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The aim of this paper is to compare different perceptions of cultural landscapes: the landscape of a Hellenistic-Roman city, Halaesa, reconstructed through archaeological surveys, and the contemporary landscape – natural and cultural – that characterizes the Tusa river, so-called “Fiumara d’arte”, where some installations of modern art have been made. Here the modern art is integrated with the landscape, in which it seems to emphasize some peculiar aspects, result of complex interactions. This analysis allow us to use the archaeological data to understand the relationship between human activities the symbolic aspects which connect ancient and modern communities to their territories.

Il contributo riflette sul ruolo cruciale della relazione tra antico e contemporaneo nella ricerca di Alberto Burri e si focalizza sul Grande Cretto di Gibellina come esempio di archeologia del futuro . A Gibellina Burri ricalca l’antico percorso della citt distrutta dal terremoto attuando un processo affine al restauro archeologico e conserva una traccia della topografia originaria attraverso le forme espressive contemporanee. Il suo approccio da archeologo va dunque inteso come presenza attiva dell’antico, capace di suggerire il dialogo tra la persistenza della storia, affidata alle aree archeologiche di Segesta e Selinunte, e la sua ferita, riscattata dall’arte contemporanea attraverso un’inedita risemantizzazione delle rovine. The contribution reflects on the crucial role of the relationship between ancient and contemporary in Alberto Burri's research and focuses on the Great Cretto of Gibellina as an example of the archeology of the future. In Gibellina Burri follows the ancient path of the city destroyed by the earthquake by implementing a process similar to archaeological restoration and preserves a trace of the original topography through contemporary expressive forms. His approach as an archaeologist must therefore be understood as an active presence of the ancient, capable of suggesting the dialogue between the persistence of history, entrusted to the archaeological areas of Segesta and Selinunte, and its wound, redeemed by contemporary art through an unprecedented resemantization of the ruins.