Odysee is not just an exhibition of sculpture, to be precise bronzes with silver patina, but it is a "work in progress" of Lapidarium, the monumental international project by Gustavo Aceves, an artist who has always been sensitive to the dramatically current themes of the "last" , of all those who, throughout history, have been forced to abandon their land, in search of a future, too often and for long denied. The whole draws strength from the admirable, emblematic, powerful and iconic image of the horse, which conceptually represents a sort of ship, in the manner of the countless boats on which, since the dawn of time, the hopes of a multitude of wandering souls have been poured, and merges ethics and aesthetics: so much so that Aceves' horses are fragmentary, almost skeletal, but at the same time they maintain intact the statuary monumentality, typical of the classical world, where in the guise of the horse one of the highest symbols in the history of the human thought. These horse-ships transcend space and time to take us on a journey (a sort of odyssey), which the ancient Greeks called nostos, or a "return journey" to rediscover the essence, since Ulysses' itinerary consists not only in reaching a final port, his native Ithaca, but in overcoming, at great cost, countless trials and obstacles, to re-join his own world. In Aceves' art, suggestions internalized and harmonized by the artist resonate at a higher level, united, not only from the classical world: from Mexico, his land of origin, where, very young, he was struck by the vision of the Quadriga horses of San Marco restored and moving overseas, from the Byzantine world, from Africa with its breathtaking contradictions, and from the ancient world as a whole. Like one of the protagonists of James Joyce's Ulysses, the wandering Jew, who sees on the beach many tiny, and apparently insignificant, signs of the passage of the sea and the seasons - fragments of shells, stones scattered almost everywhere, objects left by some distracted passerby - similarly Aceves, contemporary Ulysses, lingers in collecting fragments of scattered memories, to recompose forms, in the noble material such as bronze, imbued with profound meaning and a loving impact on the conscience of each of us, as human beings .

Mallin-Davies' sensual curves expand with power and delicacy akin to a calligraphic gesture, a painterly late Renaissance touch, of a prehistoric engraving.

Irregularly shaped decapitated stars, long, narrow nails, black shapes wandering aimlessly. Franco Ionda's iconographic universe was born from a crucial reflection in his own vision and from constant research on...