Patrizia Mussa's exhibition Teatrality - Architectures for wonder , curated by Antonio Calbi, promoted by the Municipality of Milan-Culture, produced by Palazzo Reale, opens on December 6th at Palazzo Reale in Milan, coinciding with the opening of the La Scala season. and Studio Livio, with the support of Gemmo SpA. The exhibition is included in the "Prima diffusion" program promoted by the Municipality of Milan together with Edison, in collaboration with the Teatro alla Scala.

Until February 4, 2024, in the ten rooms of the Appartamento dei Principi, the artist shows us 60 large-format images with hand-colored interventions , which return a path of analysis of theatricality in architecture : from the first theaters of Vicenza, Sabbioneta and Parma - which mark the transition from court theaters to actual buildings - to the Teatro alla Scala in Milan, from the Teatro San Carlo in Naples to the Teatro La Fenice in Venice, from the Teatro Regio in Turin to the Teatro Argentina in Rome, from the Teatro of the Pergola of Florence at the Teatro Massimo in Palermo, together with some architecture that testifies to the "theatrical" vocation of certain Italian architecture, such as the Reggia di Venaria, that of Stupinigi, the Royal Palace of Caserta, Palazzo Grimani in Venice.

After Milan, the exhibition Theatricality - Architectures for wonder will be in Matera , at the National Museum, in the seventeenth-century Palazzo Lanfranchi; at Villa Zito, in Palermo , thanks to the Sicilia Foundation; at the Accademia di San Luca in Rome , in Paris , at the eighteenth-century Hôtel de Galliffet, home of the Italian Cultural Institute, to continue in other Italian cities.

In her photographs, Patrizia Mussa uses a language that seems, at first glance, to be of an objectifying nature, due to the use of natural light, frontal vision, total focus, which are part of a calibrated "narrative", rational and crystalline. But photography is, for the artist, only the starting point. After having fixed the view and created the print on cotton paper, Patrizia Mussa intervenes with colored pastels to retrace the details and making it very similar to a painting or a tapestry, thus marking a definitive distance from the merely photographic language to land in a field artistic still without a name where the photographic act joins the pictorial gesture : «And the beautiful word that defines writing with light, for his work, is not enough. A neologism would be needed", writes photography historian Giovanna Calvenzi in her text in the catalogue.