The site used to include a house (left) and a small church (right). The abandoned buildings were demolished by the city authority and the site lost public appreciation. Three artists proposed to the city council a "three hands art installation" which would modify the present state of the ruins into a space redesigned by the art presence. The preliminary works consisted in strengthening and fixing all the still existing traces of architecture and painting on the walls. The photographic and painting works were set within those fragments of wall surface where no pre-existing traces could be identified. The sculpture work occupied the empty volume of the square, building at the same time a physical connection among the four surfaces of the space and a symbolic one among the different art media involved.

House side detail: The photographic surface fixed onto the house wall. A gigantic photographic fragment of a marble plate bearing traces of water, writing and light is located within a wall area delimited by the absence of pre-existing traces.

Church side details. The large scale photographic surfaces include the painted traces of the apse of the old church and are connected to the visible traces of its architecture. The two photographic fragments represent the same architectural structure seen from two opposed symmetrical points of view. They build a "blind vista" and are in a monumental scale compared to the size of the original church.

The site as it appeared before the work.

Silvio Wolf, La Verità', Piazza S.Antonio, Civitella d'Agliano, Viterbo, 1987
Silvio Wolf: Fotografia: riporto fotografico b. & n. su parete
Annamaria Santolini: Pittura: Tempera su parete.
Angelo Casciello: Scultura: Acciaio e legno.

Civitella d'Agliano ha scoperto la sua verità, di Pierre Restany

Pietre di carta, di Giorgio Verzotti