The heart of the exhibition will consist of the video projections VB 66 and VB 67, made by the artist in 2010 at the Mercato Ittico (fish market) in Naples and the Studi Nicoli in Carrara respectively, and her photographs, mainly large-scale works, taken from the first of the two performances. In February last year, when Vanessa Beecroft performed VB 66 at Palazzo Cosenza, the premises of the Naples Fish Market, in front of an enthusiastic and particularly numerous audience, the city was presented with a “transitory monument”. 43 models painted entirely in black, 21 life-size plaster casts of women and about 60 anatomical fragments went to make up a complex composition that occupied the centre of the building on an unusual stage assembled from large marble tables and metal counters of the market. In a perfectly complementary combination of nature and artifice, the bodies and their doubles covered with a blanket of black proved to be a particularly effective way of raising the dramatic tone of the scene. They re-evoked the bronze statues of Herculaneum and the bodies discovered at Pompeii buried under the ash of the volcano, as well as the fragility of the body and its mutilations. The comparison with the ancient world and its forms took on other shades of meaning and another fascinating guise in the works taken from the performance VB 67. The event was part of the 14th International Biennial of Sculpture at Carrara. It was staged in the Studio Nicoli, one of the oldest marble workshops in the Tuscan city. The imposing plaster casts and the nude models created a representation of fragile and melancholic sacredness, where transient, fleeting beauty was the origin and outcome of every action. “The unnatural juxtaposition between the life and warmth of the models and the cold stillness of stone”, says the artist, “ highlights the melancholy and fascination of sculpture”. Sculpture is the genre that the artist has recently been exploring and “redefining”, together with performance art, in what has increasingly become an investigation and synthesis of the terrain vague that unites “the arts of time and the arts of space”. Not unexpectedly, the videos of the two performances VB 66 and VB 67 are full of references to cinema: echoes of Pasolini’s films emerge in the fixedness of the background of much of the framing, while atmospheres reminiscent of Antonioni’s work appear in the uneasy and rarefied silences of the models.