Pietro Consagra. Il colore come materia, Taormina, Teatro Antico

Pietro Consagra. Il colore come materia, Taormina, Teatro Antico, 2021 ph. Fabrizio Villa
Pietro Consagra. Il colore come materia, Taormina, Teatro Antico, 2021 ph. Fabrizio Villa
Pietro Consagra, Bianco Macedonia e scaglie di ossidiana, 1977, marmo bianco di Macedonia e ossidiana, 82 x 58,5 x 15,5 cm ph. Fabrizio Villa

Pietro Consagra. Il colore come materia, Taormina, Teatro Antico, 2021 ph. Fabrizio Villa
Pietro Consagra, Ferro rosso, 1995, ferro dipinto, 139 x 120 x 1 cm ph Fabrizio Villa
Pietro Consagra, Ferro trasparente rosso, 1965, ferro dipinto, 94,2 x 75 x 4 cm ph Fabrizio Villa
Pietro Consagra, Piano sospeso bianco, 1964, legno dipinto, 170 x 154 x 2 cm ph Fabrizio Villa

May 17 - October 30, 2021
Pietro Consagra. Il colore come materia
Taormina, Teatro Antico

On the occasion of the centenary of the birth of Pietro Consagra (Mazara del Vallo, 1920 – Milan, 2005), the Ancient Theater of Taormina hosts the exhibition Pietro Consagra. Il colore come materia.

Curated by Gabriella Di Milia and Paolo Falcone, the exhibition is promoted by Regione Siciliana, Assessorato ai Beni Culturali e dell’Identità siciliana, by Parco Archeologico Naxos directed by Gabriella Tigano, with the organizzaton by Electa, in collaboration with Archivio Pietro Consagra. The exhibition set up is curated by the architect Ruggero Moncada di Paternò

Architect Ruggero Moncada di Paternò’s project for the Pietro Consagra exhibition at the Ancient Theatre of Taormina focuses on the idea of a double viewpoint, in tune with the spatial essence of the artist’s frontal sculpture. 
The majority of the artworks are mounted in the Summa Cavea under the arches of the still intact Gallery and between pillars that once supported archways that no longer exist, thus recalling the placement of sculpture in ancient times. This collocation brings to mind the connection that today’s humanity can perceive through art and its roots in the past, which also reflects Consagra’s own intention of not forming a dominating central viewpoint but rather an unlimited multiplicity of contact points with the observer. The entire group of sculptures can all be observed at once from the Orchestra on the opposite side, by following the line of view of the Cavea’s wide entranceways. The artist’s Piano sospeso bianco (white suspended plane) constitutes another emblematic placement, situated as it is on the left wall of the Scaenae frons which historically was without decoration. The spectators in the amphitheatre thus find themselves positioned in a direct and frontal dialogue with Consagra’s work. Additionally, in a secluded corner of the upper Cavea facing the seafront, exhibition visitors can also partake in a surprising, physical experience with Consagra’s sculpture Matacubo upon which one can sit, as to the artist’s intention.

The exhibition is accompanied by a publication edited by Electa.