It is an exhibition that was born in a certain sense from the earthquake that devastated central Italy five years ago, ‘Terra Sacra’ which has just opened in the Mole Vanvitelliana, where the damaged masterpieces of ancient art were housed and kept to be examined and restored. Today the same structure becomes – until May 8, 2022 – the center of a project that will also help the public to reflect on the relationship between nature and man. The exhibition curated by Flavio Arensi, organized and produced by the Municipality of Ancona and the Omero State Tactile Museum, with the Mole Vanvitelliana Fund, with the collaboration of the Soprintendenza delle Marche, the support of the Marche Region and the Cariverona Foundation, with the patronage of Anci was born in October 2016 when, during the inauguration of the Ecce Homo exhibition on the human condition through figurative sculpture, the greatest tremors of the earthquake that was hitting the region were felt. But “Terra Sacra – affirms Flavio Arensi – has no intention of dealing with material facts, with the losses and collapses of the earthquake, with mourning or fear in the strict sense. It is, instead, a recovery and a restitution of life. “The exhibition itinerary that unfolds in all the places of the Mole Vanvitelliana, from the walls to the courtyard, from the Tobacco Warehouse to the deposit of the Superintendency of the Marche, presents the 120 works of 35 artists, spokespersons of expressive languages, often very different among them: from Giovanni Albanese to Gregorio Botta, from Gino de Dominicis to Titina Maselli, passing through Franco Piavoli and Zerocalcare. The exhibition intends to start from the territory of Ancona and in particular from the Mole, which for years has been confirmed as one of the cultural spaces most important in the center-south of the Peninsula, also by virtue of the contamination between culture (exhibitions), psychoanalysis and human sciences (Festival KUM!), music (My generation festival), and innovation in the field of accessibility (Omero Museum). And the contaminations mark the path of ‘Terra Sacra’ from the blow-up of the Mediterranean by photographer Filippo Piantanida who opens the exhibition spaces to the digital forest of Quayola where the images of the trees will be juxtaposed with a fragment of a classic sculpture, revisited in a technological key, which recalls the Laocoon Group, associating two of the significant elements of the exhibition, nature and man, starting from the reflection that the great French landscape architect Gilles Clément makes about the Third Landscape. A first section is dedicated to painting which analyzes the theme of the territory as a place of life, in a path that from the 1950s to the present day, while with the images of Franco Pinna, who accompanied the anthropologist Ernesto de Martino in his study on the rites and magic of Southern Italy, the theme of the sacred or sacral space of the Taranta is declined in the place of artistic imagination with Pino Pascali’s tarantula photographed by Claudio Abate, in a game of mirrors that takes the shape and makes it ethereal in the work of Paolo Icaro, element of light in Piero Fogliati. The third section ‘Places of others’ talks about places and borders: from Persia by Flavio Favelli to Iran by Pietro Masturzo, here with a selection of images taken from places of conflict. In the fourth section ‘The house, the homeless’ to welcome those who enter there is the installation Heimat by Guido Airoldi which puts the theme of the place of birth, and indicates the territory in which one feels at home because one was born there, childhood was spent there or the language of affections is spoken there. While Giovanni Albanese’s Army of the Homeless tells of a homeless people, who however have a home everywhere, and the ‘Rubble prime’ of Zerocalcare tell the difficulty of growing up, of discovering one’s role in society, of not losing the ties that they matter. Finally, ‘Interior landscape exterior landscape’ proposes the photographs Pierres déplacées by Gina Pane in dialogue with the great sound trunks by Roberto Pugliese, the Herbarium by Franco Piavoli, or the unpublished bestiary by Marco Mazzoni, and a graphic work by Franco Fanelli , one of the most important engravers of today’s artistic panorama.The exhibition – which is also a catalog published by Skira – closes in the Corte della Mole, where a selection of photographs signed by the members of the Ascosi Lasciti Association is set up as well as eight shots of Danilo Garcia di Meo extracted from the Quatrani project which was interested in investigating the adolescence of boys after the 2009 L’Aquila earthquake.