VINCENZO SCHILLACI | MOVIMENTO: curated by Gaspare Luigi Marcone

Rolando Anselmi is pleased to present MOVIMENTO, the second solo exhibition by Vincenzo Schillaci with the gallery, curated by Gaspare Luigi Marcone. The title MOVIMENTO encapsulates a fundamental aspect of Schillaci’s research: painting as an evolving process, a threshold between matter and image, between gesture and thought. Far from any formal fixity, his practice is structured around a dynamic idea of the image—not as representation, but as unstable apparition. The works on display stage a reflection on the ontology of the image. The four new pieces from the Phàntasma series take shape as layered surfaces, where pigments, marble and quartz powders, plaster, and inks give rise to intermittent visions and fleeting images, emerging and receding like phantoms of perception. Particular emphasis is given to the works Resistenza a un’idea (2025) and Resistenza di un’idea (2025), deliberately positioned at the beginning and end of the exhibition. Both feature “inlays” of two canvases treated with electro-deposited copper. The first canvas reveals a completed pictorial gesture, where the idea has found expression through color, while in the second canvas, left white, the idea that has not reached visual manifestation. The galvanic process has transformed the canvas into a metallic surface, irreversibly fixing the two states: the image in motion and the image withheld. The copper "inlay" is not merely a formal element, but a conceptual device that makes visible the moment when thought coagulates, becomes stuck, or disperses. Through this process, painting engages with sculpture, and movement becomes at once trace, resistance, and negation. This tension between form and idea is further explored in the bronze works Eclissi in Ossido (2025) and Eclissi in Bronzo (2025), transitional moments within the exhibition. Bronze acts as both vessel and simulacrum: on one hand, it preserves the memory of the pictorial act; on the other, it replaces it, evoking it through a tangible and dense presence. Like eclipse phenomena, these works both hold and obscure the image, intensifying the tension between presence and absence. MOVIMENTO thus unfolds as a path traversed by a radical meditation on the image, on its fragility and power, on its continuous transformation into time, memory, and body. Within this horizon, each work becomes a living organism, a field of forces where thought takes form only to dissolve once again. For Schillaci, painting is never a surface to inhabit, but a threshold to cross: a place where vision, matter, and consciousness meet in their most extreme tension.