ART AND MADNESS: THE GREAT MASTERS
Hundreds of works including sculptures, paintings and photographs, deals with the theme of madness through the history of art.
DOWNLOAD THE LIST OF EXHIBITED ARTISTS
ROOM OF MEMORIES
Images, documents, objects recount the humiliating and painful conditions of alienation. Nothing strange or original, nothing specific; everything painful.
The portraits found in the clinical records of some former mental institutions make up a grill measuring more than five metres. A neon light bestows light and sound to each face.
ANTONIO LIGABUE AND PIETRO GHIZZARDI
Since 2015, thanks to precious cooperation between Centro Studi & Archivio Antonio Ligabue di Parma, presided by Mr Augusto Agosta Tota, it has been possible realize a new and a very important room of The Museum of Madness dedicated to artistic experience of Antonio Ligabue and Pietro Ghizzardi.
“The remarkable cases of Antonio Ligabue and Pietro Ghizzardi represent the two essential and terminal cornerstones of the Museum of Madness. In the former artist we find a lush visionariness that determines the creation of an original world, inhabited only by domestic and wild animals, wavering between an idyll countryside and an insidious, menacing forest. No twentieth- century painter, except perhaps Gino Rossi, has the same exuberance. The animals in this forest are the projection of anger, of an unsolved conflict, resolved only through painting. Ghizzardi, on the other hand, reflects the fragile human condition, he paints men and women who are mainly solitary. A sequence that is apparently without end, whose variants are determined by the different psychologies, but whose pietas is so deep it that it authorizes the idea of a new Humanism, the painful, heartfelt one of the farmer. Ghizzardi’s altered psychological state does not determine either ascent or exaltation; rather, it leads to his clear-sightedness and very human interpretation of people and faces in a hitherto unseen gallery of characters. In his condition of discomfort, Ghizzardi appears to be perfectly lucid, and he places the viewer before a disarmed humanity. Ligabue and Ghizzardi worked not far from each other and appear to be perfectly complementary. And they were both completely extraneous to the twentieth- century Italian figurative tradition. They are both fertile anomalies.” (Vittorio Sgarbi)
«Tomorrow,at the time of your visit, when you will attempt to communicate with this men without a lexicon, you can remind yourself that you have only one advantage: strength.» Revolution Surrealiste
A colossal Jaw opener, realized on the model of the real present in the exhibition, is related to the famous painting L’adolescente (Teenager) by Silvestro Lega.
ENRICO ROBUSTI No credit in this bar
The exhibition is a crescendo of emotions that find their climax in a large fresco painted in oil for a length of over 10 meters. The greatest work ever made by Enrico Robusti. A boat in the grip of a storm, on which visitors will experience the psychological vertigo typical of the pictorial virtuosity of Robusti.
Two Rooms and walls of the abandoned psychiatric hospital in Teramo enter the lance of Fabrizio Sclocchini, who brings to life to these desolate spaces with a floral homage of delicate poetry in memory of those who were once there, confined, removed, erased.
THE STEREOSCOPES. GINO SANDRI PLACES
The journey through the rooms of the ex-psychiatric of Mombello, is made thanks to Vincenzo Aragozzini’s pictures, digitalized by Giacomo Doni and converted in tridimensional images by Claudio Centemeri, the author of the stereoscopic pictures titled Melancholy with fury. Sandri, during his time in hospital, made paintings and composed poems of rare sensitivity.
FRANCO BASAGLIA “LAW 180”
Two documentaries from Rai Teche give voice to the two schools of thought on the subject of Italian asylums:
Linea Diretta – Discussion on “Law 180”
X Day – The big of Science “Franco Basaglia”
“If you are not afraid of being stung by the nettles let us go down the narrow path leading to this outbuilding and see what is going on inside. We open the first door and enter the lobby”. A. Ĉechov, Ward No. 6, 1892
All Saints installation is a desperate attempt to set remedy to the psychic discomfort of which patients of the psychiatric hospital, imagined by Cesare Inzerillo, suffer. During their revolt, patients, mix and confuse themselves with doctors, with nurses, and with the director that wheels in the cement mixer alone. Crossing the threshold of this dark room, we meet the anguish and more secluded fears, able to irreparably mark the life of each ones. All mummies, because reduced to the bone of their own humanity, all saints because joined by the unlikely struggle against suffering and death.
WHERE DOES MAN LIVE?
Investigation by the Senate on judicial psychiatric hospitals for the battle against the degradation of some still open structures.