From July 6 to August 25, Credito Valtellinese Gallery inside Palazzo Sertoli and Valtellina's History and Art Museum inside Palazzo Sassi de' Lavizzari are hosting a Silvia Levenson exhibition entitled "Correre ai ripari" (Finding a remedy).

"Finding a remedy" presents 25 sculptures and works, which represent some of the main themes that the artist has approached since she came to Italy in 1981: e.g. Viaje; Cannibalism of feelings; Fashion Glass and Childhood.

Silvia Levenson's sculptures are made of moulded glass using a particularly difficult technique, which allows crystallising objects and common feelings and realising symbolic, cold transparencies starting from quite an unusual material.

The theme of travelling is represented by exhibits such as small bags and travel books. It is an autobiographical reference (Levenson's necessary parting from Argentina). The theme of Cannibalism re-examines roles and conditions, in particular women's everyday life through the ironic and dramatic exhibition of home objects; Fashion Glass presents clothes like a sort of forced disguise for a right coming out; finally the theme of childhood, represented by quite an unusual playground made of glass and by a special trousseau, reveals the awareness that memories are a source of energy, which helps people survive.

Through the exhibition Silvia Levenson tells us about love and feelings, which bear a deeper meaning. Tables, chairs, utensils, knives, clothes, shoes and bags with nails and razor blades, biting icons of both contemporary events and tradition. Stereotypes through which the artists shows the impossibility of an adaptation.

Just like "correre ai ripari": a transparent small house with a small aluminium chair inside with a knife hanging above it. A sheltered place, which makes however think about the fragility of models that we completely trust.

The exhibition also includes some works made of silicone and soap, which have been realised to represent the free manipulations that are typical of children

A brochure is available in Italian and in English with critical texts by Martina Corgnati, Manuela Gandini, Alessandro Riva, Paola Tognon, as well as introductions to the four sections by Silvia Levenson.