Roberto Giglio’s exhibition Forms of Oblivion has opened at the Marca di Catanzaro.

He thanks his father, who gave him paints when he was little, and all those who trusted his talent, which became an extraordinary journey into beauty. Appearance Roberto Giglio it stops at the figures of men, and especially women, standing at the doors of houses, and expands in alleyways, deserted squares, abandoned houses. His brushstrokes shine: beams of light illuminate the outlines of the abandoned villages of Calabria and the ghosts that inhabit them, awakening lost memories.

It is Forms of Oblivion: this is the name of the exhibition of the Badolato-born artist, which opened last Saturday in the exhibition halls. lower floor of the building Museum MARCA, which can be visited until 31 August.

advertised Rocco Guglielmo Foundation In collaboration with the provincial administration of Catanzaro, the exhibition curated by Giorgio de Finis, anthropologist and director of the Museum of the Periphery of Rome, offers 35 paintings, some of them large format, selected from the artist’s most important works. over 90 drawings.

At a press conference held in the Panoramic Room of the Marca Museum, along with the artist, artistic director Guglielmo and curator De Finis, Giuseppe Sommario, director of the Spartenze festival and friend of Giglio in 2007, also met Giuseppe Sommario, with whom the artist collaborates to breathe life into the publication, in which will be collected some of the works, accompanied by texts telling about this journey through abandoned villages. The short text also enriches the bilingual catalog published by Silvana Editoriale for the Quaderni del Marca series: the volume also contains critical texts by Rocco Guglielmo, Giorgio de Finis and Mimmo Gangemi. But among the audience there is also the architect Pasquale Piroso, whom Giglio thanks, as well as the Spanish artist Pedro Cano, who became his teacher. Piros played a key role in the maturation of his artistic style, leading him to experiment with the fusion of language between art, craftsmanship and design.

The exhibition opens with a series of works dedicated to Calabria. and sums up the artistic path of the architect, who decided at a certain point in his life to devote himself more fully to art. Roberto Giglio, an artist originally from Badolato, which was attended by many of his fellow citizens, starting with the mayor Francesco Severino, wanted to turn with “Forms of Oblivion” to the recognition of his homeland and beyond. He uses white and light to deconstruct faces and architecture., in the instinctive need to seek the essence of things and life. He’s drawing places and people suspended in mystery, in pain, in beautyin their pure and simple essence, forms suspended between heaven and earth, figure and abstraction, reality and imagination, matter and spirit, center and periphery, progress and immobility.

Giglio shows a deep sensitivity to the fine arts, to painting and, in particular, to watercolor, moving from figure to informality. And for De Finis, an anthropologist and director of the Museum of the Periphery of Rome, “the paintings look forward, not just backward, and look far beyond their own territory.”

“The exhibition created at Marca sums up the artistic journey of an architect who, at a certain point in his life, decided to devote himself more fully to art,” Guglielmo explained. Giglio shows a deep sensitivity to fine art, painting and in particular watercolor, a medium of transition between figuration and abstraction that offers him an aesthetic that painting simply cannot achieve. In Giglio’s painting, the figures avoid the temptation of another absence, like defensive bastions they rise against the decline of form and the landslide of lines. Every building, every landscape or face is worthy of an architecture of resistance, not to the changes and mutations of time, but to the negative value of intimacy. Everything in it is introspection, it is an inner withdrawal, it is a lyrical synthesis.

“When Roberto and I we began our journey, we were driven by the urgent need to give meaning to the countries we ourselves had left, driven by the need to give face to the ghosts that roam the countries that are really our ghosts. Nostalgia and pain for a world that is actually ending hide fear for the future, make our anxieties even more obvious. The torment is that Roberto’s painting turns into rarefied landscapes, in which the human seems to dissolve in full light, but it is in this rarefied light that the whole humanity of Roberto Giglio appears. His painting tells about our slow walking, depicts places where time seems to have stopped; places which, thus presented, transcend subjective memory and become collective memory. Now we do not know if the countries will be saved, our countries will be saved, if lives and new forms will return, we do not know if our journey, our watercolors and my writings) will intersect and complement each other, will contribute to the “regeneration” of the interior regions.


The exhibition is coming in a larger project conceived by the Rocco Guglielmo Foundation, Glocal V, In chapter cross territory, once again offering the opportunity to meet and appreciate the creative dynamism of those artists who passionately dedicate themselves to enriching the cultural heritage of the region.

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