Anima Etrusca /Etruscan soul - La Fortuna del Progetto Etruschi

Exhibition as part of the “Etruscans 85-25 project”, promoted by the Region of Tuscany, organized by Fondazione Musei Senesi, the Municipality of San Gimignano, Musei Civici, and Opera Laboratori.

 

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Forty years after 1985, the exhibition "Anima Etrusca / Etruscan Soul. La Fortuna del Progetto Etruschi", held in San Gimignano, offers a critical reinterpretation of the cultural initiative launched by the Region of Tuscany.

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In 1985, the Region of Tuscany launched an ambitious cultural initiative that would reshape the landscape of museum communication in Italy: "Progetto Etruschi". Through exhibitions, conferences, events, and publications, the project redefined how the ancient Etruscan civilization was imagined and transformed the very way archaeology was presented to the general public.

Now, forty years on, the exhibition "Anima Etrusca / Etruscan Soul. La fortuna del Progetto Etruschi", set in San Gimignano, revisits that extraordinary season through period materials, artworks, documents, photographs, and installations that bear witness to the lasting impact of that unrepeatable cultural moment.

Anima Etrusca: The Soul of a rediscovery

Curated by Anna Mazzanti and Giulio Paolucci and organized by Fondazione Musei Senesi, the Municipality of San Gimignano, Musei Civici, and Opera Laboratori as part of "The Etruscans 85–25 project", promoted by the Region of Tuscany, the exhibition is structured in thematic sections that take visitors through the planning, ideas, set designs, artworks, and archaeological pieces displayed in the eight exhibitions that took place across Tuscany in 1985. One special focus goes even further back in time, highlighting the relationship between d’Annunzio and the ancient world, illustrated with previously unseen materials, from the era of the first major Etruscan studies congress, in which San Gimignano played a central role. 

Prestigious loans from the Museo Archeologico di Firenze, the Museo Guarnacci di Volterra and the Museo Nazionale di Villa Giulia, along with works by contemporary artists of the calibre of Michelangelo Pistoletto, Fausto Melotti, and Arnaldo Pomodoro – already key figures in the 1985 exhibitions—bring to life a vibrant and ongoing dialogue between ancient Etruria and the present.

There was indeed great courage in the way Etruscan archaeology was interpreted in 1985. The exhibitions themselves became catalysts for a new Etruscan resonance. And today? While this show retraces the choices made then, young artist Gabriele Ermini (b. 1996) has been invited to offer his personal view on the ancient civilization. His piece “Senza titolo (La corsa sul crinale)” is also on display at the Complesso di Santa Chiara, as part of VIS-À-VIS arti visive, a project by Fondazione Musei Senesi that explores the intersection between ancient and contemporary, supported by the Region of Tuscany through the "Toscana in Contemporanea" initiative.

The exhibition thus becomes a bridge between past and present that, by revisiting the pivotal events of 1985, boldly points toward the future.

Exhibition Path

The exhibition opens with an in-depth look at the historical and cultural context that led the Region of Tuscany to launch "Progetto Etruschi" in 1985, aimed at reviving and promoting the heritage of this ancient civilization. Documents, catalogues, invitations, and promotional materials introduce the main protagonists and the energy of that moment. Among the highlights is the iconic visual identity created by Fernando Farulli, based on a small Etruscan bronze, alongside other now-legendary symbols: the 500 Lire coin, commemorative stamps, merchandise (from T-shirts to stickers), and a bold visual campaign designed by the trailblazing agency AdMarco.

The exhibition also explores the revolutionary display designs created for the eight 1985 shows, which turned archaeology into an immersive experience. Architects like Adolfo Natalini and David Palterer developed cutting-edge scenographic solutions, documented here through floorplans, sketches, and archival photos. Adding to this narrative is a collection of Richard-Ginori ceramics – plates, pitchers, small animals – designed specifically for the occasion and inspired by Etruscan motifs, illustrating how design and antiquity were intertwined in the project.

A central section focuses on the dialogue between contemporary art and the Etruscan world, beginning with the artistic choices made in 1985 and expanding into new interpretations. Works by artists involved in the original project return: Michelangelo Pistoletto with L’Etrusco and Mario Schifano with Amare Chimere, a live performance held before thousands in Florence, documented here through photographs by Marcello Gianvenuti and a never-before-seen video by Giacomo Verde. The conversation continues with works by Fausto Melotti and Arnaldo Pomodoro, an imaginative journey that connects ancient past and living present.

This dialogue is further enriched by artifacts from the Villa Giulia collections, some of which were featured in the 1985 exhibitions and are now exceptionally on display. A special tribute is paid to semiotician Omar Calabrese and his section Etrusco immaginario, which in 1985 daringly blended high and popular culture—a visionary approach that feels even more relevant today.

A small but precious gallery showcases objects inspired by the 1980s rediscovery of Etruria: granulated gold jewelry by Unoaerre, perfumes in terracotta vessels, Cinzia Ruggeri’s postmodern dress (used for the cover of Aristocratica by Matia Bazar), and the sophisticated illustrations of Maddalena Sisto. Fashion, art, and ritual converge in an elegant and unexpected narrative.

The communicative power of the project is captured through magazine covers, articles, TV broadcasts, and printed materials that reflect its widespread media presence—from Domus to Archeologia Viva, from RAI to the Istituto LUCE, and lifestyle and current affairs features. The exhibition closes by revisiting the birth, during those very years, of the Etruscan museum network in Tuscany: a cultural model that continues to represent Italian excellence.

Two final sections, curated by Valerio Bartoloni, provide fascinating historical counterpoints. The first explores the connection between Gabriele d’Annunzio and the Etruscan world, which inspired his novel Forse che sì, forse che no. The second revisits the 1926 Convegno Nazionale Etrusco, a landmark in 20th-century rediscovery of Etruscan culture, with a key event held in San Gimignano—an ideal prelude to the 1985 turning point, and a lens through which to understand its contemporary legacy.

Opening Hours & Tickets

Until October 31
Daily: 10:00 AM – 7:30 PM
Last admission at 7:00 PM

From November 1
Daily: 11:00 AM – 5:30 PM
Last admission at 5:00 PMDal 1 novembre

Closed on December 25;
January 1: open from 12:30 PM to 5:30 PM (last admission at 5:00 PM)

The exhibition is included with admission to the Complesso museale di Santa Chiara.

Combined ticket (Palazzo Comunale, Pinacoteca and Torre Grossa; Complesso di Santa Chiara; Church of San Lorenzo in Ponte): €10

UniCoop Firenze members: reduced rate €8