Marco Delogu,Stefano Di Stasio
SPQR
Marco Delogu used side lights to illuminate the marble faces in the shadows of the museum, making them seem alive. Di Stasio harnessed the time machine of painting to steal those senators and common people from the past and copy their DNA, placing the alienated figures in contemporary urban settings, in a metaphysical present that absorbs the original antiquity.
Fabio Sargentini
This is an experience that frequently occurs in dreams, when a face that we do not remember having ever seen before appears and draws us towards it. That is what I like to think amid these works, particularly that of Salonina, with her slightly hooked nose and that unmistakable sad set of the mouth that you often see in teenagers. Look long and hard at her, white in Delogu’s portrait, unheeding of the fire raging behind her in Di Stasio’s painting. Look at her until those marks no longer seem the traces of lost beauty, but the stages in a path yet to be trodden, a path that every name must complete before finding a body to accommodate it. Because it really is possible for a portrait to resemble that which awaits it in the distant future.
Emanuele Trevi
Marco Delogu was born in 1960 in Rome, where he still lives and works.
His work focuses on portraits of social groups connected by common experiences and languages. He has published over 20 books and has exhibited his work in several galleries and museums in Italy and abroad, including the Accademia di Francia, Villa Medici, Rome; the Galleria Comunale d'Arte Moderna e Contemporanea, Rome; Palazzo delle Esposizioni, Rome; the Warburg Institute, London; the Henry Moore Foundation, Leeds; IRCAM - Centre George Pompidou, Paris; Museé de l'Elysee, Lausanne; the PhotoMuseum, Moscow; the ex-GIL, Rome; and the Capitoline Museums, Rome.
He is director of FotoGrafia, the international photography festival held in Rome.
Stefano Di Stasio was born in Naples in 1948, and lives and works in Rome.
He is one of the fundamental artists of the Anacronismo movement and among the undisputed central figures of the return to painting that characterised the last two decades of the twentieth century. In 2005 he completed an important cycle of paintings for the church of Santa Maria della Pace in Terni, designed by Paolo Portoghesi. He was assigned his own room at the Venice Biennale in 1984 and 1995 and participated in the 11th, 12th and 13th editions of the Rome Quadriennale. His work is featured in the collection of the Italian Foreign Ministry. In 2004-05, he painted a portrait of Amintore Fanfani, commissioned by the Italian Senate for the permanent collection in Palazzo Madama in Rome.
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