Set up as a chapel, Nicola Samorì’s room displays
works where some icons – from the Renaissance
and Baroque period – undergo a process of violent
deformation. Distant from any contemplative and
idealizing enchantment, the artist sees paintings as
skin to flay, and brings out a sort of naked emotional
truth. On the opposite side of the room – a kind of
majestic altarpiece, inspired by Aby Warburg’s Atlas
– is the Archive of Memory: paintings, sculptures
and a private photographic collection.


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