in Syracuse, Iacopo Giannini’s pictures exhibition on Mitoraj

by Redazione , printed on 07/09/2025
Categories: Exhibitions
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At the previous Gargallo High School in Ortigia, from Sept. 5 to Oct. 31, 2025, the lens of Iacopo Giannini meets the monumental sculptures of Igor Mitoraj. A challenge curated by Beatrice Bortoluzzi, promoted by Tralart, which transforms pictures and sculpture right into a dialogue between mild, reminiscence and panorama.

The photographic exhibition “Echoes of Eternity” by Iacopo Giannini (Florence, 1977) opened in Syracuse, inside the historic partitions of theformer Liceo Gargallo highschool in Ortigia, and could be visited from Sept. 5 to Oct. 31, 2025, with free admission. The exhibition, curated by Beatrice Bortoluzzi and promoted by the Tralart affiliation, transforms the guts of the Syracuse island into a spot of confrontation between sculpture and pictures, mild and matter, reminiscence and panorama.

Giannini’s photographs dialogue with the monumental works of Igor Mitoraj (Oederan, 1944 – Paris, 2014) positioned within the Neapolis Archaeological Park, in Ortigia and on the slopes of MountEtna. The Florentine photographer has chosen not simply to doc, however to interpret, to translate into photographic imaginative and prescient the strategies of the statues, asking questions regarding the human situation and the persistence of fable. The Tralart affiliation, promoter of the initiative, accompanied the challenge from the earliest phases, recognizing in Giannini’s work a chance for collective progress. Collaboration with town of Syracuse and establishments made the occasion potential, which is already trying to the long run by imagining new initiatives.

The exhibition challenge is linked to the reflection on the Mediterranean as an area of historic, identification and cultural stratification. In the phrases of Beatrice Bortoluzzi, “Echoes of Eternity” doesn’t merely narrate an exhibition, however interrogates it. Giannini’s photographs develop into echoes, reflections that reduce by means of stone and thought. Mitoraj’s sculptures, with their stumped busts, damaged profiles and Icarus faces, vibrate with questions moderately than solutions. Man seems wounded, nature turns into choose, and pictures intervenes as an interpretive act, revealing magnificence even in fracture. “A cycle of images,” explains Beatrice Bortoluzzi, “that more than telling an exhibition, reveal it. Indeed, they interrogate it. And in doing so, they discover something about us as well. We find ourselves in Syracuse, the Greek and Baroque cradle, where Igor Mitoraj’s thirty monumental sculptures, installed in the Neapolis, to which are added one in Ortigia and one on the slopes of Mount Etna, do not merely occupy space: they inhabit it. Like gentle ghosts of a myth that refuses to die. And it is here that Giannini makes his gesture, which is never a documentary gesture, but rather an interpretive act. Like an archaeologist of light, he does not photograph the event: he listens to it. And each of his images is an echo, a reference, a reflection shifted between stone and thought […]. Iacopo Giannini photographs Mitoraj, of course. But deep down he photographs himself. And he also photographs us, fragile spectators of an age that has lost the myth but still retains, fortunately, the need to tell about it. Or perhaps he doesn’t even know it anymore, not even when his story is revealed before him he is able to find roots that seem as distant as they make the existences of all of us common and close.”

“To photograph is to stop what doesn’t know it is history,” Giannini mentioned, and this assertion finds achievement in Echoes of Eternity. The photographs don’t merely document, however meditate. They are visible epigraphs, suspended meditations that invite one to decelerate, to look, to re-educate the gaze.

Federico Rui ’s essential textual content expands the reflection on the connection between pictures and sculpture, highlighting the stress between the permanence of matter and the instantaneousness of sunshine. Rui recollects Plato and the parable of the cave, emphasizing how pictures could be understood as a duplicate of a duplicate, an phantasm that dangers distancing from reality, but in addition as an act of data able to revealing the invisible. According to Rui, Giannini’s pictures is “a means to explore how Mitoraj’s sculpture fits into the flow of everyday life, with all its nuances, contradictions and beauties. Embracing the Platonic concept of mimesis, these sculptures seem to push us to reflect on what is hidden, on the impossibility of seeing the totality of the human being, on the fact that beauty, perfection and wholeness are always partial and never fully attainable.”

The Syracuse exhibition thus serves as an invite to replicate on fragility and incompleteness, on the roots of a fable that also speaks to the current. Mitoraj’s mutilated statues, interpreted by Giannini’s lens, develop into a metaphor for the human situation: wounded, unfinished, however nonetheless able to evoking magnificence and in search of which means.

Echoes of eternity: in Syracuse, Iacopo Giannini’s pictures exhibition on Mitoraj

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