Part 2 of our throwback to ‘When Léo Met Leo’, featuring @leonard_meoni and @leo.luccioni and curated by @costinizzi June 25 - July 7. We feature today install and detail shots of Luccioni’s artworks. ‘[...] Signs were imprinted with fingers, but also with rakes and hammers until velvet was no longer enough. Hence the need to push on to embark Meoni's one big trip to Brescia, the one to the riding stables. The horse's hair had become the new surface to mark, imprint. After a good ride, there Origin of Displacement #1 was born. The third time they met, they became friends. While watching the adventurous Mille Miglia race, they realized that they were both working on the perception of the images that surround us, despite different actions. For Meoni, research is experienced as a road trip, an eternal movement from which to glimpse and collect codes and images of the landscape. In this way, displacement is understood as movement from one place to another, but also as a medium with which to rework, through the filter of memory, a mark on velvet or on the hair of a horse, the first means of transportation that ever existed. Differently, Luccioni plays on the mechanisms of the capitalist society in which we live. Through the filter of satire, people and images of everyday life take on the forms of brand logos in the paintings; while, in the drawings, it is the logos themselves that are elevated to the artwork of an imaginary exhibition. Thus, Luccioni investigates the discrepancy between production and consumption, both in the art world and in the industry of our time, in an ironic and irreverent way. No tear-jerking happy ending, no kiss at the end, just the story of two artists whose paths intertwined for a few days under the roof of a Palazzo, where anything can happen. Even that the residency of two homonymous artists is a good pretext for an exhibition.’ - Costanza Nizzi Photos @petro_gilberti