Regno Amicale
Over the past dozen years, Letizia Romanini has developed an artistic approach that is deeply anchored in observation of the everyday, common objects, and ordinary landscapes. Her practice is often characterised by a particular attention paid to fragility, the ephemeral, and the notion of the passage of time. She interrogates the way that neglected small details can often tell larger stories about our environment, memories, and our relation with the world. Her process aims to transfigure the real through site-specific compositions, relating multiple sculptural techniques with the photographic, and thus ceaselessly pushing back the limits between the two- and three-dimensional. The principle of seriality, which recurs in her creative process, allows her to embrace both repetition and accumulation, each serving as a way of reinscribing the artist’s fundamental gesture into a dynamic of patient contemplation. By revealing the fugacity of forms and by sublimating the intangible, Romanini becomes a composer of suspended moments, imprints of poetry and of chance, like freeze frames.

Taking the form of a study of the mineral field in Luxembourg’s south, Romanini grounds her inspiration for this Project Room in the geological specificities and the endemic species of the region. She intertwines an evocation of the area’s historical connection with the steel industry with a consideration of the flux of time that reveals nature’s endurance and ecological vitality. This is a question of creating a kind of inventory, of using photography to capture self-propagating plants—more commonly known as “weeds”—in order to make manifest the fragility of an entire ecosystem. Composed of nine large structures connected with translucent surfaces that harbour images of vegetation, trees, and rocks, Regno Amicale (2025) is an installation that inverts relationships of scale and perspective. Its articulation in the space conduces to a slow, immersive wandering, meant to awaken our sensitivity to the environment, to the cohabitation between species, and make us question our practices, our environmental commitment, and our very existence.

According to American philosopher Donna Haraway, the human body does not end at its dermal surface—it extends into its environment and reflects this back to us. Thus, we are ourselves fragments of a cosmology that forms part of a larger organic consortium. In keeping with this view, Regno Amicale (2025) invites the viewer to consider a logic of nested connections, to regard nature as not simply a backdrop, but a complex community, pullulating with life, of which human beings are an integral part.

Metal structures, UV printing
on Alu-Dibond and screen printing on Plexiglas

Konschthal Esch, 2025
With the support of the Fondation d'Été

© CHRISTOF WEBER