The dialogue between archeology and contemporary art marks the restart after the health emergency: in synergy with the cultural policy of the scientific direction of the National Archaeological Museum of Taranto - MArTA by Eva Degl'Innocenti, Director of the MArTA, open to contemporary languages and themes , the Circuito del Contemporaneo, a strategic project with the artistic direction of Giusy Caroppo, which aims to establish a polycentric network of excellence for the production and enjoyment of contemporary art, establishes a partnership with the National Archaeological Museum of Taranto - MARTA, where “Silent Spring” opens, a solo show by the Apulian sculptor Claudia Giannuli, curated by Antonello Tolve.

Organized in collaboration with the Eclectic Cultural Association - Culture of Art, winner of the public notice "Let's keep culture in Puglia", the exhibition was born after a long reflection by the artist, in a joint dialogue with the cultural policy of the MArTA based on the value of an Archeology in the Future initiated since the settlement by Eva Degl'Innocenti, Director of the archaeological museum among the most important in Italy, which exhibits finds from Prehistory to the Early Middle Ages; a project that signs the union between the high cultural value of the Museum and the Giusy Caroppo format that indicates precisely the MArTA of Taranto as the strategic epicenter of the Circuit, open to the Mediterranean and to a network of national and international museum institutions.

Inspired by the essay of the same name by the American biologist Rachel Carson - an influential figure in the constitution of feminist and ecofeminist movements - the sculptural production of Claudia Giannuli for the "Silent Spring" project is characterized by at least two elements of continuity with the archaeological collections of Taranto: the medium, ceramic, which is the material with which most of the artefacts exhibited in the rooms hosting the exhibition are made; the female universe, a theme that recurs in the reference myths, as well as the link with nature. Far from being didactic and intentionally politically incorrect, it is located along the path of the Museum on the first floor divided into 5 stages, with unpublished installations that are part of the traditional thematic and chronological visit. These are display cases made like terrariums, and a paludarium, in which natural and vital landscapes appear. An evocation of a silent enclosed spring, such as the one we are experiencing.