until March 15th

Arriving at the Pino Pascali Foundation on an April day, with a warm spring breeze, prepares the soul to recognize beauty.

Entering that magnificent place full of reflected light from the Puglia sun, flooded by the whiteness of Iginio Iurilli’s sculptures was a sensory experience.

Works capable of seducing the senses and the spirit. Like Partenope, Leucosia and Ligeia, they charmed the sailors with their voices, the Impronta di Giunone and Grembo sculptures enthralled visitors with their dazzling whiteness. From that unreal and intoxicated atmosphere of light, marine shapes emerged from an expanse of salt.

This is how we discovered Iginio Iurilli’s work, and in this blinding light we imagined how Beyond the White, we could recreate that enchanted environment in the space of Bianco Contemporaneo.

Partly re-proposing that exhibition will not produce the same effect, but with the contribution of the soft and delicate colors of Iurilli’s sculptures, with the purple quills of his curls, through the red gash of his most recent work, we will discover the soul , the harmony and strength of the sea of ​​Puglia. A slice of summer in the cold and unwelcome Roman winter.


To complete the video exhibition of:

Alessandro Piva – Iurilli 1192 , Ignazio Fabio Mazzola – Iii I ii , Massimo Ruggiero – From the Heart Contempo (festival Art)

Contemporary White – Via Reno 18a Rome


Critical text by Lorenzo Canova

The sea absent

Lorenzo Canova

The perfume, the shadows, the ghosts of an invisible sea, the sweet ghosts of an unreal and regretful place, sands, shells and sea urchins that populate non-existent cliffs: Iginio Iurilli’s work appears as an elegy dedicated to vanished oceans, a lyric song dedicated to lost expanses of water of which today seem to remain only fragile vestiges made of shells and sand.

With the ancient quality of a patient and participatory work, Iurilli therefore shows us the unhealed wounds of that absent sea, its intangible pain, its distant lament, echo of a suffering hidden in the luminous and dazzling folds of a shining white in the void.

In fact, Iurilli bases his reconstruction of nature based on a millenary manual wisdom, on a conscious and meditated action that enters the physical body of matter extracting a splendid and vibrant essence, descending into the secret center of things to discover its mysterious conceptual core, in a vision that enters the great line of the Italian avant-garde dedicated to the renewal of the plastic vision and the almost eliminating rigor of monochrome.

However, Iurilli is able to combine the Romanesque echoes of the sculptures that enrich the Apulian cathedrals with the three-dimensional expansion in the environment of works that, with light and powerful energy, dialogue with the heart of the space of life, immersing the viewer in the waves and currents. of its imaginary waters.

Iurilli therefore recomposes its complex forms with the rigor of an ancient builder, redesigns and reworks its structures by digging in the desert that was once a fishy sea, extracting and reviving presences buried by time and oblivion.

The valves of Iurilli’s shells then open like petals, the breath of life runs through them again, the winds still blow through their folds and the smells of distant lands, perpetually dreamed and longed for, cross their emptied bodies giving them a new existence. , a vibration that now seemed impossible, the subtle and elusive scent of nostalgia for a journey on impossible routes, of unreal navigation towards the white islands of its absent sea.