quarto gusto fox grape

At the centre of the Loggia sits an open sarcophagus. It is decorated with a frieze presenting repeated casts, made over time, of parts of the artist’s body: hands, legs, feet, arms, heads. Almost mimicking friezes and sarcophagi of past civilisations, this fragmented self-portrait is not only made in life — unlike ancient death masks — but crystallises passing time, the changing body.

Lili Reynaud-Dewar uses her own body as a unit of measure; she plays with time, with art history, with the context of the Loggia dei Vini and with the infinite friezes encountered along the streets and in the museums of Rome (including, of course, the Borghese collection). For the opening, as in the festivities for which the Loggia was designed, the sarcophagus becomes a container of ice and wine bottles, to celebrate dancing bodies.