A visionary project conceived by Sissi, an artist who has concentrated her research and her practice on human anatomy and archaeology as key elements of her artistic language. A lifelong researcher in anatomy, Sissi has implemented a method she calls “Parallel Anatomy” which consists in the study of the human body through emotions.
The artist’s free and pre-logic view realizes that, when seen from above, the ruins that populate the Palatine Stadium have naturally taken the physiognomy of a human skeleton, a supine figure. Within this anatomic space that comes from the remainders of history Sissi draws, using impalpable flour, a new identity: assigning this imaginary figure a brain and internal organs, the artist gives new life, birthing a conscience in which human and history are merged. Starting from the newly created physiognomy, the artist, taking the part of an orator from earth, will propose a lecture of an archaeolomy, poetically describing the artwork, orally accompanying the spectator to see the visible history and its physical relationship with interiority. Spectators will find themselves in front of a monumental drawing, partly the archaeological skeleton of history wanted by time, that has modulated the positioning of columns, walls and other marble and stone ruins, partly created by Sissi, who completes the figure by giving it an unlikely organic, emotional and conceptual matter.
The encounter with this “supine figure” is a casual discovery, just as it happens in archaeology, the illumination reached by the artist through vocation and aspiration: the ruins are not just brought back to light, but to life. The contemporary thought slowly enters the monument, the artist narrates the story of her finding, the experience is not just scientific or technical, but also emotive, intellectual, human.