This photographic cycle is related to a retrospective exhibition of Andy Warhol, held at the Chiostro del Bramante in Rome—a singular example of Renaissance architecture, projected by Bramante at the beginning of the 16th century. The exhibition’s ambiguous title “Repent and Sin no More” examined an undisclosed aspect of Warhol’s relationship towards spirituality and religion. The public relation concept for the show depicted a self-portrait of the artist. Subsequently numerous advertising surfaces all over Rome displayed Warhol’s portrait—from the city’s center to its vast outskirts. My interest was prompted by the obvious reciprocity of pop art on billboards. A place where goods and products are usually promoted. This paradox layering of the represented art intrigued me. An artistic œuvre, which implies on consumerism and advertisement, is blended here into the world of commerce.
The artists’s head shot—appearing here as an advertisement—virtually juxtaposed various aspects of Warhol’s artistic concepts with the reality of everyday life. Besides the pop art image also mingled synergistically with the street names, heading the respective advertising surfaces. Names, dedicated to late intellectuals, philosophers, politicians, artists, famous people in general (another facet in Warhol’s thematic complex) or to other particularities of Italian history.