L'Italo-Americano

THURSDAY, OCTOBER 16, 2025 www.italoamericano.org 10 L'Italo-Americano I f, as Leonardo Scias- cia wrote, Sicily is a m e t a p h o r f o r t h e world, then its art is t h e m o s t v i v i d expression of that metaphor. T h r o u g h a r t , t h e i s l a n d r e v e a l s i t s p a s s i o n s a n d humanity, its sensuality and mysticism, its classical roots and modern character, its history and its vision of the future. And the bridge that connects all these dimen- sions is built by its painters a n d s c u l p t o r s , a r t i s t s whose work bears witness to that unique "Sicilian spirit" which made them key figures of the twentieth century, the so-called short century, and of the early years of the new millennium. It is only fitting that the Galleria d'Arte Moderna (GAM) of Palermo should host and preserve this artis- tic heritage, not only through its outstanding permanent collection but also with tem- porary exhibitions that con- tinually renew its cultural offering. Among them, is a new group exhibition just inaugurated at the museum: a collective of painters who, even if not Sicilian by birth, are Sicilian by affection or by artistic adoption. Promoted by the Munici- pality of Palermo, represent- ed at the opening by Mayor R o b e r t o L a g a l l a a n d Deputy Mayor and Culture C o u n c i l l o r G i a m p i e r o C a n n e l l a , the exhibition was conceived, curated, and artistically directed by Gio- vanni Bonanno, art critic and Professor of Art History at the State Academy of Fine A r t s i n P a l e r m o . I t w i l l remain open until December 3. Bonanno's deep attach- m e n t t o S i c i l y a n d t o a r t itself once again inspired him to organize this show, w h i c h e c h o e s a p r e v i o u s exhibition held on October 3, 2010, titled Novecento sacro in Sicilia, presented at the Albergo dei Poveri during Pope Benedict XVI's visit to Palermo. This new exhibi- t i o n f e a t u r e s s e v e n t y - s i x works by twenty-two artists, a l i m i t e d n u m b e r , a s t h e c u r a t o r e x p l a i n s , d u e t o s p a c e a n d o r g a n i z a t i o n a l constraints: "The exhibition is incom- plete," Bonanno notes, "for two reasons: first, because of limited space; and second, because some major figures were not accessible for vari- o u s r e a s o n s . " B o n a n n o explains that "we wanted to offer a glimpse of this histor- ical period, from the late 1930s and early 1940s to the end of the century and the dawn of the new one. The aim was to show the com- plexity of Sicilian culture, not only in art but also in its connections with broader social, political, and ideolog- i c a l m o v e m e n t s d u r i n g a v e r y d i f f i c u l t h i s t o r i c a l moment. The selection of artists was therefore careful and deliberate, and despite the challenges, it is highly representative. " I n t h e l a t e 1 9 3 0 s a n d e a r l y 1 9 4 0 s , t w o m a j o r m o v e m e n t s t r a n s f o r m e d Italian art after Fascism: the C o r r e n t e m o v e m e n t i n M i l a n a n d t h e R o m a n S c h o o l i n R o m e . S i c i l i a n artists played an important part in both. Guttuso was active in Milan and Rome, Migneco in Milan, and sev- e r a l o t h e r s f o l l o w e d . I n Rome, alongside Guttuso, there was also Fausto Piran- dello. Though not Sicilian by birth, his work carries the same existential intensity that characterizes his father, L u i g i P i r a n d e l l o . T h e anguish and dramatic depth of the father's writing, so deeply Sicilian in spirit, can be felt in Fausto's painting, in its structure, its inward- ness, and its consciousness of human fragility. " T h e p a i n t i n g s i n t h e exhibition are not joyful; they do not celebrate life. Guttuso and Pirandello rep- r e s e n t t w o c o n t r a s t i n g v i s i o n s : t h e f o r m e r c e l e - brates sensuality and eroti- cism, while the latter views t h e m a s e x p r e s s i o n s o f anguish, as signs of decline. This duality lies at the heart of the exhibition, which is incomplete for various rea- sons, but it aspires to mark the beginning of a broader and more comprehensive reappraisal." The interview goes on to explore Bonanno's broader vision: "Many references in Sicilian painting of the later twentieth century lead back to early twentieth-century France and Germany, influ- ences that persisted through t h e 1 9 2 0 s a n d 1 9 3 0 s a n d were renewed in subsequent decades both in those coun- tries and in Italy." The exhibition is orga- nized into five thematic areas: "Neo-expressionism, linked to French lyricism and German drama; neo- realism, which originates with Guttuso but opens to many directions; the revisit- ed classicism found in the w o r k s o f L i a P a s q u a l i n o N o t o , F i u m e , a n d M a r i o Pecoraino; and a renewed figurative approach in artists such as Guccione and Modi- ca, who revive the figure in s u r r e a l a n d p o e t i c t e r m s after years of abstraction. The final section is devoted to abstraction and informal art. What we present is only a g l i m p s e , a t a s t e , s o t o speak, of this rich period." Also on display are works by Carla Horat, Togo, Gigi Martorelli, and Salvatore Provino. It is a remarkable exhibi- tion, curated and directed with care and vision by Gio- vanni Bonanno. The accom- panying catalogue is equally refined, featuring texts by B o n a n n o h i m s e l f , t h e mayor, the culture council- lor, and several intellectuals, writers, critics, and collec- tors, along with photographs of all the exhibited works. The venue itself adds to the exhibition's prestige. Sit- uated in the heart of Paler- m o ' s h i s t o r i c c e n t e r , t h e G a l l e r i a d ' A r t e M o d e r n a was established in 1906 on the initiative of Empedocle Restivo and inaugurated in 1910 in the presence of King Victor Emmanuel III, then located inside the Politeama T h e a t r e . I n 2 0 0 6 , i t w a s moved to its current home: the former Franciscan con- vent of the Church of San- t'Anna la Misericordia and the adjoining Gothic-Cata- lan Palazzo Bonet, which serves as its entrance. Built around 1480 as an aristocratic residence, Palaz- z o B o n e t l a t e r b e c a m e a Jesuit house, then a Francis- can convent. In the nine- teenth century, financial dif- ficulties led to its conversion into rental housing and the seat of the Royal Normal Schools. Following the sup- pression of religious orders in 1866, the building under- went further changes. In the 1990s, under Mayor Leoluca Orlando, it was restored as part of the Cantiere della Conoscenza project, which revitalized several historic buildings in Palermo. Today, the GAM preserves works that were first exhibited at the National Exhibition of 1891-92, along with many other acquisitions, dona- tions, and loans. Returning to the exhibi- tion, the man of the twenti- eth century – restless and questioning – continues to search for the meaning of life. The artist pursues that search through art itself, in t h e h o p e , n o t a l w a y s f u l - filled, of giving human exis- tence a sense of purpose. Sicilian masters of the twentieth century at the Galleria d'Arte Moderna TERESA DI FRESCO Left, Fausto Pirandello's "Atmosfera e Autoritratto;" right Lia Pasqualino Noto's "Autoritratto con Pennello," both at the "Secondo Novecento in Sicilia" exhibit (Photos courtesy of Teresa Di Fresco) ALL AROUND ITALY TRAVEL TIPS DESTINATIONS ACTIVITIES

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