The itinerary begins on the ground floor of the building, in the SALA DELLE COLONNE which was, in the seventeenth century, the library and antiquities room of Casa Barberini. In this magnificent setting, two great masters of Italian photography are confronted with profoundly different but complementary landscapes. Olivo Barbieri chooses Mantegna's Camera degli Sposi to conduct his reflection on the mechanisms of perception and the system of representation, while Guido Guidi addresses the minimal landscape of everyday life, giving equal value to the monumental and the ordinary and loading negligible details of the reality of renewed sense and lightness.
Through a corridor you pass to the so-called NOVECENTESCHE KITCHENS. Originally, the large room was "the lion room" where one of the exotic animals raised in the palace was kept, then it was used for the display of the ancient marbles from the Barberini collection. Centuries later, uninhabited by the marble guardians and ferocious lions, the room was occupied by the kitchens of the Officers' Club of the Armed Forces which had been based in the building since 1934. For this occasion, for the first time, it is open to the public and used as an exhibition space. Here the projects of six photographers are presented, who tell, according to different approaches and perspectives, the places of the Italian cultural heritage and their intimate and conceptual space.
The exhibition continues on the main floor of the building, in the OVAL ROOM, where the dreamlike and ethereal landscapes of Paola De Pietri depicting Rimini and Venice that echo from two different latitudes of the Adriatic, are confronted with abstract architecture, in total white, designed by Gian Lorenzo Bernini in 1633.
In the adjacent LANDSCAPE ROOM, the painted views of the Roman countryside, real landscapes from the memory of the Barberini family, bright and fascinating although faded by time, welcome the surreal images of the mountain landscapes so dear to Walter Niedermayr, usually populated and worn down by mass tourism and now almost ghostly in the absence of human presence.
The path closes with the evocative space of the SERRA, returned on this occasion to the public, reachable from the Oval Room, through the door that leads onto the garden. Here, unusually deserted symbolic sites of the eternal city, taken up by Andrea Jemolo, are confronted with some historic centers damaged by the earthquake that hit Central Italy in 2016, portrayed by Ilaria Ferretti: places where the traces of life are now entrusted only to movement shadows and the reassuring persistence of nature.