He was one of the most representative artists of the international contemporary art scene between the end of the 20th and the beginning of the 21st century. Until September 22, 2024, you can discover the visionary and mystical art of Vettor Pisani. at Italo Tomassoni, The extensive exhibition “Vettor Pisani. Journey to the borders of the mind” And an anthology of over 50 masterpieces carefully selected from the works of the Seventies and those of the subsequent production, very intense until the author’s death.
The exhibition, curated by Italo Tomassoni, is promoted and supported by the Fondazione Cassa di Risparmio di Foligno; the organization is realized in collaboration with Maggioli Cultura e Turismo.
In the exhibition it is also possible to view the rare photographic material relating to the documentation of performances which, being unrepeatable, cannot be otherwise documented. In particular, the materials relating to “The Androgynous. Flesh
human and gold” (1971), in the creation presented in Rome in the historic exhibition “Contemporanea” (1973), and those relating to “Stories of Heroes. The Murdered Part” (1975). The exhibition also presents a polyptych of 8 works by Vettor Pisani recomposed as an inverted pyramid by Mimma Pisani in 2012.
Refractory to the poetics in vogue in the Seventies, Vettor Pisani (1934-2011) has elaborated a vision of art inspired by myth and the magical and religious beliefs of Hermeticism and doctrines prior to Christianity. Gifted with a boundless culture of wisdom, he created visionary works that address the problem of truth in art and the great themes of existence.
Having made his debut with the development of corporal grammars devoted to the cult of the enigma, his language evolves in the direction of a critical crossing of the history of art and, in particular, of the symbolist art of Central Europe. Critical and revisionist towards the historical avant-gardes and the tendencies that characterize contemporary art, he finds a source of inspiration in the thought of Schopenhauer and Nietzsche, in the poetry of Novalis and Von Kleist, in the painting of Boeklin, Khnopff, Moreau, as well as in the culture of alchemy and psychoanalysis. He shares critically with the contemporary works of Marcel Duchamp, Joseph Beuys, Ives Klein and Gino de Dominicis.
The exhibition is curated by Italo Tomassoni who had a long association with the artist who, for long and repeated periods, was his guest in Foligno. During the exhibition, the radio broadcast, in the background, is voice of Vettor Pisanipreserved on six tapes.
Regarding the theme of the sacred, Tomassoni writes: “Pisani prefers the cult of female sanctity to desecration. He exalts Saint Teresa in ecstasy in the Church of Santa Maria della Vittoria in Rome and in the cassonet in Naples (…) In Venice, on the Island of San Servolo, which was the site
concentration camp of madness, creates the “Black Virgin”, a torture and resurrection machine”.
Refractory to the poetics in vogue in the seventies, Vettor Pisani (1934-2011) has elaborated a vision of art inspired by myth and the magical and religious beliefs of Hermeticism and doctrines prior to Christianity. Gifted with a boundless culture of wisdom, he created visionary works that address the problem of truth in art and the great themes of existence.
Having made his debut with the development of corporal grammars devoted to the cult of the enigma, his language evolves in the direction of a critical crossing of the history of art and, in particular, of the symbolist art of Central Europe. Critical and revisionist towards the historical avant-gardes and the tendencies that characterize contemporary art, he finds a source of inspiration in the thought of Schopenhauer and Nietzsche, in the poetry of Novalis and Von Kleist, in the painting of Boeklin, Khnopff, Moreau, as well as in the culture of alchemy and psychoanalysis. He shares critically with the contemporary works of Marcel Duchamp, Joseph Beuys, Ives Klein and Gino de Dominicis.
The exhibition is curated by Italo Tomassoni who had a long association with the artist who, for long and repeated periods, was his guest in Foligno. During the exhibition, the radio broadcast, in the background, is voice of Vettor Pisanipreserved on six tapes.
Regarding the theme of the sacred, Tomassoni writes: “To the desecration 
Pisani prefers the cult of female sanctity. He exalts the Saint Teresa in ecstasy in the Church of Santa Maria della Vittoria in Rome and in the dumpster in Naples (…) In Venice, on the Island of San Servolo, which was a concentration camp for madness, he creates the “Black Virgin”, a torture and resurrection machine”.
The works come from various collections and, for the most conspicuous part, from the collection of the Morra Foundation of Naples, from the Vettor Pisani Museum of Caggiano and from the Pieroni-Stiefelmeier collection of Rome, but also from the Jacorossi Collection of Rome, Cardelli and Fontana of Sarzana, Paneghini Collection of Busto Arsizio. They will be accompanied by a large collection of catalogues, photographs, documents and unpublished materials. A special documentary section in memory is dedicated to the publications of 
Mimma Pisaniwife, inspirer, profound critic and, at times, performer of the artist. Also exhibited are testimonies provided by Luciana Pisani, Vettor’s sister and, also, his faithful performer.
” (…) The “True Authorial Falsifications” put into practice the concept of art as criticism. Nietzsche wrote “I am all the names of history”. Pisani, at a certain point in his life, passes through the figures of the history of art and brings back to himself all the names of painting. He becomes Duchamp, Beuys, Klein, Boeklin, Knhopff, Moreau, De Dominicis…. With this hyperbolic paradox he exalts the creative power of iconographic contamination and the transfiguration generated by metamorphosis.” (I. Tomassoni)
Pisan Vector He was also a tireless writer, author of a huge amount of novels wise on which critics have not yet dwelt sufficiently. In the exhibition it is possible to admire almost all of these rare publications, important because they flow into the great Pisan project of theMagnum Opus. The novels, about thirty, are an indispensable creative support for understanding the meaning of Pisani’s work as a whole, as well as a recognized organic component of the author’s totalizing creativity. This corpus of writing, which deals with the Myth and cult of Mnemosyne, has a relevance worthy of the Warburg Institute in London and is underlined in the perspective of the creation of a scientific Archive and an intellectual Bio-Bibliography.
Carlo Franza