This Interlude features "Cy Twombly, una parafrasi "(1957-1960), a poem by Emilio Villa, in conversation with the music piece Crisopea by ASH OVERRITVAL.

The poem has been published for the first time in the exhibition catalogue, Cy Twombly (Galleria la Tartaruga, 1961).

ASH OVERRITVAL is a musical project born from the collaboration between Giuseppe Armogida, Matteo Nasini, and Nicola Pecoraro.

The project's name — a tribute to Emilio Villa — introduces a journey through improvised music that is consumed, and regenerated the very moment it takes shape: a joyful and catastrophic self-entropy that burns itself, and draws energy from that combustion.

The result is a soundscape composed of harmonies and dissonances, atony and polytonality, unity and fragments of uncertain origin. Every sound is an enigma, and the obscurity of the enigma is the only thing that brings us close to life.

For an immersive experience we recommend to read the poem while listening the music piece.

ASH OVERRITVAL

Giuseppe Armogida (1985) is a lecturer in Aesthetics at the Accademia di Belle Arti in L’Aquila and at NABA in Rome. His research focuses on the contemporary debate on image theory and the relationship between philosophy and psychoanalysis.

His most recent books are Roma nuda. 60 conversazioni sull’arte (Miniera, 2020) and Ritorno a Lascaux. Georges Bataille e la genesi dell’arte (Castelvecchi, 2024). In 2025, he founded FLAMING CREATURES, a non-profit project that promotes contemporary musical research, and encourages new forms of listening and participation, emphasising the live experience as a moment of connection and discovery.

Matteo Nasini (1976) began to devote himself to the visual arts after graduating from the Santa Cecilia Conservatory in Rome and serving as a member of the Luigi Cherubini Orchestra, conducted by Riccardo Muti. Among his most significant exhibitions and projects is Sparkling Matter, presented in 2016 at Marsèlleria and Clima in Milan, which won the 2016 Talent Prize. It was exhibited that same year at the Museo d’arte Contemporanea di Roma (MACRO) and Galleria Nazionale d’Arte Moderna e Contemporanea (GNAMC) in Rome, and in 2017 in the exhibition, Intuition, at Palazzo Fortuny in Venice.

The project, Neolithic Sunshine – Splendore Neolitico, was exhibited in 2018 at the Centro Arti Visive Pescheria in Pesaro and at Clima in Milan, in 2019 at Fontfroide Abbey, Narbonne, and in 2023 it was presented at Villa Medici, Rome, Cittadellarte – Fondazione Pistoletto, Biella, and on the island of Vulcano for the Volcanic Attitude festival. From 2021, the Welcome Wanderer project is presented at Cubo in Bologna, Clima in Milan, Ocean Space in Venice, and in 2023 at the Italian Cultural Institute in Stockholm, Sweden.

Nasini has exhibited at numerous other institutions including: MANIFESTA 13; Museo Nazionale delle Arti del XXI secolo (MAXXI), Rome; Madre Museum, Naples; Auditorium Parco della Musica, Rome; Villa Croce Museum, Genoa; Villa Romana, Florence; EDF Foundation – Paris La Défense; Palais des Beaux-Arts, Lille; Mo.Co., Montpellier; MRAC, Sérignan; ICC and the Hammer Museum, Los Angeles; Royal Museum of Worcester.

Nicola Pecoraro (1978) lives and works in Rome. Between 2008 and 2014, he was co-editor of Nero Magazine. In 2016, together with other artists, he founded Guimarães, an independent space based in Vienna.

Recent solo exhibitions include: New Works at Ermes – Ermes, Rome (2025); Ghost Variations – Inserto, curated by Lilou Vidal, Archivio Gribaudo, Turin (2024); Flotsam at the Fondazione Brodbeck, Catania, and Bellona at Studioli, Rome (2019); Shadow Tests at the Museo d’Arte Contemporanea Villa Croce, Genoa, and URANIA at Kunst Merano (2017); Goldfish at Ermes Ermes, Rome (2016); Tendril at the Vesch Kunstverein in Vienna (2014); Society at collicaligreggi, Catania (2013); La Tombe des Hommes-Scorpiones at the S.A.L.E.S. Gallery, Rome (2012).

He has taken part in numerous group exhibitions at international institutions and venues including: Museo Nazionale delle Arti del XXI secolo (MAXXI), Rome; Museo d’arte Contemporanea di Roma (MACRO), Rome; Villa Medici, Rome; Kunsthalle Wien, Vienna; American Academy, Rome; La Maison Rouge, Paris; Hammer Museum, Los Angeles.

We are grateful to Chiara Panizzi from Biblioteca Panizzi, Reggio Emilia, as well as to Giuseppe Armogida, Matteo Nasini, and Nicola Pecoraro, for their valuable collaboration in making this 'Interlude' possible.

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