A little 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 Meoni’s artworks - another post will follow with Luccioni’s ‘This is not a Harry and Sally love story. The first time Léo met Leo at Palazzo it was all fire and brimstone. The artistic pursuit of one seemed to the other so distant that they could not live under the same roof. The irreverent and provocative attitude of Léo Luccioni's (France, 1994) works seemed to collide with the gracefulness and elegance of Leonardo Meoni's (Italy, 1994) velvet canvases. The lively aesthetics and not too veiled symbolism through which Luccioni creates fictional narratives clashed with Meoni's poetics of movement, where suspended images find peace in refined palettes. The second time they met, they ignored each other. It was morning and on the Palazzo stairs they barely exchanged a glance. Soon after, they started working in each other's studios. Luccioni, a multidisciplinary artist who had never painted before, decided to create his first canvases. Where better to start painting than in a palace in Italy? The argument is flawless. That's how, wandering around Brescia, he became inspired by the city's most recurring symbol: the lioness, which in the painting takes the form of the icon of the Belgian supermarket Delhaize. But Luccioni could not draw an animal without its owner, and so a portrait of a Flemish nobleman, whose features resemble those of the little man from the Quacker Oats Company, began to take shape. No madness, no hallucination, it is normal not to see the paintings described. Started, unfinished and left in the studio, they become ephemeral works in the exhibition's narrative, as well as in drawings N°2, Goodyear, Marianne Goodman Gallery, N°3, All Brand, Galerie Praz Delavallade, N°4, Petroll, Almine Rech Gallery, in which Luccioni tells of exhibitions with fictitious works in real institutions. Meoni, without wandering around the city too much, began to travel within his studio. [...]’ - Costanza Nizzi Photos @petro_gilberti