Art historian and manager for the Historic Center of Florence, a UNESCO World Heritage Site
A cycle of two meetings conceived by the restorer Livio Nappo who on 10 and 23 November will guide the public to discover the exhibition by Jenny Saville from an unprecedented point of view.
“The idea of these events starts from the certainty that talking about conservation problems of contemporary works of art to a heterogeneous public represents a limit” comments Livio Nappo. “The challenge of these meetings is to create precisely this basic competence, bringing the public back to contact with the artist’s material, in order to fill that sensory gap that belongs to the average visitor. In fact, we are often used to approaching a work only through the gaze, living an incomplete experience, because it lacks the tactile, olfactory, auditory data on the subject being observed”.
Restorer of Cultural Heritage at the Opificio delle Pietre Dure in Florence, Livio Nappo has achieved a specialization in paper and parchment materials, dealing directly with the graphic works present in the Jenny Saville exhibition. The meetings will have a tactile-practical component around which the restorer will build the narration of the path to discover the works of the British artist: through a series of artist’s paper samples marked with charcoal and sanguine, the public will have the opportunity to have a concrete comparison with the work of the restorer and the works of Jenny Saville. The details of the events are as follows:
Wednesday, November 10, The fragility of the contemporary and the permanence of the temporary, experiences and reflections on graphics by Jenny Saville
Knowledge of artistic language and its understanding start from observation; but only direct experience with the material that makes up a work of art allows full and definitive interpenetration with it. This meeting was born with the intention of allowing the public to get in touch with the tools of graphics, to experience their consistency, potential, limits and lead them to formulate reflections on their duration over time. The artist’s task is to generate the creative gesture. The restorer’s task is to preserve the fruit of that gesture and pass it on to posterity. But what perspectives does this dialogue offer?
Livio Nappo, born in 1981, passionate about paper and parchment materials, as well as printing and binding techniques, obtained the title of Restorer of Cultural Heritage at the Opificio delle Pietre Dure in Florence.
For years he has collaborated and worked for private collectors, important national and international museums, foundations, private and public entities, for which he carries out restoration interventions on assets of undisputed value. In 2008 he developed a new conservation and display system for paintings on parchment which he summarizes in a monographic publication published by Campanotto Editore, while since 2018 he has collaborated as the only papyrus restorer on the “Crossing Boundaries” project at the Egyptian Museum in Turin.
He regularly intervenes at the Ferrara and Florence Restoration Fairs and writes for specialist magazines such as Kermes and OPD Restauro. In collaboration with sector technicians, he investigates aspects related to great modern and contemporary works as well as the creation, production and conservation of materials such as magazines, magazines, comics, playing and collectible cards, philatelic material, shares, bonds and public debt, postcards, photographic prints on paper.
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