exhibition curated by

Joanna De Vos and Melania Rossi


Exhibition organised and coordinated by

Associazione MUS.E


With the support of the

Guy Pieters Gallery


Exhibition layout by

Associazione MUS.E


Opening times


Piazza Signoria

The square is freely accessible at all times


Palazzo Vecchio

From April to September
Daily except Thursday:  9.00 am –11.00 pm
Thursday:  9.00 am – 2.00 pm

From October to March
Daily except Thursday:  9.00 am – 7.00 pm
Thursday:  9.00 am – 2.00 pm


Forte di Belvedere

Daily except Monday:  10.00 am – 8.00 pm
Closed Monday



(Published in May 2015)

Forma Edizioni Srl


Information and website


Communications by

Associazione MUS.E






My upcoming solo exhibition – “Colors Of An Apocalypse 2015″ – will take place in a beautiful setting: the amazing Romanesque Baptistery on Lake Como, Italy. My show is scheduled for 3 days, on July 3-4-5,  in the beautiful Lenno town, in the historical center –  50 meters from the lake shore! – where we admire one of the most stunning examples of Romanesque art in Northen Italy. It stands on the left side of the parish Church, where we may find an incredibile Romanesque crypt.

BANNERThe Baptistery is dedicated to St. John (The Baptist) and built in the 11th Century. Its structure looks incredibly simple and essential: we see a squared bell tower and an apse pointed to north. The octagonal plant has a simbolic meaning: in fact number eight coincide with the 7 days of creation plus the one of the Resurrection. Other characteristics signs: the vault, the portal with his three archs, and the inside where you can find fragments of medieval frescos and a baroque pictorial cycle.

The octagonal Baptistery and its enchanting structure will give strenght and evocative power to my exhibition which will show 25 works from my “Lacer/actions” project. Every artwork will be introduced quoting a phrase  from “The Apocalypse of John”. Images and words to suggest a trip through hopes and tragedies of human life and beings.

Follow the flock of doves… “The Apocalypse” is approachin’…     

banner header 2 - Copia (2)


My next solo exhibition – “Colors Of An Apocalypse 2.0” – will take place in this capturing and amazing Romanesque Baptistery on Lake Como, Italy. My show is scheduled for 3 days, on 3-4-5 July, 2015, in the beautiful Lenno town, in the historical center –  50 meters from the lake shore! – where we admire one of the most stunning examples of Romanesque art in Northen Italy. More news comin’ soon… In the meantime enjoy some photos about the enchanting St. John Baptistery (XI Century) on Lake Como.



LaceR/Actions is a multidisciplinary project and research about the apparent chaos of ripped and decomposed publicity posters, natural cracks, crevices, scratches and urban and industrial signs and tokens (during my research around the world  I  collected so far about 55.000 images). Transferred on canvases, reproduced on lithographic prints or textiles (as pure silk), re-built on collages or scanned in videoclips, the images of torn and disfigured posters and natural cracks give new meanings and expressions to paper lacerations and matter decomposition.

One of my most recent shows (“Colors of an Apocalypse: An Intrigue for the Eyes and Mind from the Decomposed Publicity Posters”) was displaced for 100 days in the enchanting Aldobrandesca Fortress (XIII Century) in Tuscany (Piancastagnaio, Siena, Italy). In the last two years I was on these projects:  “Contemplations and Lacer/actions” (album, videoclip, installations, inspired by Thomas of Bergamo Scripts, 1563-1631), “Atelier of Colors and Emotions” (a project which involved autistic kids), “Lacer/actions on Aluminium” (11 installations for Fai Private Collection, Italy). My works are part of Contemporary Art Collection (Mercatello sul Metauro, Marche, Italy) and participating to “An Exhibition, a Restoration” in Norcia (Umbria, Italy) from July 12 to September 7, 2014. Now I’m working on “The Ghost Bus” project, in collaboration with Bartons Plc and Act Group, Beeston, Nottingham, UK (January-February 2015).

My next solo show (“Colors of an Apocalypse 2.0”) will be running on Lake Como, Lenno, Italy, on 3-4-5 July, 2015, in a special and spectacular location: the St. John Baptistery (XI Century), a beautiful example of Romanesque Art.




Five centuries ago, a few nomadic glass-blowers built a makeshift kiln in a rugged valley of the Northern Vosges. These pioneers were to be the very first in the extraordinary industrial and artistic adventure which continues today. Nestling in adjacent valleys, 3 exceptional sites have undertaken to make their sagas known in the very places in which they came into being…

A unique opportunity to discover the magic of a cultural, natural inheritance preserved by the dedication of men (download the Christmas Program beneath).  






“Kazuyoshi Nomachi: Le Vie del Sacro” (The Ways of the Sacred) is the title of a great show hosted in Rome (Italy) at La Pelanda, Centro di Produzione Culturale, Piazza Orazio Giustiniani 4, from December 14, 2013 to May 4, 2014. 

The exhibition is described as the largest retrospective devoted to Kazuyoshi Nomachi as well as the first time that the work of Japanese photographer has been exhibited in the West. There are about 200 images in the exhibition which is divided into seven sections spanning the photographer’s 40-year career. Nomachi has documented various peoples and ancient traditions in some of the world’s most remote places, always obtaining a level of discretion, even sacredness in his work.

 Kazuyoshi Nomachi has always been a documentary photographer, since his first trip in the Sahara when he was twenty five years. In Africa was fascinated by the great outdoors and the strength of the people who live in such difficult environments. For over 40 years, around the theme “the prayer of the search for the sacred”, he turned his attention to the most diverse traditional cultures which            are the expression of the peoples who inhabit the lands harsher, to the four corners of the world. Nomachi was able to capture the spirituality that runs through the landscapes of unique and extraordinary beauty, where the portraits and human figures assume an absolute dignity and blend with the context in almost pictorial            compositions, dominated by a dazzling light, real and transcendental at the same time, as we admire in the wonderful exhibition in Rome.





Ethiopia is a land of plateaux and deserts, divided in two by the Rift Valley, where tectonic activity continues to lacerate the African continent. The country is characterized by great diversity, and the areas inhabited by man range from uplands at an altitude of 3,500 meters to desert 115 meters below sea level. Eighty-three ethnic groups live here, each holding fast to their own culture. In the midst of a “Sea of Islam”, a Christian culture, which has been passed on from generation to generation since ancient times, still survives in these isolate uplands at an average altitude of 2,500 meters. During its 3,000-year history, Ethiopia has always maintained close relations with Arabia and Palestine across the Red Sea, rather than with Black Africa. In the mountains of North Ethiopia, I have seen churches carved out of the rocks and isolated monasteries where worship is the same as it was in biblical times.”

Kazuyoshi Nomachi


The great river Ganges originates in the Himalayan glaciers, flows across the Indian plains for 2,500 kilometers and empties into the Bay of Bengal. This muddy river, swollen by monsoon rains, is a perennial source of irrigation for Indian agriculture, and its waters, profoundly linked to the veneration of Shiva, are worshipped. The sins of those who immerse themselves in the Ganges are washed away, and people who scatter the ashes of their dead upon its waters allow the deceased’s soul to be reborn in heaven, freed from the sufferings of reincarnation. I have visited several of the many sacred places along the banks of the river, which are always crowded with pilgrims. At the Maha Kumbh Mela festival, the main Indian religious event that astrologers have decreed should take place every 12 years, tens of millions of Hindus gather to pray, participating in ceremonies and rituals inherited from ancient India.”

Kazuyoshi Nomachi


Islamic faith, that advocates the worship of Allah as the one God, was founded in the 7th century by Muhammad, a merchant in Mecca. One hundred years later it had taken a firm hold and expanded to constitute a vast cultural area stretching from the Iberian peninsula to India. The teachings of Islam – whose heart lies in Mecca where the Kaaba, the symbol of Allah, is located – have spread throughout the world, and today there are 1.6 billion believers. According to the Quran, all Muslims must undertake a pilgrimage to Mecca at least once in a lifetime. I had the privilege of photographing the sacred site thanks to a Saudi publisher.

The pilgrimage is the fulcrum of Islamic faith, the source of its vitality. The Shiite Muslims live mainly in Iran and the surrounding regions. Since their credo is influenced by the religious beliefs of ancient Persia, there are facets of Shiite Islam that are not evident in the strict monotheism of the Arabian Peninsula.”

Kazuyoshi Nomachi


The land gradually becomes more arid as you cross over the high Atlas Mountains then head south; the road leads to an extremely dry area composed of layers of sand and rock. As soon as you get past the hostile, towering rocks, you find yourself in a world of sand, sculpted in breathtaking, undulating dunes. The vast emptiness continues, even after driving for three or four days and is only broken by the green patches of the oasis.The magnitude of Sahara does not lie solely in its vastness: until a few thousand years ago, it used to be a part of a wet climate zone as can be seen from the images depicting life and animals carved in the rocks of the mountainous areas over a period of 8,000 years.

When I discovered the Sahara in 1972, I was completely captivated by it. On my return trips I felt time and again that I had perceived its true nature, which is hardly visible and seems almost hidden by a veil”.

Kazuyoshi Nomachi


I was 34 years old when, in October 1980, I began exploring the Nile in a jeep that I had brought from Europe. The diverse nature and the people along the Nile absolutely enchanted me. I was particularly fascinated by a tribe of herdsmen living with their animals, like they did in prehistoric times, in South Sudan. Sadly, this region has been turned into a wasteland by the endless civil war and the famine that began in 1983. When South Sudan gained independence in 2011, I had a great desire to see what had happened to that tribe of breeders with my own eyes. After 32 years, I stood again in the endless wilderness where livestock and men coexist. Despite the fact that modern civilization has now penetrated the remotest regions in Africa, the lifestyle of these herdsmen has basically remained the same: they still live amidst the smoke from burning cow dung to ward off the mosquitoes.”

Kazuyoshi Nomachi


My first travels to Tibet date to the end of the 1980s. The Tibetan plateau stretches into the heart of Asia, way beyond the Himalayas. The average altitude is 3,500 meters in these cold uplands, where vegetation is scant.

The people survive on pasturage and make their living raising yak, which are acclimatized to the high altitude. Tibet is a devout Buddhist country. After inheriting Buddhism from India, Tibetans deepened it through their unique sensitivity and their view of life, forged by the harshness of a rigid climate. In contrast to other Buddhist countries, where the religion became vulgarized over time and gradually distanced itself from the original form, the Tibetans have shaped their society through the enrichment of Buddhist teachings founded on the theory of reincarnation. Western countries now refer to Tibetan Buddhism as ‘the’ Buddhism. This is partly due to the Tibetans’ optimism and gentleness, which stem from their belief in the equality of life, nurtured by the finite ecology of Tibet and the Himalayas.”

Kazuyoshi Nomachi


The North and south Americas were cut off from Eurasia until Columbus discovered the ‘new continents’, while the original Inca culture had expanded to the high Andes in the South American continent: however, when the Spanish arrived there in the 16th century, the vast Inca empire was destroyed in a flash. It was a tragic encounter between the strongest nation in the world, which sailed across the Atlantic to colonize the Inca, and a people who had no knowledge of the outside world. The Spanish conquerors forced a part of the population of the Andes to convert to Christianity. The Inca secretly incorporated the traditional Inca faith in the Christian religion, transforming it into a unique form of Andes Christianity. The origin of the Quyllur Rit’i pilgrimage, on which I went in 2004, lies in the legend that Jesus Christ incarnate appeared on a high mountain near Cusco, at a place the Incas believed to be holy ground.”

Kazuyoshi Nomachi



Kazuyoshi Nomachi was born in Japan in 1946 in Kochi Prefecture. He studied  at Kochi Technical High School and started taking photographs then as a teenager. In 1969 He studied photography under Takashi Kijima. In 1971 he began his career as a freelance advertising photographer and in the next year he made his first trip to the Sahara where he was shocked to see the strong life of the people living under the harsh environment of the area. This made him to switch his career to  photojournalism.

Through his long experience at the extreme dryness of the Sahara, he gained an inspiration from the Nile which was fostered as the theme, The Nile ever lasting water flow that never dry up while running through the dryness of the Saharah. With this theme, from 1980 he started his coverage of the White Nile from the Nile Delta up to its first drip of water at an iceberg in Uganda and up the Blue Nile to its origin at the highlands of Ethiopia. The coverage of the two flows allowed him to capture the images of the strength of the environment and the people of this vast region of Africa.

Since 1988 he turned his attention to Asia. With the occasion of his coverage of the western areas of China, he got attracted with the people living at the extreme altitude of Tibet and the Buddhism. This encounter led to his visit to almost whole area of Tibetan cultural zone and initiated his visit to the origins and the whole area of the sacred Ganges which is also the roots of Hinduism from 2004 to 2008. From 1995 to 2000 Nomachi had access to the holiest city of Islam and travels for five years in Saudi Arabia, having the very opportunity to photograph the largest annual pilgrimage to Mecca and  Medina. It had been the first to document so deep and wide the miraculous pilgrimage of over 2 million Muslims towards their holy city, Mecca.

From 2002, he visited the Andes highlands, Peru and Bolivia with a theme of the blending of the catholic belief with the Inca civilization. His visit to this area still continue since then. Concentrated in 12 major anthological issues, his photographs have been published worldwide and appeared in major photo magazines, such as The National Geographic, GEO and Stern. The work carried out in the Sahara, along the Nile, in Ethiopia, Tibet and Arabia, have aroused great admiration over the years , even in Western countries and have won numerous awards, including the Annual Award of the Photographic Society of Japan in 1990 and 1997 and the Medal of Honor with Purple Ribbon in 2009.


The Galleria del Costume (Palazzo Pitti, Florence; from December 3, 2013 to  May 18, 2014) opens its doors to an accessory not destined to pass unnoticed. This will be the first monographic show dedicated to hats.  The Museum’s collections of this accessory, attributable to the generosity of many donors, amount to more than one thousand items usually kept in storage.  Only a part of these will be exhibited. Most of items on show are by famed fashion houses including Christian Dior, Givenchy, Chanel, Yves Saint Laurent, John Rocha, and Gianfranco Ferré.  There will also be a substantial number of items by celebrated international milliners of the present and past, such as Philip Treacy, Stephen Jones, Caroline Reboux, Claude Saint-Cyr and Paulette.  Finally, this will also be the first show to exhibit creations by Italian and Florentine milliners, some of them all but unknown.

The hat thus becomes a ‘work’ of art with its aesthetic harmony consisting in its ‘sculptural’ conformation, chromatic component and ornamental elegance. Superintendent for the Polo Museale Fiorentino, Cristina Acidini writes:  «This exhibition turns its attention to the changeable and subjective hat, the hat as a “work of art”, the hat as an “object of design” of the XX century and of the third millennium.» 

Director of the Galleria del Costume di Palazzo Pitti, Caterina Chiarelli stresses that hats can be studied from the historical-artistic viewpoint or they can be interpreted under the purely aesthetic profile, taking the liberty to formulate judgments or to express oneself using all-inclusive adjectives like “nice”, “imaginative”, “fantastic” and “fun”. The element of play prevails over the educational purpose in this exhibition and this is the message we want to launch and that Katia Sanchioni writes about.

The exhibition presents important loans from Cecilia Matteucci Lavarini, a private collector of haute couture and an illustrious donor of the Galleria del Costume, which are characterised for their value, taste and style.  This is also the opportunity to exhibit the extraordinary sketches MaestroAlberto Lattuada has created especially for the show, as well as to draw attention to the specimens created by Clemente Cartoni, famous Roman milliner in the 1950s and 60s.

The exhibition promoters are:  Ministero dei beni e delle attività culturali e del turismo, Direzione Regionale per i Beni Culturali e Paesaggistici della Toscana, Soprintendenza Speciale per il Patrimonio Storico, Artistico ed Etnoantropologico e per il Polo Museale della città di Firenze, Galleria del Costume di Palazzo Pitti, Firenze Musei. The show also benefits from the contributions of the Consortium Il Cappello di Firenze (Angiolo Frasconi, bettina®-Raffaello Bettini, Luca della Lama produced and distributed  by Facopel Produzione, Grevi, Corti by Cleò, Marzi Cappelli Firenze, Nanà Firenze by MazzantiPiume, Luigi & Guido Tesi, Soprattutto… Cappelli, Trendintex, Memar, Fratelli Reali & C spa, Santelli Francesca, Inverni Firenze 1892, Michelagnoli Giuseppe & Figli, Ambuchi e Bandinelli).  The show will exhibit some of the most characteristic specimens by the major Tuscan firms of the hat-making sector, heirs of the old artisanal production of the Straw Hat of Florence. The catalogue published by Sillabe contains historical-scientific profiles by Simona Fulceri and texts by Katia Sanchioni, Aurora Fiorentini, Dora Liscia Bemporad, and Nicola Squicciarino.



Technical data


Ministero dei beni e delle attività culturali e del turismo

Direzione Regionale per i Beni Culturali e Paesaggistici della Toscana, Soprintendenza Speciale per il Patrimonio Storico, Artistico ed Etnoantropologico e per il Polo Museale della città di Firenze, Galleria del Costume – Palazzo Pitti Firenze Musei

Exhibition venue

Galleria del Costume – Palazzo Pitti

Exhibition to run

3rd December  2013 –  18th May 2014

Exhibition directed by

Caterina Chiarelli


Simona Fulceri, Katia Sanchioni

Exhibition secretariat

Silvia Parrini, Susanna Sordi


Exhibition produced and managed by

Opera Laboratori Fiorentini – Civita Group



Silvia Sicuranza

Complementary services office

Simona Pasquinucci, Veruska Filipperi, Angela Rossi

Exhibition office

Sabrina Brogelli, Monica Fiorini, Marco Fossi; Salvatore Vicario


Exhibition layout

Mauro Linari

Exhibition layout produced by

Opera Laboratori Fiorentini – Civita Group

With the coordination of Leonardo Baldi

Restoration of the hats

Opera Laboratori Fiorentini – Civita Group

With the coordination of Simona Fulceri with Annalisa Alecci, Olga Bocchicchio, Silvia Frasca, Silvia Gozzi, Vitina Telesca


Communication curated by

Opera Laboratori Fiorentini – Civita Group


Coordination, communication  and public relations

Mariella Becherini Ph.+39 055. 290383 –

Press office

Salvatore La Spina – Ph.+39 055 290383 – Mb. 331 5354957 –

Barbara Izzo and Arianna Diana – Civita – Ph.+39 06 692050220-258 – Mb. 348 8535647 –

For Florence and Tuscany

Camilla Speranza – Ph.+39 055 217265 – Mb. 333 5315190 –

Image coordination

Laura Salomone – Civita




curated by

Simona Fulceri, Katia Sanchioni



At Galleria Palatina (Palazzo Pitti, Florence, Italy) an exhibition opened on one of the most significant paintings in the Medici collections, The Allegory of Patience, which belonged to cardinal Leopoldo de’ Medici and is today held in the Sala di Prometeo in the same Palazzo Pitti. Initially attributed to Parmigianino in the inventories of Palazzo Pitti, catalogued in the museum’s first guides under the name of Francesco Salviati, and later attributed to Girolamo Siciolante by Federico Zeri, the painting is today recognised as fruit of the collaboration between Giorgio Vasari and Spanish artist Gaspar Becerra. Its complex collectors’ history involves important figures tied to the court of Cosimo I and Giorgio Vasari himself.

The first of these was Bernardetto Minerbetti,bishop of Arezzo and ambassador of Cosimo I, a refined man of letters and patron of the Renaissance philosophical and literary academy known as the Accademia Fiorentina. Shortly after 1550, he requested Vasari to execute a painting that in a new and emblematic manner would represent the principal virtue of his character, that is to say the art of Patience. Vasari accepted and proposed to his patron an invention inspired by ancient sculpture, enriched by a refined symbolic repertory alluding to time and to the life of man. The invention took the shape of a young woman chained to a rock, patiently waiting for the drops of water falling from a vase to corrode the stone and thus set her free. This scholarly and very cultured image would become quite popular far beyond the borders of Florence, soon reaching the Ferrara court of Ercole II d’Este who did not hesitate to use it in his ‘impresa’. In fact, a few years after Minerbetti’s painting, Duke Ercole II d’Este commissioned a new version of the Patience from Camillo Filippi, intended for the so-called “Camera della Pazienza” in the tower of Santa Caterina of his castle in Ferrara. The Duke also introduced the same personification on the verso of a famous medal that Pompeo Leoni coined in 1554, on the base of a bust sculpted by Prospero Sogari Spani and in a series of coins produced by the mint of Ferrara.

Anna Bisceglia curates the exhibition and the catalogue published by Sillabe to investigate these elements along the underlying themes of patronage, literary sources, and artists’ explorations against the complex and fascinating backdrop of the Italy of royal courts. Alongside the Vasari Allegory of Patience, visitors will see the same theme in an artwork that Camillo and Sebastiano Filippi executed in 1553-54 and currently in the Galleria Estense of Mantua. This version also inspired the portrayal of this virtue on the base of the bust of Ercole II sculpted by Prospero Sugari, known as Clemente (1554), and on the medals that Pompeo Leoni executed for the Duke (Florence, Bargello, 1554 ca.). Moreover, a large painting from the Galleria dell’Accademia of Venice will illustrate the complex genesis of this iconographic motif. It was part of a wooden coffered ceiling executed for the Corner family in 1542. Finally, the exhibition will also present the little painting on wood from the Uffizi, mistakenly known as Artemisia mourns Mausolus, which instead has been recognised as a Patience, and several drawings and engravings from the Gabinetto Disegni e Stampe of Florence and the Cabinet des Dessins du Louvre.

P.Leoni - Duca Ercole


Exhibition Credits


Ministero per i Beni e le Attività Culturali e Turismo, Direzione Regionale per i Beni Culturali e Paesaggistici della Toscana, Soprintendenza Speciale per il Patrimonio Storico, Artistico ed Etnoantropologico e per il Polo Museale della città di Firenze, Galleria Palatina, Firenze Musei

Exhibition Venue

Galleria Palatina – Palazzo Pitti, Florence, 26 November 2013 – 5 January 2014

Exhibition curated and Catalogue edited by Anna Bisceglia

Exhibition directed by Alessandro Cecchi

Exhibition installation designed and directed by Mauro Linari

Exhibition installation produced by Opera Laboratori Fiorentini – Civita Group

Coordination, communication and public relations: Opera Laboratori Fiorentini – Civita Group

Ticket prices

Full price: € 13.00; Concessions: € 6.50 for E.U. citizens from 18 to 25 years of age. Free admission for visitors under 18 and E.U. citizens over 65 years of age. Hours: Tuesday – Sunday: 8:15 am – 6:50 pm; ticket counter closes at 6:05 pm. Closed Mondays