Chiaroscuro and Studio Celestino have joined forces for the *Immagini ritrovate* (Rediscovered Images) project. Curated by Francesca Longo, Ottavio Celestino, and Lucilla Meloni, this project stems from a desire to bring back into the public eye stories, figures, and places that—despite playing a significant role in the landscape of artistic inquiry—have remained on the fringes of mainstream narratives.
The project—which spotlights Giorgio Pelloni as the first in a series of artists to be revealed—offers a journey dedicated to unexplored artists. They share a common ability to navigate different artistic languages and experiment with how various forms of artistic expression engage in dialogue with one another. At the heart of this research lies the relationship between photography and painting: two seemingly distinct mediums that are nonetheless deeply intertwined through a long history of mutual influence.
Photography can serve as a document, a record of memory, or a tool for observation and understanding, yet it also acts as a medium through which reality is reinterpreted. Painting, in turn, can engage with the photographic image—absorbing fragments, compositional techniques, and evocative elements—to transform and render it in a new form. The project aims to highlight these connections, demonstrating how artists have utilized these various media not merely as separate languages, but as complementary ways to explore the world, memory, and their own personal experiences.
However, the exhibition goes beyond the mere presentation of artworks. A central aspect of the project is the recovery of the personal stories and contexts in which these artists lived and worked. Through photographs, documents, archival materials, and firsthand accounts, the exhibition seeks to reconstruct a geography of artistic production—mapping out the studios and workspaces that have often been left off official art maps. Telling these stories adds depth to the artists' histories, linking their work to the environments in which it took shape. The workspace thus becomes a kind of living archive: a place capable of revealing not only the work itself but also the person who created it—their habits, research, relationships, and the cultural context in which their experience unfolded.
The project therefore presents itself as an exploration spanning works, biographies, and territories, driven by the conviction that it is important to broaden our perspective on twentieth-century and contemporary artistic production. It seeks to restore complexity to a constellation of experiences, places, and memories that—despite their differences—share a need to be re-examined and recounted through new ways of interpreting the present.
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