Starting from this damaged image, included in the exhibition, the viewer perceives a confusion between the action of time on the works from the Musei Civici selected by the artist – either coming from storage or waiting to be restored – and the signs that sistematically unsettle Samorì’s paintings and sculptures. Its metallic glean recalls the oil on copper paintings by Nicola Samorì, whose practice investigates the reversal of painting through a careful removal of the painted film. The painting was rediscovered when the building was being cleared from rubble: its damaged surface revealed a perfectly preserved eye on an otherwise ruined surface. In 1944, during the Second World War, the right wing of Palazzo Mosca was destroyed and around twenty artworks disappeared, including Giuseppe Maria Crespi’s Cristo e un manigoldo. It is infact in the Musei Civici that Samorì first found inspiration for this body of new works conceived for the Centre. Guided by the beauty of the location of the Centre, the artist’s project plays on the original functions of the former fish market and the adjacent chiesa del Suffragio (church of Intercession), which together make up the Centre, through an original dialogue: a conversation between the works of the artist and sacred images from the impressive collection of the Musei Civici of Palazzo Mosca. The title is a reference to Saint Charles Borromeo, who embodied the idea of a luminous decay, a concept that is poignantly reflected in the works on view. In 2017, the Centre presents Nicola Samorì’s solo show La candela per far luce deve consumarsi (A candle must burn to shine), curated by Marcello Smarrelli and promoted by the Town Councillorship for Beauty together with Sistema Museo. Pesaro, Centre for Visual Arts Pescheria 7 July – 1 October 2017
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