Lightbox - Galleria di arte Ellebi

Transcription

G
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Graphic designer:
Gianni Cusumano
Roberto Panzera
[email protected]
www.sansserifstudio.it
© 2014 Copyright Galleria Ellebi
Via Riccardo Misasi, 99
87100 Cosenza (CS) - Italy
Tel. (+39) 0984-1812534 - Fax (+39) 0984-1812534
[email protected]
www.galleriaellebi.com
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1968
Maria Carbone and Giancarlo Sirangelo
2012
Claudia e Marilena Sirangelo
2014
Cesare Berlingeri exhibition
2014
Cesare Berlingeri exhibition
2011
Tracce di Costellazioni.
G. Uncini, H. G. Rossi.
2011
A. Boetti, G. Pardi, Pomodoro.
2011
Castellani, Bonalumi.
FRANCESCO
H
the
young-
ing long work casting lights and shadows
our
gallery.
and showing remarkable analytic skills. He was born in 1991 but since he was six he
The artist is now working on a project attend-
has been extremely fond of using his pencil to
ed to by “Galleria Ellebi”, titled “L’eco del ter-
draw. This has led him to give himself complete-
rore”-”The Echo of Terror”, that is going to take
ly to art, after completing his technical studies.
him abroad, dealing with various artistic inter-
This artist conceives his works as optical de-
national institutions.
e
is
est
among
artists
of
vices and carefully treats even the most marginal details to boost the representation of
MAIN SOLO AND
reality beyond the normal “naked eye” vision.
COLLECTIVE EXHIBITIONS
His signs are able to tell about emotions and
2013
sensations taking the audience to a space
“La Sfera” Gallery In Catanzaro (Italy)
which is unique. In his works, the artist grasps
2014
reality the way his eyes see it and presents it
La Pecora Nera In Amantea (Italy)
without filters.
Personal Exhibition In Lorica (Italy)
The making of each piece of work starts
Bipersonal Exhibition With Mariarita Renatti
from a click done by Altomare, who cre-
-”Vero Come La Finzione”-”True Like Fiction”
ates his characters as he was a film director.
At “Terrain Vague” In Cosenza (Italy)
When you see him working, you get to un-
“Iperrealismo” Expart Gallery Bibbiena
derstand and appreciate the creative gen-
Nonfermarti – Rende (Cs) –
esis of the painting, as if he was producing a dance with his hands while shading
the pencil on the sheet. It is a painstak-
Francesco Altomare
Fenomeno
pencil on paper, 100x66 cm
GALLERIA ELLEBI ARTISTI 2014
L’eco del terrore
pencil on paper - 100x70 cm.
Animale e prede
pencil on paper - 54x94 cm.
Francesco Altomare
Untitled
pencil on paper, 60x50 cm.
Come un ingranaggio
L’eco del terrore 3
FEDERICO
F
ederico Arcuri explores worlds in
sistance. Objective reality becomes, in his
white and black, made of chalk, paper
hands, a body or a landscape that are the
and signs on canvaswhere the subjects are
outcome of a psychic dream so far away as
metropolitan landscapes, underground soli-
to be placed in an unknown zone. The artist
tudes or cinematographic scenes taken from
from Piacenza does not need consolation in
Tarkovsky. His painting is a measured body,
his paintings. Human presence may be alter-
a struggle that requires silence, as present
nated with urban scenes that manifest in a
day painting demands. Arcuri strips flesh out
crude way the artifices and the superstruc-
of the bone and removes details though the
tures that man himself has produced. Colour
strong material consistency of colour, glue
circulates and thickens. Yet in this apparent
and thickly laid white, in such a way that the
drift, the atmosphere is warm and there is
daily aspect of views and landscapes be-
no want. The scenes that echo cinema talk
come personal and symbolic. The acrylic
to us about incessant passage, about crowd-
black and the light of the expressionist or
ed streets emptied by barriers of concrete,
outlined brushstrokes immediately repro-
encrustations, gashes and perspectives. It is
duce, through form, the contents: ghostly
like a sedimented deflagration that unravels
cities and day after atmospheres, the des-
clearly and incisively or in a rarefied manner
olation typical of sun-drenched suburbia,
as if removed from the surface of the paint-
nocturnal architectures where people walk
ing. His artistic practice is free and takes
caught in a daze of vague thoughts. His lyri-
place in a broadened tactical frame where it
cal expressions, by rhyming sign with colour
is possible a dash forward and a retrieval of
– the black with those sudden luminescent
memory, a contemplative suspension of the
emissions – indicate a position where lin-
event and an acceleration of energies.
guistic research also contains a moral re-
Martina Cavallarin
Cantiere, 2009
acrylic on canvas and plaster
150 x80 cm.
Biancovivo, 2009
150 x100 cm.
Arsenale, 2009
90 x 60 cm.
Upside down, 2011
100 x 150 cm
Into the tube, 2011
100 x 150 cm.
FEDERICO ARCURI
Barcellona wait, 2011
80 x 210 cm
Paristhree, 2011
40 x 120 cm
SOLO EXHIBITIONS
2011 L’uomo della folla, spazio NEXT di Via Margutta,
Roma a cura di / curated by Art Room Project
Aspettando Lupin, Paola Rescio Gallery, Milano, a cura di
/ curated by Martina Cavallarin
2010 Tracks from diary Gaya Art Space, Bali (Indonesia),
a cura di / curated by Martina Cavallarin Pellicolare scatolabianca project room @ Galleria delle Cornici, Venezia, a
cura di / curated by Martina Cavallarin Frame di viaggio
Galleria La Bussola, Cosenza, a cura di / curated by Matina
2009 Esplorazioni in bianco e nero Banca Leonardo Art
Space, Roma
SELECTED GROUP EXHIBITIONS
2011 Le cose hanno il potere che tu gli dai, Spazio Thetis, Arsenale Novissimo Venezia a cura / curated by Alice
Andreoli e Giulia Pasdera PesaRottAma, Piazzale Collenuccio e Cortile di Palazzo Ricci, Pesaro
2010 EcoBrain - Ecomondo, Rimini Pilot On a truck-torent, Berlin (Germany), a cura di Marco Pezzotta | scatolabianca The Goldberg’s Variations 2 Mya Lurgo Gallery,
Lugano, a cura di / curated by Martina Cavallarin
2009 Il bello che fa bene Acquario Civico, Milano
Viaggi, Scoperte, Ritorni, Galleria La Bussola, Cosenza
Imprimatur 3 - The Goldberg’s Variations 91mQ, Berlin
(Germany), a cura di / curated by Martina Cavallarin
Imprimatur 2 Incubatore di Sant’Elena, Venezia, a cura di
/ curated by Martina Cavallarin Target with seven faces
Galleria Emmeotto, Roma, a cura di / curated by Martina
Cavallarin Imprimatur 1 lo.spazio, Milano, a cura di / curated by Martina Cavallarin
2008 l’Appartamento Romano Studio Vivo, Roma
PRIZES
2009 Celeste Prize Premio Terna 02 Festival delle lettere
– buste dipinte
2008 Premio Celeste Premio Terna 01
ERMANNO
E
rmanno Barovero revisits, in the light of
with humilty, with struggle but also with yelding
a current language, subjects and authors
and tenderness, with dream and fantasy. These
of a “genre” which knew its better times in the
are pictures that declare true artists’ unending
19th century and in the period between abstract
instinct to search that interior beat, that deep
expressionism and informal art. Clear referenc-
breath which, in my view, are the unifying finish
es run after each other, connections to Homer,
line to which all expressive acts tend.
F. Fanelli - C. Orlando - G. Cordero
Monet and Constable but also to the pictorial “physicality” present in the European and
American Neo-Naturalistic painting of the 50s;
MAIN SOLO EXHIBITIONS
all this relived through Romantic painting’s tradition, between “terribleness” and calm of nat-
1978
ural phenomena.In Barovero’s painting fantasy
”Arts sans frontiere”, L’ Approdo Gallery, Turin.
and reason, gesture and feeling interweave. In
such an identity, emoition transfers and tenses,
1980
it becomes ideal energy and so we let us to get
“Proposte”, Weber Gallery, Turin.
carried away by this pictorial-poetical swirl.
His majestic and solemn works witness to
1984
the swaying of our unsure steps towards an un-
“Autori contemporanei”, Il Quadrato Gal-
known destiny, they document our actions, which
lery, Chieri.
are dedicated to intercept that thin shroud that
separates existential philosophy from spiritual
1987
longing, that anonymous place called art’s field,
“Giovani Artisti a Madrid”, Jardin Botanico,
paved with utopia and transcendent humus,
Pabellon Villanueva, Madrid.
Lo stagno 1
oil on board
250x135 cm
ERMANNO BAROVERO
1988
“Centomila anni”, Franz Paludetto Gallery, Turin.
“Under 35”, Art Fair, Bologna.
1989
Art Jonction International, Nizza.
1993
“Bandiere senza terra”, Masoero Edizioni d’Arte, Turin.
1995
“Art Fair”, Masoero Edizioni, Bologna.
“Saga di Parigi”, Masoero Edizioni, Paris.
1996
“Opere 1995”, La Bussola Gallery, Turin.
1997
“Lyon - Corbas - Turin”, au Polaris, Corbas.
Dusseldorf, “Art Multiple”, ed. Masoero, Corbas, gallerie Vannoni, Lyon.
“3ěme Biennale d’Art Contemporain Lyon, Bac
off”, Lyon.
1998
“La Tienda del Arte”, Sala Vinçon, Barcellona.
“Art Fair”, Edizioni Fornaresio, Bologna.
“Rosa-Rosae”, La Bussola Gallery, Cosenza.
Danzante
oil on board
188 x 126 cm
1988
“Art Multiple”, Edizioni Fornaresio, Dusseldorf.
1999
“London Fair”, London,
“Art Fair“, Utrecht.
“Art Fair“, Las Vegas.
“Art Fair”, Francoforte.
“Artexpressions”, New York.
“Art Fair”, Tokio.
2000
“Le tre stanze del tempo”, Carlina Gallery, Turin.
“Collettiva Krani”, Forni Gallery, Bologna.
2001
“San Diego”, Bellini Gallery.
“Le piccole stagioni”, La Bussola Gallery,
Cosenza.
2002
““Manifatture Aristocratiche e Cavallerizza Reale”,Cavour Palace, Turin.
2003
“La Quinta Stagione”, Prati Gallery, Palermo.
2004
“L’odore della memoria”, La Bussola, Cosenza.
Il codice segreto della pittura di paesaggio, 2012
ERMANNO BAROVERO
2006
“Gli attimi rubati”, La Bussola Gallery, Cosenza.
2008
“Incisioni Italiane”, curated by C. Virdis Limentari, Palazzo della Frumentaria, Sassari.
“Pittura Dipinta”, G. Amendola Foundation,
Turin.
2011
“C-arte di vetro”, Chiesa di Santa Croce,
Avigliana.
“Maestri e giovani Artisti del’ Accademia
Albertina di Torino”, Accademia di Belle
Arti di Istambul, Istambul.
Ghiacci (detail)
oil on board
150 x 92 cm
Vita silenziosa
oil on board
150 x 92 cm
ERMANNO BAROVERO
Lo stagno 3
oil on board
283 x 114 cm
Il cielo sulla Sila
oil on fiber
283 x 114 cm
CESARE
C
esare Berlingeri began more than thir-
history of fabrics and if they are used in the-
ty years ago to fold the canvases in his
ater and painting in connection with their
paintings. Firstly, generating volumes of can-
ancestral implications: this is what renders
vases drenched in gesso and pure pigments
them basically brand-new today. The fold-
that formed their shapes from the curves of
ing is not intended to envelop mysterious or
the canvases. Then, layers wound up in graf-
monumental objects, nor is it limited to grip-
fiti drawings as if closed microcosms, lim-
ping folds on flat surfaces.
ited to the artist’s actions as a sealant. And
We do not find only folded paintings in
more recently, articulating volumes of can-
nearly 40 years of the work of Berlingeri, but
vas as human bodies, in which the sculpted
also flat, extended paintings in polyptych
torsos tend to expand into the spaces they
and beautiful minimal drawings. The polyp-
are vibrating in. The tangible differences that
tychs of Berlingeri are just as meaningful as
change his work from cycle to cycle are proof
his folds; also because, in contrast to these,
that folding is an advanced conceptual idea,
they form a straight line. These are made
which is able to be continuously modified. up of diptychs which overlap to diverseThe folded paintings of Berlingeri are im-
ly monochromatic planes: for example, a
portant for more than one reason.
sheet of lead overlaps with muted pigments.
Above all, they introduced a definitive con-
It is interesting to note is that the idea of fold-
structive model, that of folding large pieces
ing paintings came to Berlingeri from his ac-
of canvas drenched in color, into that unlim-
tivities as a set designer while constructing
ited repertoire of painting techniques. This
theatrical backdrops, just as the first draw-
is an anthropological procedure or which is
ings of Suprematismo of Malevič project-
described here from a point of view of the
ed the triangulation of a theater backdrop
(1913), and Picasso also folded canvases to
construct a guitar (1927) in the same way as
in his set designs. Certain operative analogies can reveal a common genealogy in such
diverse works.
“The folded paintings do not have a
home:they takeover the space with their
presence, observing the memory of the
place like a mysterious and visionary coffer
of signs.”
Those who experience these paintings with
the sense of touch as well as the sense of
sight will soon notice that many of them are
similar to walking objects: they are reminiscent of journeys and stops. Initially, the most
common vagabond clue was the state of
their recurring similarity with oval or rhomboid folded shapes, fabric, pillows, haversacks, and even bowls.
The works of Cesare Berlingeri have always
been able to highlight the deep contemplation of a fluctuating body in gravity - but this
took time. Only during recent years have his
folds amplified their range to growing gusts
of markings.
Tommaso Trini
Ghiacci ed ombre, 2012
canvas, plaster and paraffin, environmental measures.
Cesare Berlingeri
C
esare Berlingeri was born in 1948 in Cit-
Rome and at the City Gallery of Saint Vincent.
tanova. In Rome, in the 1970s. he began
In 1985, he presented the Fioriture cycle at the
working for the theatre and television as a
Soligo Gallery; these too were large canvases
set-designer and costume-designer with film
painted in oil and using industrial enamels, with
director E.Vincenti. Theatre activities, which al-
wide gestures.In 1986 he was invited to a col-
ways involve him deeply as a painter, are a main-
lective exhibition in Tokyo, Mostra sul disegno
stay of his artistic career. He sought an expres-
italiano and to the XI Quadriennale di Roma.
sive path of his own by experimenting different
At the one-man exhibition, Specchio rotto
methods and ways of painting, using natural
specchio, he exhibited small and large works
elements such as wind, rain and fire – a means
distinguished by bright colours, obtained us-
of introducing randomness and materials
ing oil and pigment. such as lime, cement, waste paper and canvas. The Modern Art Gallery of Paternò (CT)
The works of this period went on show at his
hosted a one-man exhibition of his entitled
first one-man exhibition at the AxA Gallery in
Nero, Bianco, Rosso e Blu in 1989. The works
Florence (1975). All are done in oil and are
on show were made using a broad range of
very materialistic. On them the artist created
techniques such as: natural pigments, enam-
calligraphic signs using fire.
els, acrylics and waxes. Most are diptychs
He began working on theTrasparenze (1978),
and triptychs obtained by bringing together
which followed the Strappi cycle, reconfirming
monochrome canvases, sometimes marked
his constantly evolving-transforming study on
by charcoal and graphite, and sheets of iron.
canvas. The Trasparenze represent “research
We can well appreciate how the theatre of-
into canvas and its penetrability, on the visibil-
fered him the chance to experiment his paint-
ity of what is beyond the fabric: an attempt not
ing techniques from a remark of his during
to make the visibility system stiff” C. Benincasa.
an interview included in the catalogue of the
These works consist of ultra-light and super-
exhibition Nero, Bianco, Rosso e Blu, “In the
imposed linen canvases, meaning the su-
theatre, I was able to create large pictures
perimposition of transparent surfaces that
that moved on the stage. I gave free rein to
make reference the one to the other and
my desire to make the stage into a dynamic
do not hide the colour fragments and small
painting and to do this I also used the char-
folded fabrics they enclose. This cycle was
acters as indications of colour in movement”.
presented in 1979 at the Soligo Gallery in
The folded paintings were exhibited in 1990,
Sul giallo piegato, 2010
oil and pigment on folded canvas 84 cm x 102,5 cm.
after a meeting with T. Trini who wrote: ”I re-
gare la notte, consisting of about twenty folds
member that when I visited the Taurianova
of different sizes, shapes and colours.This was
workshop, during the preparation of a large
followed by the collective exhibition at the
exhibition at Messina, Berlingeri was still de-
City Art Gallery of Gallarate entitled, Riflessi-
bating the puzzlement of his supporters, most
one e ridefinizione della pittura astratta. The
of whom were convinced that “those objects”
La Polena Gallery of Genoa dedicated a one-
were out of style. But I was straight away ex-
man exhibition to the artist entitled Viaggi.
cited”. Opere Recenti, the exhibition to which
In another one-man exhibition at the Mudima
Trini refers, was set up in the foyer of the Vit-
Foundation (1999), he not only exhibited the
torio Emanuele Theatre, where a number of
Piegature, but also a series of small paintings
diptychs were exhibited together, for the first
on lead. For the artist, lead is “dead matter,
time, with the Piegature. These folded canvas-
an absorbing material. A truly silent material”.
es, impregnated with pure pigment, drafted
Also on show were a series of large canvases
since 1976 in small sizes, were now recovered
marked with charcoal on which surfaced “fig-
and developed. The Piegature idea comes
ural elements, almost human signs, shadows
from a memory of his childhood: a small mat
of presences, cycles that converse” T.Trini.
In
black cloth wrapping which his mother used
Senza titolo, 2009
mixed media on canvas folded, 90 cm x 105 cm.
2001,
Padua
the
hosted
New
Art
Dipinti
Gallery
to wear around her neck as an amulet. But
of
Piegati.
the actual folding of large paintings was first
In 2003, he staged a one-main exhibi-
done in the theatre. While he was working on
tion at the Mole Vanvitelliana of Ancona,
a stage set, he painted a starry night on a large
where for the basement he designed a sug-
backdrop. At the end of the play, when the
gestive installation entitled Viaggi, folded
time came to disassemble the set, he realised
works these too, but in this case more vol-
how, fold after fold, this large canvas became
umetric and conceived to invade space.
a package about eighty centimetres long.
T. Trini has edited a major monograph-
The last few years have witnessed sever-
ic book on his works published by Skira.
al one-man and collective exhibitions in
The town where he was born paid tribute to him
which he has shown his new works, re-
with a very singular retrospective that availed
ceiving somewhat varied critical reaction.
itself of historical, figurative works that the artist
In 1994, he created a large wall installation for
does not always love to show, like his drawings,
the Mudima Foundation of Milan entitled, Pie-
which represent a diary of his life in images.
Cesare Berlingeri
Padua City Council invited him to stage
a one-man exhibition in Palazzo Moroni.
In
tive
2004,
he
exhibition
took
at
part
the
in
a
Arezzo
collecNation-
al Museum entitled, Da Picasso a Botero.
A year later, the Calabria region promoted two
large one-man exhibitions of his. The first was
staged in the Castello Aragonese of Reggio
Calabria, with a broad retrospective, and was
entitled La pittura piegata. The second big exhibition in Calabria was the anthology Cesare
Berlingeri, Materia 1975 – 2005 staged in the S.
Giovanni Monumental Complex at Catanzaro.
The Corpi are the last cycle of his works. And
this is the title of his one-man exhibition held
in 2006 at MUDIMAdrie, Antwerp. Bodies of
air, covered by a smooth surface, generated
from a matter “that acts like bread, meaning it
breathes, inflates, grows like life, like the trees.
And then the most beautiful thing is that three
nails inserted here and there are all it takes
to make this shape grow in a different way…”
C. Berlingeri.In Padua, the Vecchiato New
Art Galleries presents Vele per nessun mare
(2007). The works on show are sculptures, aluminium folds painted with enamel paste. As
for the previous iron and lead, on this metal
too “transubstantiation” takes place through
the very particular use of colour.
Frammenti con ombra, 2012
mixed media on canvas folded, measures variables.
Corpi
mixed media
Cesare Berlingeri
Su bianco, 2010
acrylic on folded canvas, 37,5 cm x 31,5 cm.
Argento piegato, 2010
acrylic on folded canvas, 31 cm x 36.5 cm.
Ghiacci e Ombre, 2012
Cesare Berlingeri
2007
2002
1991
“Cesare Berlingeri Vele per nessun mare”,
“Questa è la mia più bella piegatura per
Manifesto ufficiale / Official manifesto
2011
a cura di / curated by P. Aita. Galleria Vecchi-
avvolgere un critico”, Galleria d’Arte Dante
TAORMINA ARTE ‘91.
“Cesare Berlingeri, Da oltremare al nero”
ato, Padova.
Vecchiato, Padova.
Vecchiato Art Gallery, Padova.
“Cesare Berlingeri”, a cura di / curated by
1990
Aguinaldo Coelho e Celso Fioravante. Mu-
2001
“Progetto per l’Arte Moderna”, Studio Soli-
2010
seu de Arte Contemporânea Goiânia Centro
“Dipinti Piegati”, New Art Gallery, Padova.
go, Roma.
“Cesare Berlingeri, Corpi e Piegature
cultural Oscar Niemeyer. Brasile, Museu de
2005-2010”, Galleria Ellebi, Cosenza.
Arte Moderna da Bahia. Brasile, Museu de
1999
1989
“Corpi & Piegature 2005-2010 – Cesare
Arte Moderna. Rio de Janeiro. Brasile
Fondazione Mudima, Milano, a cura di / cu-
“Nero, Bianco, Rosso, Blu”, a cura di / curat-
rated by T. Trini.
ed by F. Gallo, Galleria d’Arte Moderna, Pa-
Berlingeri”, Vecchiato Art Galleries, Padova.
“Rigorismo. Nell’orizzonte del transpazial-
2006
ismo ed oltre” curated by F. Lattuada and
“Cesare Berlingeri Corpi”, MUDIMAdrie.
1998
Massimo Donà. Lattuada Studio Milano
Anversa.
Studio Soligo, Roma.
ternò (CT).
Galleria Gregoriana, Roma.
1988
2009
2005
1995
“Languida attesa”, intervento d’immagine
“Corpi Speciali”, Vecchiato Art Galleries, Mila-
“La pittura piegata” a cura di / curated by V.
“Piegare il colore”, Studio Soligo, Roma.
per una composizione musicale di A. Canan-
no.
Baradel. Castello Aragonese Reggio Calabria.
“Viaggi”, Galleria La Polena, Genova.
zi, Palazzo Taverna, Roma.
“Cesare Berlingeri – Piegare il colore”, Museo
“Cesare Berlingeri 1980-2005” a cura di P.
Se Art Gallery, Tokyo.
Civico Umberto Mastroianni, Marino, (RM).
Daverio e D. von Drathen. Complesso monu-
“Cesare Berlingeri Casseforti dell’anima”,
mentale di San Giovanni, Catanzaro.
Galleria d’arte Arte Contemporanea e Dintorni
1987
1994
“Specchio rotto specchio”, Studio Soligo,
“Artefiera”, Bologna; Galleria La Polena,
Roma.
, Como.
2004
Genova.
“Italian Shape: Berlingeri”, ANNIART 798 Art
“Opere recenti” galleria Marchina Arte Con-
“Piegare la notte”, grande installazione /
1985
District, Beijing.
temporanea, Brescia.
large installation, Fondazione Mudima, Mila-
Galleria Studio Oggetto, Caserta.
no.
1982
2008
2003
“Cesare Berlingeri. Piegare la pittura”, Cas-
“Viaggi”, Mole Vanvitelliana, Ancona.
1993
“Dodici frammenti e un quadro”, Galleria Il
tello Castani, Comune di Fondi.
“La pittura piegata”, Padova.
Galleria La Polena, Genova.
Messaggio, Reggio Calabria.
Galleria La Meridiana, Messina.
2010
2007
Beijing International Art Biennale exhibi-
“Racconti colorati”, Galleria Interarte, Milano
“Tornare@Itaca, arte per la legalità”, a cura
“Buio luminoso degli artisti”, a cura di /
tion, Pechino, China.
di/curated by M. Pasqua, F. Gordano, Fonda-
curated by F. Gordano e D. Pieroni. Nube di
“13X17”, a cura di / curated by P. Daverio,
1981
zione Mudima, Milano.
Oort, Roma.
J.Blauchaert, E. Augurio. Mostra itinerante.
Installazione per La lunga notte di Medea,
“Muro contro muro”, a cura di / curated by
“Breathe Inbreathe Out”, Mudimadrie Gal-
regia di / direction by Werner Schroeter, te-
C. Siniscalco, Punto Einaudi, Salerno.
erie Gianluca Ranzi, Anversa.
2004
atro Niccolini, Firenze.
“Liber 11 + 1 x (1 + 1) + 1”, Studio S – Arte
“Papiers d’artistes”, Galerie Stella & Vega,
“Da Picasso a Botero” a cura di / curated by
Contemporanea, Roma.
Brest.
V. Sgarbi, Museo Nazionale, Arezzo.
1980
Artepadova, Padova.
2009
2006
“Muro contro muro”, a cura di / curated by
57° Premio Michetti Laboratorio Italia, a
2003
1979
C. Siniscalco, Studio S - Arte Contemporanea,
cura di / curated by P. Daverio. Francavilla al
Artefiera 2003, Bologna.
Galleria Civica, Saint-Vincent.
Roma.
Mare.
Galleria Perlini Arte, Reggio Calabria.
Galleria Ita Incontri, Forte dei Marmi.
“Inspired by George Byron. Artisti e autori contemporanei per un poeta romantico”
2005
2002
1978
a cura di / curated by P. Aita, Shenker Culture
“Stretto plurale” a cura di / curated by L.
“Trasparenze”, Galleria Soligo, Roma.
Club, Roma.
Barbera, ex macello Villa San Giovanni (RC).
Artepadova, Padova.
“6ª Biennale Libro d’Artista”, città di Cassino.
“Maestri per Spilimbergo. Omaggio alla
“Parnaso”, Galleria Interarte, Milano.
città. 110 artisti dipingono Spilimbergo
2001
2008
e la sua pedimontana”, testo critico di Sara
ARTMIAMI, Florida, USA.
11th International Cairo Biennale.
Cornelos. Spilimbergo (PN).
“Primaverile romana 2008. Prendere po-
“XII esposizione nazionale d’arte. Artisti
ARTCHICAGO, Illinois, USA.
sizione”. Associazione Romana Galleria
per Epicentro 2005”, a cura di / curated by
2011
D’Arte Moderna 2008, Museo Venanzo Cro-
N. Abbate, testi critici in catalogo di R. Bas-
2000
“Altogether different”, Different Gallery
cetti, Roma.
saglia, Janus, Lara-Vinca Masini. Museo di
TIAF-Toronto, International Art Fair, Toron-
London.
“E.V.A. Experience of Visual Attraction”.
Epicentro (ME).
to, Canada.
“Muro contro Muro_ In memoria della Sho-
Galleria De Nisi DeniArte, Roma.
“Museo d’arte delle generazioni italiane
ah”, Old Museum di Jaffa di Tel Aviv.
“Isolario”, la Nube di Oort, Roma.
del ‘900 G. Bargellini”. Pieve di Cento (BO).
1975
Galleria AxA, Firenze.
Cesare Berlingeri
1999
1993
“Appunti per un’altra storia”, a cura di / cu-
ART. 24, ‘93, Basel.
rated by M. Sciaccaluga, Museo d’Arte Contemporanea Su logu s’iscultura, Tortolì (NU).
1991
“Indefinizioni!”, a cura di / curated by A. La
1997
Porta, Galleria d’Arte Moderna, Cosenza.
“7 pittori per un solo Poeta”, Studio Soligo,
Roma.
1990
“Differenze dello sguardo”, a cura di / cu-
Fortezza da Basso, Firenze.
rated by P. Aita, A. D’Elia, Castello Svevo,
Cosenza.
1986
“Mostra sul disegno italiano”, Tokyo.
1995-1996
Xl Quadriennale, Roma.
“Riflessione e ridefinizione della pittura
astratta”, Civica Galleria d’Arte Moderna,
1985
Gallarate (Ml).
“Mosaico”, Studio Soligo, Roma.
1995
1984
“Riparte”, Mostra Internazionale di Arte Con-
Artefiera, Bologna.
temporanea, Roma.
“Cesare Berlingeri. Alberto Parres. Este-
1982
ban Villalta Marzi”, Studio Soligo, Roma.
Galleria Interarte, Milano.
Se Art Gallery, Tokyo.
1980
1994
“Cinque storie per cinque artisti”, Studio
Party 24:94-Basel.
Soligo, Roma.
“Jambo Jambo”, Galleria Comunale d’Arte,
Cesena.
BARBARA
B
onfilio Barbara, graduated in Painting
tion Elena Miro, where is rewarded by Vit-
at the Albertina Academy of Fine Arts
torio Sgarbi and gallery owner Antonia Jan-
of Turin in 2000.
In 2013 participates in the collective Hado
- Ordo Amoris at the Contemporary Art Gallery De Chirico.
none. In 2007 participates at the Moulhouse
007: European Academies’ Talents.
Finalist at
prestigious awards among
which the Biennial Painting Award Felice Ca-
In 2012 was selected for the project Ar-
sorati, Morlotti Prize, the Carlo Dalla Zorza
tiste da Sud, an editorial project by Teodora
Award, Limen International Award, and the
Malavenda and Filippo Romano, he partici-
Combat Award; her works are published in
pated in the White Box at the Bertoni Foun-
the 2004, 2007and 2008 catalog of the Ce-
dation of Saluzzo by Giuseppe Biasutti and
leste Prize.
for the second time won the Special Prize of
the Biennale Artemisia.
Artistically active with several personal
and group exhibitions.Some of her works
In 2011, is among the artists invited by Vit-
belong to private and public collections, in-
torio Sgarbi at the Italian Pavilion of the 54th
cluding the Permanent Collection of the Art
Venice Biennial/ Lo Stato dell’Arte – Italian
Gallery of Gaeta, the Collection Miroglio,
Regions, and also wins the Jury Prize at the
Permanent Collection of the La Fenice Gal-
Matteo Olivero Award and the Special Men-
lery in Venice e and the Savings Bank Foun-
tion at the Limen International Arts Award.
dation of Cuneo Permanent Collection.
In 2010 she wins the special prize of the
Biennial Artemisia Award, the Sebastiano
Conca Prize in 2006, and in 2004 the 1st
prize of the International Painting Competi-
Same home, the same piece of sky #12 2013
acrylic on wood
120 x 120 cm.
NO G.M. FOOD #35 , 2012
acrylic on wood
60 x75 cm.
NINETEEN, EIGHTY FOUR #33, 2011
acrylic on wood
120 x 100 cm.
BARBARA BONFILIO
NINETEEN, EIGHTY FOUR #29, 2011
acrylic on wood
140 x 80 cm
SOLO EXHIBITIONS
2011 Nulla dies sine linea, a cura di Isabella Diana
Calidonna, Officine Culturali, Palazzo della Regia Corte,
Bitonto, Bari.
2008 Da nord a sud, a cura di Rosario Pinto, Pinacoteca
comunale, Gaeta LT.
2007 Mulhouse 007, Talenti delle Accademie Europee in
mostra. Mulhouse, Francia, catalogo.
2005 Descrizioni, a cura di Pino Mantovani, Galleria
Wunderkammer, Torino
2002 Personae, a cura di Sergio Innocenti e Giuseppe
Biasutti, Galleria Wunderkammer, Torino.
2013 NHADO PAINTERS, Ordo Amoris – a cura di Roberto Mastroianni, Galleria Raffaella De Chirico, Torino.
2012 Collezionando – a cura di Marilena Sirangelo,
Galleria Ellebi, Cosenza.
DIVIETO DI AFFISSIONE, Giovani avanguardie del sud
del mondo – a cura di Giuliana Ippolito, Zeta Studio, Napoli.
Premio Artemi- sia, Mole Vanvitelliana Ancona.
White box - Saluzzo Arte 2012, a cura di Giuseppe
Biasutti, Fondazione Amleto Bertoni, Saluzzo, Cuneo.
La verità è luce, trentatrè giovani artisti per un pensiero d’autore, a cura di Simona Caramia, Centro per
l’arte contemporanea Open Space di Catanzaro.
NO FUR #49 , 2013
acrylic on wood
153 x 153 cm
2011 LO STATO DELL’ARTE – padiglione italia alla 54a
Esposizione Internazionale d’Arte della biennale di Venezia per il 150° dell’unita’ d’Italia, a cura di Vittorio Sgarbi,
villa Zerbi, Reggio Calabria.
L’ARTE NON E’ COSA NOSTRA - padiglione Italia alla
54a Esposizione Internazionale d’Arte della biennale di
Venezia , a cura di Vittorio Sgarbi, palazzo delle esposizioni di Torino.
Premio Internazionale Lìmen Arte, Palazzo Comunale
“E. Gagliardi”, a cura di Giorgio Di Genova, Vibo Valentia.
The kicking boot: the contemporary side of Italy, Londra.
Premio Matteo Olivero,Fondazione Amleto Bertoni, Saluzzo.
BARBARA BONFILIO
Arte in volo, Deutsche Bank, Porro & C., Circolo Filologico Milanese, Milano.
Troyart International Exhibition at Mube, Museu Brasileiro da Escultura, São Paulo, Brasil.
2010 Concorso Internazionale d’Arte 20x20 Segni,
Massimo Sgroi, Alessandro Abrate, Angelo Mistrangelo, Palazzo Bertalazone, Torino.
Premio Nazionale di pittura e scultura città di Novara, Oleggio.
Premio Biennale Premio Artemisia, Mole Vanvitelliana
Ancona.
Premio Combat, Palazzo Bottini dell’Olio. Livorno.
Premio Arciere, presidente ed organizzatore: Vittorio
Sgarbi,Comune di Sant’Antioco.
Opere degli artisti vincitori del Pemio Artemisia.
Centro Documentazione ART e contemporanea - Falconara M. (An).
Artisti in Galleria, Galleria 44, Torino.
Le sorelle di Artemisia - Biennale di arti visive, catalogo
con testo di Pino.
Mantovani. Museo Diffuso, Torino;Museo d’Arte Contemporanea La Giardinera, Settimo Torinese, Torino.
2009 Artisti in Galleria, Galleria 44, Torino.
Barbara Bonfilio, Liliana Cecchin, Anna Madia, Sede centrale Banca CRT, Torino, a cura di Rebumart.
2008 La collezione della Pinacoteca Giovanni da Gaeta, Pinacoteca comunale, Gaeta LT.
Collettiva di artisti nazionali e internazionali, Galleria
Artemisia, Bard, Valle d’Aosta.
2007 Giovani tendenze Artigiane 2, a cura di Giulio
Lucente Palazzo del Collegio, Asti.
2006 Premio di Pittura Carlo Dalla Zorza, Galleria Ponte Rosso, Milano.
Per le nostre strade, Hotel delle Arti, Cremona, a cura di
Emma Gravagnuolo.
Dentro casa,Galleria Studio Vivo, Cremona, a cura di
Emma Gravagnuolo.
Nuova Pittura Italiana, a cura di C. Vivolo, Centro Espositivo Telemaco Signorini, Isola d’Elba.
NO FUR #45 , 2013
acrylic on wood
100 x 120 cm
2005 Donne, Museo d’Arte Contemporanea, Settimo
Torinese, Torino.
Anteprima, Accademia Albertina di Belle Arti di Torino, Galleria delle aule di pittura, Torino.
8 Artiste + 1 artista, Nago Torbole, Trento.
Brain Storming, Galleria Montrasio Arte, Milano.
Albertina Incontra, Galleria Postart , Milano.
Giovani talenti delle Accademie di Belle Arti italiani,Galleria Previtali Contemporanea, Milano.
2004 Welcome, La Giardinera, Museo d’Arte Moderna e
Contemporanea, Settimo Torinese, Torino.
Saluzzo Arte, Fondazione Amleto Bertone, Saluzzo, Cuneo.
2003 Premio Morlotti, ottava edizione, Imbersago, Cuneo.
Corpi, Galleria Wunderkammer, TO.
Game Over, a cura dell’Associazione Lunatic e Luisa Ariotti, Atelier degli Artisti, Brescia, Kolaps Alternativ Institut
di Monstar.
Saluzzo Arte, Fondazione Amleto Bertone, Saluzzo,
Cuneo.
2002 Premio Morlotti, settima edizione, Imbersago,
Cuneo.
Diciottoperventiquattro, Galleria 41 Arte Contemporanea, Torino.
Under 35, Galleria comunale d’arte moderna e contemporanea, Porto D’Ascoli (AP).
Artisti a Torino, Torino Esposizioni,Torino.
2001 Cenacolo II, Galleria Wunderkammer – Torino.
Concerto di disegni, Torino.
Incontri a Verduno, Cuneo.
Diciottoperventiquattro, Torino.
2000 Artissima, Torino.
1999 Cenacolo, Centro d’Arte Contemporanea, Rivara
Canavese, Torino.
Lezioni di Anatomia, a cura dell’Accademia Albertina,
Piemonte Artistico e Culturale, Torino.
1998 L’azione del silenzio, a cura di Giorgio Auneddu,
Canelli, Torino.
NO G.M. FOOD #33 , 2012
acrylic on wood
50 x 50 cm
Selfportrait, Galleria Subalpina Torino, Amici dell’Arte
e dell’Antiquariato Torino, Antichi Chiostri S.Antonio
Chieri, Castello Malgrà Rivarolo Canavese.
GENNARO
G
ennaro Branca is born in 1979 to Saler-
center of its research genetic modification and
no as writer. The nonconformist is its
cloning, a universe made of tubes and laborato-
main inspiration that, after years of training the
ry experiments.Transforming the reality by of his
IED in Rome, leads him to experiment with dif-
thought, Branca paints in his works the different
ferent forms of expression.The dissatisfaction
moods of the modern era, the same that feels
that show from his works, reveals a rebellious
like you can the arrival of a new natural order.
spirit and a strong character. The obstinate
Using a sign and a gestures instinctive, industry
thirst for knowledge leads him to meet the
transforms the canvas as a meeting place be-
maestro Cesare Berlingeri senses its true na-
tween signs and elements-not always recogniz-
ture and sees the potential of his undisciplined
able- that, at the end, mix with the color .In his
creativity. For further study and improve the
works emerge incomplete, bumpy and erased
painting techniques, he decides to relocate in
phrases, that represent the past from writer of
Calabria, in the artist’ studio where takes care
Branca.
of his image and assists in the various editorial
With time has abandoned its tag but not the
projects and the preparationof exhibitions. To-
relationship with the word, which continues to
day he lives and he works in his city.
experience and to apply, giving life to compo-
W
sitions which behind their apparent disorder,
ith his works Gennaro Branca shows
hide a total harmony. By the chaos iconograph-
the unstable equilibrium that are
ic, Branca wants to represent in a clear and read-
formed on a reality made of hopes, fears, eth-
able future prospects that he receives from the
ical and moral battles. For a long time the artist
external environment.
examines a complex world where puts at the
Gregorio Raspa
2013
Arcade Book & Look, Catanzaro, Italy.
2008
Officine Pigneto, Rome, Italy.
B&B Art Jocanda, Rome, Italy.
2012
Galleria Ellebi, Cosenza, Italy.
2011
Arsenali di Amalﬁ, Italy.
2008
Plantazero Gallery, Barcellona, Spain.
2007
Plantazero Gallery, Barcellona, Spain.
“Manifest art”, S.Angelo a Fasanella, Italy.
University of Rome, Rome, Italy.
Babylon longe club, Battipaglia, Italy.
2006
“Manifest art”, S.Angelo a Fasanella, Italy.
“Textures Fake”, Roma, Italy.
st_m 12, 2012
mixed technique on canvas, 170 x 100 cm.
GENNARO BRANCA
Test Tube, 2012
mixed media on canvas, 80 x 100 cm.
Untitled
mixed media on canvas, 50 x 60 cm.
(detail) Untitled
mixed media on paper, 50 x 50 cm.
(detail) Untitled
GENNARO BRANCA
(detail) Untitled
(detail) Untitled
Nature
mixed media on canvas.
NOUMEDA
N
oumeda Carbone is a French-Italian art-
cal items to vanity products is especially strik-
ist currently based in Florence, Italy. She
ing. Carbone may be highlighting the visually
works mainly with pigment liner, ink, felt-tip
pleasant nature of the pills as it’s connected to
pen, sometimes mixing hand drawing with dig-
the dream of personal transformation.
ital instruments. Her works are dreamlike and
Recently her works was exhibited at the Afford-
surreal, often carrying a bizarre feeling of being
able Art Fair di Brussels and at Inhorgneta, De-
stuck in the ghostly world.
sign Forum Hall (Munch).
An invasive and consuming sense of discomfort is a starting point from which her creativity
SELECTED SOLO AND GROUP EXHIBITION
springs. Then she tries to focus on the details
she needs to give the right sense to the works.
MOO Mood Oriented Objects Art Gallery.
Carbone puts her emotions in her works: fra-
Prato (PO, Italy)
gility, isolation, weakness, etc. She often uses
”Spazio di Confine Gallery” (Florence, Italy).
elements such as birds, feathers and flowers in
Galleria Giovanni Turchi Antichità (Florence, Italy).
her works.
Frascione Art Gallery. Florence (Italy).
The artist has also made the series of sculp-
XXVIII Biennal – International Biennal An-
tures called “Disease.” The Disease Sculptures
tiques fair of Florence, Seventy-four exhibi-
and Wearable Pills series each include pieces
tors, all of great international prestige. (Florence, Italy).
painstakingly crafted from pill capsules. While
“Excentrica” FAST Fashion and Accessories
her 3D work may exude a Technicolor light-
Studies and Technology- Florence University of the Arts.
heartedness, the medium itself is disquieting.
AAF Affordable Art Fair (Brussels).
Particularly in the Wearable Pills series, the
Live painting, Castro Street Art Project (Jaffa
modern shift from pharmaceuticals as medi-
Port, Tel Aviv).
Loggiato San Bartolomeo (Palermo).
Museo La Specola (Florence, Italy).
Galleria Xxs aperto al contemporaneo (Palermo).
Giardino Corsini (Florence, Italy)
MAC – Manifestazioni artistiche Contemporanee: POP UP! “Contemporary art in the urban
space (Ancona, Italy)
Co2 Atmosfera Creativa (Florence).
PSFK Conference New York 2010 (NY).
“Ruotati”, Site specific installation (No_Madegroup) : “Lo spazio di Minosse” (Limonaia di
Villa Strozzi, Florence, Italy).
Pandemic
Festival.
Site
lation
videoart
with
+
specific
instal-
Miswrite-group):
“Spaaaaaaaaaaaam” (Cantieri La Ginestra, AR).
“Apre”, Festival di musica e arte contemporanea. Videoart with Miswrite-group: “where is
the body?” (Limonaia di Villa Strozzi, Florence, Italy).
Private Flat#3 (FI), Casa Donatello (Florence,
Italy).
Pink Attitude, the contemporary female creativity Tour Exhibition (Roma, Palermo, Napoli).
Happyning Autoproduzioni (Florence, Italy).
AWARDS
3X3 Professional show winner 2010: merit
awards for Fashion and self-promotion Design
&Illustration Award at Art Takes London 2011.
Noumeda Carbone
Empty capsules sculpture.
9.500 pills, 75x50 cm.
Empty capsules sculpture.
4.000 pills, 35x15x30 cm.
Noumeda Carbone
Mixed media
ink, markers, pen 100x100 cm.
Mixed media
Mixed media
Mixed media
ink, markers, pen.
MARIA
M
aria Carusi has worked as a lawyer
for about fourthy years. She discov-
ered photography in April 2002 while following a workshop on Street Life in Naples,
held by David Alan Harvey, who is member
of the prestigious
photographic agency
Magnum and photograph for National Geographic Magazine since 1970.
She then followed other workshops held
again by David Alan Harvey and by other
great photographers : William Albert Allard,
Bob Sacha, Jim Goldberg, Steve McCarry
and Kent Kobersteen, Former Director of
Photography, National Geographic Magazine.
On September 2007 she published in National Geographic Italia Magazine her photographic service “ Holy Mountain” about
Madonna di Polsi Day.
Etna, 2005
print
50 x 70 cm.
Dancalia, 2012
print
50 x 100 cm.
MARIA CARUSI
(Special exhibition) – BAM Antonio Manta Laboratory
platinum prints
(Special exhibition) – BAM Antonio Manta Laboratory
platinum prints
MARIA CARUSI
Dallol 1
print
50 x 100 cm.
Dallol 2
print
50 x 100 cm.
SOLO EXHYBITIONS
2003 Scrivere con la luce, Cosenza,
Hotel Executive.
Scrivere con la luce,
Cosenza, Il salotto verde.
2004 L’arte di scegliere, Cosenza,
Casa delle Culture.
2006 Fiera Ripa Arte, Trastevere
Roma.
Galleria La Bussola, Cosenza.
2008 Io...tra le gente, Cosenza, Neromacchiato.
2009 Galleria La Bussola, Cosenza.
2010 Visivamente, Galleria La Bussola Cosenza.
Semplicemente Tango, Museo Antro-
pologico Carbonia ( Cagliari ).
2012 Cromonatura, Parco Nazionale
della Sila (Cosenza).
Galleria Ellebi, Cosenza.
TOMMASO
H
e was born in 1951 in Rome and his
inventing unpredictable chromatic depths
father was the famous sculptor Pietro.
blue, sumptuous reds and sunny yellows.
The pictorial and plastic works of Tommaso
Cascella’s abstract pictures do not, howev-
Cascella appear to live in an estranged di-
er, refer to predefined modules or plans,
mension, with space, memory, colour and
they move instead freely in determined and
form seeming suspended, although con-
changing forms, in a space which needs no
crete and real, almost tactile; a dimension
other characterization than freedom. Cas-
which, despite not retracting the shapes
cella’s abstraction is not founded on the
of reality, interprets and regenerates them
logical of constructivism, that is on a for-
through pure poetic sensitivity.
mal and “geometric” conception of surface,
Attention to and reflection on one of the
strictly two-dimensional, structured in an
basic elements of painting, colour, has char-
overlapping of shapes and planes: Cascel-
acterized the artistic research of this Roman
la’s abstract works are constructed of lines
artist from the beginning. The “warm”, lyri-
in tension, of irregular geometric shapes in
cal abstraction of Tommaso Cascella is un-
unstable balance.
doubtedly linked to the sensitivity of colour,
Colour for Cascella is the evocative force
which explodes in a vital placing together of
of painting, through which the artist plays
chromatic fields. The artist immerses his sur-
with the compositional order of the work,
faces, as though they were held under the
essentially based on the light-space rela-
seductive skin of the colour, in the sensitiv-
tionship, in which the construction of shape
ity of the light which runs on the chromat-
and colour are in the eternal tension, sus-
ic epidermis of the material, drawing (im)
pended in the silence of an unlimited space
possible landscapes, unveiling new shapes,
and dominated by a sense of unreliability,
Ellebi Art Gallery, Cosenza
tommaso cascella exhibition, 2013
of unstable balance, as though stopped in
time. This is a feature that always accompanies Cascella’s works, which, since the end
of the eighties, is structured on discriminated combination of elements which vibrates
the surface with signs that, suspended and
aerial, cut through the pictorial material. In
his more recent works Cascella has reached
a further pictorial definition, more “finished”
in a certain sense, so that the architecture
of the picture is in perfect balance with the
two components which were the foundation
of the artist’s research: a studied idea of the
composition and an intense lyricism of colour. Thus the canvas becomes the virtual
space of imagination, signs, action, to which
the artist entrusts the task of showing visibly his poetic thought. The artist mixes his
cards in a continual contamination of pictures, signs and traces searching for a sense
which, as soon as it appears, is lost again, is
split into splinters and fragments, mutable
in the passing of the time.
This is a feature that always accompanies
Cascella’s works, which, since the end of
the eighties, is structured on discriminated
combination of elements which vibrates the
surface with signs that, suspended and aerial, cut through the pictorial material. In his
Ellebi Art Gallery, Cosenza
tommaso cascella exhibition, 2013
more recent works Cascella has reached a
further pictorial definition, more “finished”
Tommaso Cascella
in a certain sense, so that the architecture
of the picture is in perfect balance with the
two components which were the foundation
of the artist’s research: a studied idea of the
composition and an intense lyricism of colour. Thus the canvas becomes the virtual
space of imagination, the place of colour,
signs, action, to which the artist entrusts the
task of showing visibly his poetic thought.
The artist mixes his cards in a continual
contamination of pictures, signs and traces
searching for a sense which, as soon as it
appears, is lost again, is split into splinters
and fragments, mutable in the passing of
the time, before it becomes a dream again.
MAIN SOLO EXHIBITION
2013
Ellebi Art Gallery, Cosenza, Italy.
2012
Palazzo Aldobrandini, Rome, Italy;
Walter Bischoff Gallery, Berlin, Germany;
2010
Biennal of Venice, Venice, Italy;
2008
Marco Rossi-Spirale Arte, Milan, Italy.
Untitled
mixed media on paper - 50 x 50 cm.
2007
MAIN GROUP EXHIBITION
Eventinove Gallery, Turin, Italy.
2002
2006
ArteFiera, Bologna, Italy;
Rosso 20sette Gallery, Rome, Italy.
2001
2004
Van Riel Gallery, Buenos Aires, Argentina.
Palazzo Crispi, Naples, Italy.
MiArt, Milan, Italy.
Orie Gallery, Tokyo, Japan.
2003
Orie Gallery, Tokyo, Japan.
2000
Westend Gallery, Frankfurt, Germany.
Art 31 Basel, Basel, Switzerland;
2002
1999 Lineart -Les Chances Gallery, Gent,
Spirale Art Gallery, Milan, Italy.
Belgium;
2001
Danubiana Meulensteen Art Museum,
Bratislava, Slovakia.
2000
Venice Gallery Design, Venice, Italy.
1999
Museum of Modern Art in Rome, Italy.
1996
Kaohsiung Museum of Fine Arts of Taiwan, China.
Untitled
mixed media on board - 80 x 80 cm.
Tommaso Cascella
La lingua d’argilla
Di spalle, a ritroso
Untitled
mixed media on board
150 x 200 cm.
NICCOLÒ
I
chase images of everyday life, visions of
express myself through heterogeneous media
a parallel world that I perceive - and build
alternating between painting, sculpture, vid-
- as a confirmation of life itself. When creating
eo, ready-made, photography and performing
my senses I tend to find these phenomena,
actions, enslaving the same technique for this
often unexplainable, which arise at the base
purpose. It’s so that, in carrying out my work, I
of the human soul in an attempt to enjoy the
experience the use of different materials, most
pleasure of the interior, later, through my work
often unconventional. My work becomes a re-
I try to affect the surface of the real in a contin-
flection in the purest sense, even in the auster-
uous process of sharing it with the world. ity of the pictorial gesture. The body dissolves,
Both of which live as the perception of a re-
it becomes rational thinking, analyzing himself,
ality that is diverted, as such, and exists only
comes to self-destruction. “In my work Perfor-
in constant denials that reinforce the centu-
mative, there is always an object or action that
ries. And it was in dialogue with the ambigu-
is opposed to something else, putting “some-
ity and paradox that came the insatiable de-
thing” that is questioned or canceling its initial
sire for experimentation that leads me to the
meaning, I like to trigger a short circuit be-
development of a gesture that is not always
tween the work and the viewer! In shaping the
recognizable, but firm and consistent in its
intention, I attach a value to the subject “trans-
basic language system. In my creative pro-
finalizzante”, which combines in itself a recog-
cess, I am attracted by the ambiguity of obso-
nizable aesthetic value and a symbol. It is in
lete materials or symbols, I find that they are
a symbolic, archaic world, transfigured in the
strong and aware of having participated in
sign, which store the access keys of my works
the construction of past activities, and for this
and the sense, deep in my being an artist.
reason I able to prevail more strongly in this! I
Niccolò De Napoli
Unknown, 2011
oil on canvas, 185 x 145 cm.
GROUP AND MAIN EXHIBITIONS
porary Art, Cosenza, Italy.
“Evento Musae”, Borgo Valsugana, Trento,
2013
Italy.
“Echi dal Ghetto”, Università della Calabria,
“Evento Musae”, Museo Urbano Speri-
Cosenza, Italy.
mentale di Arte Emergente, Milan, Italy.
“XXV Pandosia Prize”, Marano Principato,
2012
Cosenza, Italy.
“The divine one in the contemporary
art”, Bretti and Enotri Museum, Cosenza,
2009
Italy.
“Residui”, Parco Storico del Ninfeo Cosen-
“Arte Contemporanea a Palazzo “Costan-
za, Italy.
tino Di Napoli”, Palermo, Italy.
“MarARTEa il Mare nel Mito”, International
“The Breath of the Sila”, Orsini Chapel,
Festival, Maratea (Potenza), Italy.
Rome, Italy.
“Art In Loft”, Mc Kibbin Loft Bushwick, Ney
“Equilibri Precari”, Museo Del Presente,
York, USA.
Rende (CS), Italy.
“Transformations”, Carrozzeria Rizieri, Pisa,
Italy.
2011
“Peace Island”, Indiateca Teatro India,
2008
Rome, Italy.
“Tempra Accademy in the World”, Malta
“54 Biennial of Venice”, Padiglione Italia
Art Biennale, Licata.
–Regione Calabria, Venice, Italy.
“Nuove Proposte Collection”, Margutta
“Punto critico”, Museo Del Presente, Rende
Gallery.
(CS), Italy.
“Arte Emergente”, Quantum Leap Gallery,
2007
Rome, Italy.
“Contaminazioni”,Casa delle Culture,
Cosenza, Italy.
2010
“Siamo Altrove”, Chiostro di San Domeni-
2006
co, Cosenza, Italy.
“Percorsi Ignoti”, CSA Gramna, Cosenza,
“Cosa Bolle in Pentola?”, Chroma Contem-
Italy.
Untitled, 2011
oil on canvas, 185 x 140 cm.
Stati mentali e tangibili, 2010
bell jar , ash, glass, resin.
Something in a livingroom
video
54 mostra internazionale di arte
la biennale di venezia padiglione italia,
regione calabria.2011
https://vimeo.com/40193811
NICCOLÒ DE NAPOLI
Apologia, 2012
photoceramics
Farewell... ??, 2012
wood,optical fiber,ceramic, 122 x 90 cm.
…or Goodbye ??, 2012
wood,optical fiber,ceramic, 122 x 90 cm.
E
relin, through a characteristic au-
project, on the same media that reflects the
tobiographical poetry, creates in-
“real” image, the mental perception of herself.
trospective works that invite the view-
To emphasize the intent of introspective works
er to reflect about identity, its changes
is also the Erelin will to make her shots in soli-
and its social perspectives, that link con-
tude, in an enclosed space, morbidly private.
cept of “essence” to “appearance” of Self.
In recent works, giving up the character-
One of Erelin’s introspection tools is the cam-
istic b/w, Erelin combines the use of co-
era, a mechanical device that, as such, is free
lour cloning her own image, creating an
from any emotional or sensory desire. Ere-
iconographic representation in which the
lin, in fact, photographing herself posing in
concepts of double and reflection return.
front of the mirror or just in front of the lens,
The continuous Erelin stylistic evolution chas-
looks with her work to investigate on her own
es identity changes in an attempt to crystal-
“I”, discovering herself different each time.
lize the steps, unique and unrepeatable, of
Often, driven by the desire to deepen the lev-
her “selves”.
el of introspective analysis, the artist draws
Gregorio Raspa
on the mirror her portrait.
The levels of self-perception multiply,
sometimes overlapping, sometimes alongside. These works reproduce the image of the
artist, unique and at the same time manifold,
not only through the camera, but also thanks
to the mirror surface modified by drawing.
The latter represents the artist’s attempt to
Molteplice riflesso 2009
digital print on cotton paper
160 x 133 cm.
Trame, 2012
acrylic on canvas and cotton wire
different measures
ERELIN
Equilibri
digital print on paper
92 x 61 cm.
Equilibrio I 2013
digital work on paper
80 x 50,5 cm.
Equilibrio I I 2013
digital print on paper
80 x 50,5 cm.
ERELIN
Scomposizione, 2012
acrylic on canvas and mirror
5 x 2 mt.
SOLO EXHIBITIONS
2008
Erelin, Jocanda B&B art, Roma, Italy, curated by Tiziana
Berlingeri.
Punto d’osservazione: Erelin / Erelin: Punto d’osservazione, Officine, Roma, Italy, curated by Valeria Spirlì,
text by Tiziana Berlingeri.
2010
Riflessioni, VertigoArte, Cosenza, Italy, curated by Paolo
Aita.
2012
Echi di sé, Museo del Presente and Biblioteca “E.
Tarantelli” - Biblioteca Interdipartimentale di Scienze
Economiche e Sociali - Università della Calabria, Rende
(CS), Italy, curated by Gregorio Raspa.
GROUP EXHIBITION
1
2008
Distanze, Jocanda B&B art Roma, Italy, curated by Jocanda B&B art..
Princesas, Officine, Roma, Italy, curated by Valeria Spirlì
Giro del mondo dell’arte in 80 artisti, Galleria 911, La
Spezia, Italy, curated by Carolina Lio.
2009
I am, Tonic Gallery, Leeds, UK, curated by Total Image
Nation
GlamourArt, Symposium XXI, Milano, Italy, curated by
Nicoletta De Biasi.
Art in mind, The Brick Lane Gallery, London, UK, curated
by The Brick Lane Gallery
2
1/2: Echi di sè, Museum of the Contemporary, Rende (Cs)
Italian Feelings, Italia Moda a Tokyo,Tokyo, Japan, curated by Francesco Elisei and Gregorio Rossi .
2010
Re-made in Italy, Mrket, New York, U.S. curated by Francesco Elisei
Decameronpop, Spazio Libero, Milano, Italy, curated by
Nicoletta De Biasi.
2011
Punto Critico, Museo del Presente, Rende, Italy, curated
by Tonino Sicoli and Roberto Sottile, text by Gregorio
Raspa.
Luoghi e Realtà di ricerca tra Identità e Mutamento VI
Biennale d’Arte Contemporanea Magna Grecia, Collegio
di Sant’Adriano, San Demetrio Corone, Italy.
2011-2012
Premio Internazionale Limen Arte, Municipal Palace
“Enrico Gagliardi”, Vibo Valentia, Italy, curated by Giorgio
Di Genova.
OTHER
2011 Prize winner of the contest related to the exhibition
Punto Critico
2012 Chosen for the youth section of the collection of
MAON - Art Museum of the Nineteenth and Twentieth
centuries (Rende, CS).
2012 Among those selected for the national award Toni
Ferro.
GIOVANNI
P
ictorial search of the young Italian artist
demolition of the work is its evolution. Figures that
Gianni Fava had in it these needs that be-
appear on these jobs rather than individuals are
come the basis for this series of works focused
the attendance does not show completely. The
on the decomposition of the surface where main
works of Giovanni Fava evolve in the fragmen-
lines are involved to rediscover, through the play
tation of their paint surface as force-generating
of the scale, an original and new space to host
movement. The figurative element tends to em-
them. These make use of a spatiality that borders
phasize the interior of these presences, while the
the conventional paint surface, leaving open the
color on which the artist intervenes by altering
way not previously determined. The impression
the composition, frees the soul from the evils thus
one gets is that these images do not end in their
playing his inner cathartic function.
representation, but are extensions of something
Tiziana Berlingeri
that is there evidence beyond the visible. The surface is painted before being destroyed. This pro-
Giovanni Fava was born in 1981, currently lives
cess causes the resulting fragmentation of the im-
and works in Taurianova (RC), where he later fin-
ages. Decomposition and fragmentation are the
ished his studies in accounting. In 1999 he began
first step of the transaction that is completed only
to frequent the studio of artist Cesare Berlingeri,
when the plan and the images are reconstructed.
becoming his assistant. In 2001 he enrolled at the
The final effect is very balanced so as to show the
Academy of Fine Arts of Reggio Calabria, retiring
sign in its complexity and dynamism and not in its
after nearly four years. The decision not to com-
fragmentation. The relationship between the de-
plete the course of painting is given by the need
composition of the surface and its reconstruction
to want to develop, without conditioning of aca-
through the perspective of the artist, which makes
demic virtuosity, an extremely free and personal
the work once again, unity is not destroyed. The
speech.
SOLO EXHIBITIONS
2007
Esplosione Implosione, C. Fioravante, T. Berlingeri,
Casa da Xiclet ,Sao Paulo, Brasil.
2008
Jocanda b&b Art, S. Patera, T. Berlingeri, Roma.
REM edizioni - Palmi (RC).
Giovanni Fava” Villa Zerbi, Ass. Mammalucco, Taurianova (RC).
2009
Galleria d’arte DORO, E. Zancanella, Verona.
2012/2013
Segni infranti, G. Raspa, Caffè Lettereario, Catanzaro.
SELECTED GROUP EXHIBITION
2008
Sao Paulo Arte, B. Arvani, Galleria Berenice Arvani. Sao
Paulo, Brasil.
2009
Internazionale 2009, G, Folco, Villa Gualino, Torino.
I dialoghi del colore, R. Ranieri, Taormina gallery,
Taormina.
Mondi Paralleli / Parallel Worlds, L. Cristofoli, F. Masoni, D.A. Meron, Scala Mata, Venezia.
Art Shopping, Carrousel du Louvre, Parigi.
Broken, 2008
oil, acrylic and liquid tar on wood, 42 x 98,5 x 24,5 cm.
2010
XIII ediition “New West Lake Art Fair”, International
Exhibition Center, Hangzhou, Cina.
Only Italy, Theatre Hangzhou, Shanghai, Cina.
Salone dell’ Arte e del Restauro, G. Patti, Stazione Leopolda, Firenze.
2012
Equilibri Precari, G. Raspa, R. Buccieri. Museo del Presente, Rende, Cosenza.
2013
Young at Art, M. Garofalo, A. Rodi. Museo Civico d’ Arte
contemporanea MACA, Acri, Cosenza.
Biennale d’Arte Contemporanea Magna Grecia, S.
Vigliaturo, Collegio Sant’Adriano, San Demetrio Corone,
Cosenza.
Movimento Fluido, G.Cilio, Mudac di Floridia in collaborazione con AMACI, Floridia, Siracusa.
Young at Art @ PIX / Paratissima 9, MOI Ex Villaggio
Olimpico, Torino.
2014
i-n-v-e-r-t-e-r A. Taranto, Ex Convento del Ritiro, Ortigia,
Siracusa.
VAM_Vietato ai Maggiori / Restricted to Minors, Arcadia University - Centro Culturale Moon - Casa del Libro
Rosario Mascali. Ortigia, Siracusa.
Box of memories, 2014
mixed media on paper
variable measures.
World of Words, 2014
mixed media.
variable measures.
Untitled, 2008
mixed media on pvc and wood, 97,5 x 97,5 cm.
Untitled, 2012
liquid tar and acrylic on polystrene and wood, 142x121,5 cm.
POZZO DEI PENSIERI
mixed media on paper and wood, 142x121,5 cm.
POZZO DEI PENSIERI
detail
Untitled, 2008
mixed media on polystyrene and wood, 41x51 cm.
LUCA
T
he dissolving of shape is aimed at mak-
train for a game with the dream team. There are,
ing explicit emotional and dynamic con-
in that free exercise, in that language far from the
ditions, something which, in blending objective
“large systems”, the chromatic acuteness of Dufy,
data and memory, develops a playful theme with
the misleading effects of Duchamp, the chimera
fast and fresh touches, full of life, but also com-
extracts suggested by Klee, the wire-walking of
bined with reflections on the ultimate meaning
Dubuffet, the “pieces” of Keith Haring, those ex-
of a particular world. That of Giovagnoli is a uni-
pressions characterized by the immediate and
verse that can only be reached after knocking
synthetic language of comics. The world which
down the barriers of the pre-established. This is
Giovagnoli loves is that of narration, the reality
a stage that the artist has been treading for the
that strikes him is that which makes you dream.
past twenty years and it is made up of sand and
Blending gestures with the imaginary, he has
cathedrals with Arabesque domes, of messages
accumulated a repertoire of suggestions such
entrusted to paper boats with red sails, of words
as to conduct him to fantastic lands, to situations
engraved with a nail of a granular surfaces as if
that with the passing of the time have determi-
the canvas were glued to the sand. The painting
nate the laying out of an album rich in fairy-tale
is the album of his time.
recollections and conjunctions. In his paintings
What he says and achieves falls within per-
there is the essence of emotions. The desire re-
sonal matters, just as personal is the way in which
mains to take refuge in dreams, according to a
he distributes graffiti, inserts of illustrations, sup-
history in which weight can be given to lighter
ports that guarantee memories. Images suggest
things. The Rimini artist looks at things without
an intimate atmosphere and, precisely, a strictly
making them his own, he likes to reinvent them
personal imagination. The beaches, the fields,
to reveal all that they conceal. And so everything
the squares are the playing fields where illusions
takes on a new identity. The beach is a well from
which the artist takes much of the material that
makes up his tales. He conveys his impressions
carefully. The canvases have a film which has the
consistency of plaster, like a wall on which to deposit the accents of one’s feelings. Giovagnoli has
to return to his workshop to give an image to the
ideas he collects in the sand, he has to rewrite the
past and make it correspond to the time of his life,
almost a verb conjugated in the present tence –
past times to be rewritten with inserts of today,
amid figures and symbols.
Graffiti, gestures, action painting, supports
guaranteeing memories, granular matter on which
to engrave the taste of an emotional force, without
any false glitter, instinctively in search of a world
to rebuild. Giovagnoli, we said, finds inspiration in
the residues of the time left on the beach and from
what the mind has stored step after step, amid visual pickings and aesthetic confrontations.
His book as well boasts various chapters, including those relating to the explorations of lodos, of
buildings made of dusty bricks of history, of more
or less enchanted cities, of churches and that, of
more recent construction, called “Generals and
ducks”. Ducks, or the allegory of a lightness compared to a ducking with a rigid military profile.
Untitled, 2013
oil on canvas, 50x70 cm.
Untitled, 2013
LUCA GIOVAGNOLI
2013
“Bridge & Con-temporary Gallery”, Rimini,
curated by Niccolò Moscatelli.
2012
2011
54th Biennal of Venice, Padillon Italy, Palazzo
Pigorini, Parma, curated by Vittorio Sgarbi.
2010
Pivarte Gallery, Bologna, curated by Franco
Basile.
2009
Nuovo spazio Gallery, Piacenza, curated by
Aldo Benedetti.
2008
Grafique Art Gallery, Bologna, Italy.
2007
Museum Basilica & Franca Pezzoli Contemporary Art Gallery, Elusone.
2007
La Bussola Gallery, Cosenza, Italy.
Sala del Podestà, Rimini, Rondoni.
Gruppo di mare
mixed media on canvas, 100x120 cm.
2006
Villa Bottini, Lucca, Italy.
Bonelli Contemporary Art Gallery, Mantova,
San Gregorio Gallery, Venice, Italy.
Italy.
2000
Grafique Art Gallery, Bologna, Italy.
Art Miami, Miami.
Galerie Mark Peet Visser, Ed Heusden Aande
Palazzo Candiotti, Foligno, Italy.
Maas (Nederlands).
B&B Gallery, Mantova.
2005
1999
Palazzo del Podestà, Rimini, text of Sara Cec-
Lineart, Gent (Belgio).
chini.
Arthema Gallery, Porto d’Ascoli, Italy.
Spirale Art Gallery, Pietrasanta, Lucca, Italy.
Rosso20sette Gallery, Rome, Italy.
1998
Galerie Alizarine, Angres.
2004
Palazzo Lamarmora, Biella, Italy.
Magazzini del Sale, Venezia.
Lineart, Gent (Belgio).
Mari Gallery, Imbersago, Milan.
1997
2003
Galerie Martine et Paul Lauer, Francia.
Bonioni Art Gallery, Reggio Emilia, Italy.
1996
Art Factory Gallery, Modena.
Mazzoni Gallery, Bologna, Italy.
L’Immagine Gallery, Arezzo.
Gallerie Annie Angé, Pamiers (Francia).
Palazzo Pretorio, Certaldo,
Galleria La Bussola, Cosenza, Italy.
1995
Galerie Martine et Paul Lauer, Beaune (Fran-
2002
cia).
Contemporary Art Gallery, San Marino.
1994
Ellebi Art Gallery - Cosenza
2001
Piazza Erbe Gallery, Verona, Italy.
Spirale Art Gallery, Verona, Italy.
Palazzo Ducale, Mantova, Italy.
LUCA GIOVAGNOLI
Partenza prossima
Mixed media on canvas 160x180 cm.
Partenza notturna
oil on canvas 80x100 cm.
MARIO
In the works of my cycle “Black”, in which I
SOLO EXHIBITIONS
investigate, and discerning the world Ameri-
2014
can hip hop, I try with the iconographic land-
FACES – a cura di Edith Ganter e Cornelia
marks world of young Italians, in careful and
Claas – Galerie Ganter – Zell im Wiesenthal.
clever ‘by absorbing U.S. foundations inspiring stereotype. My subjects are those which
2013
the West has marketed unpaid, for their mu-
PERSONAL AFFECTIONS - a cura di Rosetta
sic, their art, performance sports wowed mil-
Gallo – Caffè Imperiale- Catanzaro.
lions of people have broken the chains and
now put the ball inside.
2009
IL VOLO DELL’HIP HOP – a cura di Anna Ca-
Those behind it have a history of ancient prej-
terina Bellati – Studio D’Arte Fedele – Monopoli.
udices and marginalization, but success in
TALKIN’ ABOUT GIRLS – a cura di Angela
their disciplines are idolized, acclaimed, as-
Trimboli – Loft Gallery – Corigliano Calabro.
cended to “divine beings”, however ncora today, if someone saw them off from their envi-
2008
ronment, would call them immigrants.
LIBERA NOS A MALO – a cura di Alberto Mattia Martini – Galleria L’Idioma –Ascoli Piceno.
Working as a support for my recent works,
reinforced concrete, a material created mil-
2007
lennia ago by the Romans, but which is in
MANN IN BLACK,L’HIP HOP A VENEZIA -
the twenty-first century: modernity and con-
Fenice Gallery -Venezia
temporary at any latitude .
FACE OFF. SIMPLY MY BLACK- Contempo-
Francesco
painting on cement 80x60 cm.
rastudio- a cura di Maurizio Faggi- Firenze
2001
BLACK (HE)ART -a cura di Chiara Argenteri-
DIARIO SEGRETO – Galleria “Le Nove Muse”
Loft Gallery -Corigliano Calabro-Cosenza.
– Catanzaro.
MARIO LOPRETE E FATHI HASSAN – a
APPUNTI DI VIAGGIO – Galerie Kadrissime
cura Gian Ruggero Manzoni-Galleria Studio
– Saint-Raphael - Francia .
2-Faenza.
2000
2006
MEMORIE – Palazzo Brezia – Serrastretta –
FACE TO FACE –a cura di Gianluca Murasec-
Catanzaro.
chi– Contemporanea Galleria d’Arte - Foggia.
FACE TO FACE –a cura di Gianluca Murasec-
chi– Ass. Bel Ami - Foggia.
2014
FIVE SQUARED – Davis Family YMCA –
2005
Boardman – Ohio - Usa.
ALL BLACK, ONLY BLACK – Galleria Arte
Contemporanea e Dintorni – Como.
2013
FACE TO FACE – a cura di Gianluca Murasec-
COLECTIVO – a cura di Pablo Ribas Ma-
chi – Caffè Imperiale- Catanzaro.
teos - Can Pop Gallery – Girona - Spag-
BLACK BOYS – Galleria L’Alfiere – Torino.
na.
GENIUSAECULI - a cura di Francesca
2003
Londino e Ferrari Editore – Vibo Valen-
B-BOY – Salone dell’Auditorium – Filadelfia -
tia.
Vibo Valentia.
ART TAKES TIMES SQUARE 2013 -Times
B-BOY – Pizia Arte – Teramo a cura di Joseph
Square NYC 1555 Broadway - New York
C. Fekete.
Preview The icons, volti della musica- a
cura di Nello Arionte- Casa della Musica
2002
Federico I- Napoli.
WITH PRIDE – Fondazione “Fiorentino Scop-
The “Home” Project - Ground Arts Proj-
pa “ ex Educandato – Catanzaro.
ect Space - New York.
Fabri Fibra
painting on cement diameter 25 cm.
Mario Loprete
2012
de Cultura de Monreal – Monreal – Spagna.
Open Space 2 – a cura di Fabio de Chirico e
Europafrica – Spaziottagoni - a cura di Vit-
Carmelo Cipriani - Galleria Nazionale - Cosenza.
torio Pavoncello e Giuseppe Salerno - Roma
Tradition and Innovation-Italian Olympic
Premio Arte in Volo - Circolo Filologico – Mi-
Spirit - Nuovo Polo Universitario L. Einaudi-
lano.
Torino.
Concursos MIMIC - Galeria Hartmann - Bar-
Tradition and Innovation - Italian Olympic
cellona.
Spirit -Casa Italia CONI
The Queen Elizabeth II Conference Centre
2010
Broad Sanctuary - Westminster - London .
Aiutiamo la Pace. Asta di solidarietà –a cura
XIV Certamen de Arte José Lapayese - Casa
di Augusto Piccioni- Palazzo Tornasacco- As-
de la Provincia en Daroca - Daroca - Spagna.
coli Piceno.
L’amor che move il sole e l’altre stelle- a
XII Certamen de Arte José Lapayese - Casa
cura di Vera Agosti e Donato Carissimo
de la Comarca de Daroca – Daroca - Spagna.
Chiesa antica di San Marco e San Gregorio
Urban
creatures
Cologno Monzese.
cesca
Londino
Il respiro della sila – a cura di Pasquale Faenza
ri-Spazioeventi
- Centro Studi Cappella Orsini – Roma
Milano a colori a cura di Silvio De Ponte Asso-
Interfaith Biennial - Curated by Angela Bry-
ciazione Casa di Letizia Moratti- Milano
ant- RIVER FOREST - ILLINOIS - U.S.A.
Il vuoto e le forme Metropoli//Antimetropoli
a
e
cura
di
Settimio
Mondadori
-
FranFerra-
Venezia.
- 2° Esposizione Internazionale di Sculture.
2011
Installazioni e Dipinti - a cura di Anna Ca-
Con gli occhi della mente – a cura di G. Gibi-
terina Bellati - ex Convento dei Cappuccini,
ino- Galleria Side A - Catania.
Palazzo Pretorio, giardini di Palazzo Vertemate
Aiutiamo la Pace. Asta di solidarietà – a cura
- Chiavenna - Sondrio.
PRIDE, 2011.
oil and pastel on cardboard, 25x35 cm.
coli Piceno.
2009
The kicking boot the contemporary side of It-
Ensamble – a cura di Paola Bertolazzi - Casa
aly - LE SORELLE Multicutural Art Space - Lon-
d’Arte Via dei Mercati - Vercelli.
don.
XI Certamen de Arte José Lapayese - Sala de
XIII Certamen de Arte José Lapayese - Casa
Expocisiones de Calamocha – Calamocha - Spagna.
2008
2006
43° Premio Nazionale Santhià – Museo Civ-
ico – Santhià - Vercelli .
coli Piceno.
Catania Arte Fiera – Le Ciminiere- Catania.
Arte & Design. Lasciare il Segno - Loft Gal-
8th International Painting Competition -
lery – Corigliano Calabro –Cosenza.
Deutsches Kulturhaus- Laives – Bolzano.
Lui & L’altro – a cura di Virgilio Anastasi Istitu-
5° Concorso Nazionale Città di Fondi – Cas-
to Europeo Promozione Arte Contemporanea
tello Baronale – Fondi – Latina.
– Catania.
VII Concorso la fenice et des artistes - Hotel
Sguardi Multipli – a cura di Settimio Ferrari,
la fenice et des artistes –Venezia.
Francesca Londino, Carolina Lio – Palazzo San
Contemporanea Arte Fiera – Galleria L’Alfi-
Bernardino e Museo Amarelli – Rossano Cal-
ere – Forlì .
abro- Cosenza.
L’arte di amare l’Arte - a cura di Virgilio In-
X Certamen de artes plásticas José Lapa-
astasi e Massimo Riposati – Castello Ursino –
yese Bruna - The Culture House of Monreal
Catania.
del Campo- Spagna.
IV Greek Feta Festival “From Cyclops Poly-
2005
phemo till nowdays”- Chief Curator: Mircea
Marchina Arte Contemporanea – Brescia .
Bochis. Assistant Curators: Lia Mplioumi,Tho-
La città è viva – Galleria Entroterra – Milano .
mai Kontou, Elena Nikiforou - Baicou , Canouto
Superficie – Galleria Pizia Arte – Teramo .
Calan, Thanasis Faliagas, Sakis Gountroumpis
Immagina Arte Fiera – Galleria Studio 2 –
Municipality of Elassona- Elassona ( Greece).
Reggio Emilia .
Vineart - Galleria Studio 2 – Bolzano .
2007
Malpensa Arte Fiera – Galleria Contemporanea.
2004
coli Piceno.
Premio Mario Razzano – Museo del Sannio-
II Premio Fabbri – Bologna . Opera fuori cat-
Rocca dei Rettori – Benevento .
alogo.
Art Innsbruck - Galleria Naos Art – Innsbruck.
L’altro paesaggio – a cura di Giuliana Mazzo-
7° Premio Intern. Citta di Laives 2004- Haus
la- Galleria Entroterra – Milano.
der Kultur Deutsche –Laives – Bolzano.
PRIDE, 2011.
Mario Loprete
Premio Celeste – Galleria L’Albero Celeste –
2002
San Gimignano – Siena.
Galerie Espace Richelieu – Parigi - Francia.
Galleria Aceas – Barcellona - Spagna.
2003
40° Premio Nazionale Santhià – Museo Civ-
2001
ico – Santhià - Vercelli .
Galleria Matisse – Roma.
8ª Fiera Internazionale d’Arte Moderna MI-
Galleria La Chimera – Lecce.
ART 2003- Galleria Nuova Artesegno – Milano .
Fondacion Volpe Stessen - Buenos Aires -
Mailartproject – Art Museum Satu Mare – Satu
Argentina.
Mare - Romania.
Biennale di Arte Contemporanea - Monter-
Architettura sacra della città di Palmanova-
osso Calabro - Vibo Valentia.
a cura di Enzo Santese-Polveriera Napoleoni-
Swedish American Museum Center – Chi-
ca – Palmanova - Udine .
cago - USA .
Premio Sila - Museo Verde – Parco Nazionale
2° Salon International de Peinture et de
della Calabria – Taverna - Catanzaro.
Sculture - Palais d’hiver -Place du Casi-
Artisti contro la pena di morte - cura della
no-Montecarlo.
Coalizione Italiana contro la Pena di Morte.
Arts Gallery of Roger’s Park – Chicago -
Im-maginazioni - a cura di Alberto Mela-
USA .
rangelo - Università degli Studi di Macerata
Facoltà di Scienze Politiche – Macerata.
2000
43° Premio Suzzara – Premio Intern. Dino Vil-
Arte Incontro - Galleria d’Arte Mattia Preti –
lani a cura di Martina Corgnati , Enrico Mas-
Catanzaro.
celloni , Nicola Marras – Suzzara -Mantova.
Mostra – Mercato di Arte Contemporanea
Premio Arte Mondadori 2003 - Milano.
- Forlì.
Arte Padova – Naos Art Gallery – Padova.
Obsesiòn - a cura di Manuela e Patrizia Cuci-
1999
nella – Galleria Pizia Arte – Teramo.
Sala “Andrea Cefaly“- Catanzaro.
VII Fiera Internazionale di Arte Contemporanea RIPARTE – ROMA.
I BELIEVE, 2012.
B-BOY, 2012.
polyptych oil on panel, diameter 20 cm.
Mario Loprete
Sergio, 2013.
polyptych oil on panel, diameter 20 cm.
Mario Loprete
Raige e Zonta, 2013.
painting on cement, 18x25 cm.
Amir, 2011.
painting on cement, 18x25 cm.
SERAFINO
S
erafino Maiorano (1957) was born in
meotto of Rome, in 2009 the solo exhibition
Crotone. After his studies, he moved
at Tornabuoni Art Gallery in Milan, and a solo
to Rome, where he currently lives and works.
exhibition in the Historic Apartments of the
One of the first representatives of digital art,
Royal Palace of Caserta, curated by Danilo
he focuses on the social and urban reality
Eccher and Martina Cavallarin.
around him, witnessing everyday life through
Some of his works are in the collection of
his art. Architectural elements, monuments,
the Farnesina Ministry of Foreign Affairs, in
squares become the protagonists of a view
some museums and several private collec-
whose light trajectories reveal the disorien-
tions. He exhibited at the Hotel de Russie in
tation of contemporary man.
2007 with an exhibition entitled “Pace Vela-
Starting from photography, the artist overlaps different locations through digital elab-
ta” (Veiled Peace), in cooperation with the
Traghetto Gallery of Venice
oration and pictorial interventions with fluid
brush strokes, putting the emphasis on the
dividing line between artificial world and
natural universe..
Maiorano has accomplished several solo
2011
“Spazi eterei”, Galleria Ellebi, Cosenza.
and group exhibitions both in Italy and
abroad.Among the latest, we can mention
2010
the participation at the 54th International
Il respiro della luce, galleria Emmeotto, Roma.
Art Exhibition – La Biennale di Venezia. His
personal “Spazi eterei” in 2011 at the Elle-
2009
bi Art Gallery of Cosenza, “Respiro di Luce”
Tornabuoni Arte, Milano.
(Breath of Light) in 2010 at the gallery Em-
Spazi eterei
serafino maiorano exhibition 2011 ellebi art gallery - cosenza
2008
Immagine Regia, Ex Pinacoteca Appartamenti Storici, Reggia di Caserta; curated by
Martina Cavallarin ; testi di Danilo Eccher e
Martina Cavallarin.
Art Karlsruhe, Galleria Traghetto, Karlsruhe.
Interno rosso, Galleria Traghetto ,Venezia.
2007
Pace velata, Galleria Traghetto, Roma; a
cura di Gianluca Marziani.
2006
Spazi luminosi, Galleria La Bussola, Cosenza.
2005
Architetture dell’animo, Galleria Traghetto
Venezia; a cura di Gianluca Marziani.
2004
Tornabuoni Arte Contemporanea, Milano.
2002
Stato d’allerta, Studio d’Arte Contemporanea Casagrande, Roma.
2000
ROMA MM, Studio d’Arte Contemporanea
Casagrande, Roma; a cura di Cecilia Casorati.
1999
Tornabuoni Arte Contemporanea, (Svizzera).
Emmeotto Art Gallery – Rome
Serafino Maiorano
1997
abria) – curated by Vittorio Sgarbi.
Galerie Triebold, Basilea (Svizzera).
2010
1996
ViennaFair, presentato dalla galleria Traghetto
PAN-DAP -Studio d’Arte Contemporanea
(Venezia), Vienna, Austria.
Casagrande, Roma; a cura di Ada Lombardi.
Archivio Cavellini, Brescia.
2009
Dopo la velocità, curated by Paolo Aita, UNI-
1991
CAL (Università della Calabria), FESTIVART.
Gianfranco Rosini Arte Contemporanea, Ric-
Galleria in vetrina, Maiorano and Mimmo Ro-
cione.
tella, Altomonte (CS).
La Bottega dei vasai, Milano; a cura di Francesca Alfano Miglietti.
2008
Lightbox Via lucis, Centro Angelo Savelli,
1989
Lamezia Terme (Catanzaro).
Galleria Val I 30, Valencia (Spagna).
2007
ViennaFair, galleria Traghetto (Venezia), VienMAIN COLLECTIVE EXHIBITIONS na, Austria.
2012
2006
EmmeOtto Living Gallery, Palazzo Taverna
Miart, galleria La Bussola, Milano.
(Roma).
Plot.Art. Europa, Museo Laboratorio d’Arte
Contemporanea, Roma; curated by Gianluca
2011
Marziani.
Round the clock, 54° esposizione Internazi-
Shoes or not shoes?, Het Museum voor
onale d’Arte – La Biennale di Venezia , eventi
Schoene Kunst, Gent (Belgio).
collaterali.
Spazio Thetis – curated by Martina Cavallarin.
2004
Biennale di Venezia, 54° esposizione Inter-
Carte Italiane, Studio d’Arte Contemporanea
nazionale d’Arte – Palazzo Zerbi (Reggio Cal-
Casagrande, Roma.
Architettura luminosa
painting on lambda print on alluminum, 100x100 cm.
2002
1994
Il mare, curated by Patrizia Ferri, Museo Nasi-
Materia tradita, Galleria Cilena, Milano.
onal Indonesiano, Jacarta.
L’Arca di Noè, Trevi Flash Art Museum.
2001
1993
Extravergine, Trevi Flash Art Museum.
Il Gatto e la Volpe, (Serafino Maiorano e Vettor
Pisani), Galleria Pio Monti, Roma.
2000
Le Sfingi del Testaccio, Palazzo delle Esposizioni,
ArteFiera Bologna, Tornabuoni Arte Contem-
Roma (aiuto scenografo, regia di Vettor Pisani).
poranea.
1991
1999
Art Basel, Galleria La Polena, Basilea.
Finchè c’è morte c’è speranza, Trevi Flash Art
Museum, Trevi.
1990
Atlante, Geografia e Storia della giovane
Daedalus, Casa Seronide, Ascona (Svizzera); a
arte Italiana, Macs Masedu Arte Contempora-
cura di / curated by Harold Zeman.
nea.
1988
1997
Astrazione e figurazione italiana, Aida Gal-
Oh, la vache, Museo Haile Saint Pierre, Parigi.
lery, Giza, Il Cairo.
1996
1987
Kunst ’96, Gallerie Triebold, Zurigo.
Onda Verde, Palazzo degli Affari, Firenze.
Solstizio d’estate, Associazione culturale Zerynthia, Serre di Rapolano.
1986
Art Basel, Galerie Triebold, Basilea.
Joie de vivre, S.Maria a Vico, Caserta; a cura di
/ curated by Italo Mussa.
1995
Punto di riferimento
Fax Art, Palazzo delle Esposizioni, Roma;curat-
1985
ed by Ludovico Pratesi.
ArteFiera Bologna, Galleria Monti.
Per mare e monti, Galleria Monti, Macerata.
Nuovissima generazione dell’Arte Italiana, Siena.
Serafino Maiorano
Spazi eterei
Il respiro della luce, 2010
emmeotto art gallery – rome
GIUSEPPE
T
he smoothness is the first sensation at the
user something more than the mere aesthetic
sight of the peculiarity of Giuseppe Mas-
attractiveness, then there is art. Such sensations
caro’s work. There is no asperity, neither angu-
we experiment when admiring Giuseppe Mas-
larity in it. All is rounded, soft-like, as if it would
caro’s works. Because, quoting his very words
embrace the observer ‘s perceptions, embalm-
about his work, Art yields no answers, still ques-
ing and almost preserving them from the easy
tions, in those questions lies his work. As he
oblivion which defines our era of massive pro-
says:“..in the rational uncertainty and the cer-
duction without clear purpose, or, at best, with
tainty to be in front of something irrational…
The quest for the shape is the very basis for
a misleading one.
fooled
every sculptor, and in this quest I always refused
the common meaning of the ad-
the recognizable shapes, but the attempt re-
Everyone
by
could
be
easily
is
garding houses and trees, represents the pass-
meant as the generic, popular word that goes
ing out of the shape itself, houses are no more,
far beyond its very original meaning. Actually,
house is an organic, living matters container,
people are forced to think that every human
and, in this case, the container becomes itself
product, with a specific function, or usability,
living matter, dropping out of its original role.”
jective
artistic.
Currently,
“artistic”
if fashioned with a certain exterior beauty, or
His intent, and so his work, are meant to pro-
pleasantness, it automatically can be catego-
duce, as above said, questions standing inside
rized as an artistic one.
everyone of us, that could possibly be the keys
Truth is, art eludes common senses; plus, it
enhances them towards a boundary where all
for a different sight, of an artistic work as of the
life itself.
is uncertain, indefined, yet to estabilish, categorize, acquire. If a human product gives the
Antonello Migliaccio
Giuseppe Mascaro was born in 1983.
2008
Zone scoperte, Palazzo della Provincia, Catan-
zaro. Curated by Giancarlo Chielli, Guglielmo
Gigliotti, Monica Torrusio.
2013
Collettiva d’arte contemporanea, Castle of
Collettiva d’arte, Ellebi Art Gallery, Cosenza.
Aieta (Cosenza). Curated by Luigi Magli.
Zone scoperte 3, Catanzaro. Curated by An-
Zone scoperte, Bazzini gallery, Milan. curated
drea Romoli Barberini.
by Giancarlo Chielle.
Zone scoperte 3, Museo Crocetti, Roma. Cu-
2007
rated by Andrea Romoli Barberini.
Collettiva d’arte contemporanea, Masciari
theatre, Catanzaro.
Carne, 2011.
earthenware
20 x 15 cm.
2012
Collettiva d’arte, Contemporary Art Museum,
Premio Pandosia, first prize. Marano Principa-
Praia a Mare, Cosenza.
to, Cosenza.
Intervento permanente, Modern Art Muse-
Collettiva “Malattia e arte”, XII National Con-
um, Taverna, Catanzaro.
gress AIMI Forum AIMI-SIMIT, University of
Arte e Vino, Palazzo del Fermento, Caulonia,
Magna Grecia, Catanzaro. Curated by Prof. Vin-
Reggio Calabria.
cenzo Guadagnino, Alessandro Russo, Luigi
Mur National Art Prize, Ciminiere Museum,
Magli.
Catania.
2009
2006
Workshop Fra venti, second prize. Staletti,
Porticato Gaetano Art Competition, Gaeta.
Catanzaro. Curated by Antonio Battaglia.
Curated by Rosario Pinto.
Untitled, 2012
mixed media wood , towelling
30 x 30 x 15 cm
Alberi, 2012
mixed media wood, towelling
20 x 20 x 15 cm.
Case, 2013
earthenware
MASSIMO
M
is
environmental and sculptural pieces: the
based on the containment of evi-
cast-iron weights or the tailor’s tapes, the
dent contradictions. The apparent exaltation
atlas of the Weltanschaung, the structuring
of chromaticism is balanced by the analytical
in the abstract space of a cell, the glass sec-
process, the dizzying grounds coexist with
tions recalling an extreme tomography and
the geometric order of an enigmatic and pe-
the sacrifice of a human body in favour of
culiar pointillisme, the brushstrokes, that is
scientific knowledge.
assimo
Kaufmann’s
painting
the craft aspect, complete one another in the
These are anthropomorphic practices that
device that mechanically allows colour to fall
find romantic balance in the relationship be-
on the surface of a painting set horizontally,
tween a Dionysian existence and the need
parallel with the floor during its creation.
for control, pulses that lend themselves to
One infers from the calibrated pouring
psychoanalytic interpretations given the po-
that the painter does not have a canvas in
larities between availability and possession,
front of him like a mirror or a window on the
female and male, chaos and form that find
world, but has to stretch his limbs over the
equilibrium in the single canvases and even
surface, neither emphasising the action nor
more so in the diptychs that amplify the spec-
feeding doubts as to a possible gamble on
trum of relationships as if they were incon-
dripping colour. He leans as far as he can as
gruent Rorschach cards or in the triptychs or
he lends geometry to the formless, alculat-
the works on paper that multiply the infinite
ing and then giving way to ungovernable
fallacies of such compositional experimenta-
excess. In this stance Massimo Kaufmann
tions.
displays a consistency with that search for
measure evident in a number of his earlier
Gianfranco Maraniello MAMbo director
Stripes, 2010
oil on canvas
244 x 182 cm.
Il tempo ritrovato, 2007
mixed technique on canvas
130x130 cm.
Il Nudo che scivola dalle scale, 2011
oil on canvas
200x200cm.
MASSIMO KAUFMANN
The Golden Age, 2008.
oil on canvas
260 x 360 cm. diptych
Cecità, 2009.
oil on canvas
260 x 360 cm. diptych
MASSIMO KAUFMANN
Il tempo ritrovato, 2007
mixed technique on canvas
130 x 200 cm.
Artist’s Exhybitions
2012 The Golden Age, MAMbo Bologna
2012 Studio Carlotta Pesce, Bologna
2012 Palazzo Rinascimentale, Aieta (Cs)
2010 Adagio, Galleria castelli, Milano
2009 Cecità, Galleria 1000Eventi
2007 Bubbles, Galleria In Arco, Torino
2006 24 h. Galleria Astuni
2005 Galleria 1000eventi, Milano
2004 Galleria Astuni, Pietrasanta
2003 Galleria In Arco, Torino, con Stefano Arienti
2000 Cella #7, Spazio Manzoni, Monza
1999 Opere recenti”, Biagiotti Arte Contemporanea,
Firenze Cella #7, Viafarini, Milano
1998 Cella osservatorio di stella, Tortolì, Nuoro
1997 Les Caprices, Musée d’Art Moderne et
Contemporain, Nice Rime sparse, Studio Guenzani,
Milano
1996 Galleria Franca Mancini, Pesaro
1995 I Capricci, Studio Guenzani, Milano
1994 Sperone-Westwater Gallery, New York
Sempre più difficile, Galleria In Arco, Torino
1993 Galleria Gianenzo Sperone, Roma
1992 Documentario, Galleria In Arco, Torino,
con Marco Cingolani
Galleria Franca Mancini, Pesaro
Nostro Padre, Chiesa di S. Maria
di Grotta Pinta, Roma (a cura di L. Pratesi)
Ding, Mala Galerija, Moderna Galerija, Ljubiana
Persuadere e prevedere, Studio Guenzani, Milano
1991 Galerie Faust, Geneve
1990 Studio Scalise, Napoli
Ubi Consistam, Studio Guenzani, Milano
Annina Nosei Gallery, New York
1988 Studio Guenzani, Milano
1987 Two Kilograms of blue, Studio Guenzani, Milano
Macula, 2012.
oil on wood surface
35 x 45 cm.
FRANCO
P
ainter and sculptor, Franco Paletta was
the works take on geometric shapes in closed
born in Cetraro (CS), Italy, in 1948. Since
sheets in black and white, titled Contempo-
he was very young he devoted himself to the
rary Items, in which Paletta contains the pres-
world of arts, attracting a lot of attention by
ence of the latent empty space.
both public and critique.
In 1995-96 he exhibits at the Art Gallery of
In 1968, he holds his first own exhibition of
A. Savelli in Larnetia Terme (CZ) and in the
Holy Art in Polistena (RC). In 1969 he matricu-
Hall of grain at the Castle of Maniace in Bron-
lates at the Faculty of Architecture of Sapien-
te (CT). Always in ‘96, he realizes San Frances-
za University in Rome, attending the classes
co di Paola for the space in front of the main
held by Ludovico Quaroni. In Rome, besides
entrance of the Parish of New St. Francis, and
the Academy of Fine Arts, where, at present,
the Holy Mother with baby for the Parish of St.
he teaches Omamental Plastic, Paletta fre-
Mother Mary of the Cosenza Church. In 2003
quents an entourage of artists and managers
he gives substance to the feeling of the Plain
of art galleries of international renown. His ar-
Void in monochromatic “open boxes” and in
tistic career begins with a figurative painting
other materials.
style that will later be replaced by an abstract
In 2004 he carries out Presence in vacuum
search for a “new informal”, as defined by Gi-
in “square boxes “, inside which he fits mono-
orgio Di Genova at the end of the 70s.
chromatic strips of wood and metal sheet. In
From 1986 he devoted himself to the cre-
the same year he takes part in a prestigious
ation of a type of immaterial sculpture, the
group exhibition held in Cetraro (CS) at the
so-called Empty Bodies, while, in painting, his
Palace of the Throne, produced by Giorgio
spirituality was born and raised in the produc-
Di Genova. Still in 2004, the University of Ca-
tion of Sindoni, in the early 90s. Since 1994,
labria, in memory of the economist Ezio Tar-
antelli, killed by the Brigate Rosse, commis-
1991
sioned him a sculpture that the artist titles
Palazzo della Provincia, Catanzaro, Ita-
Open book, in marble and bronze, which was
ly.
inaugurated by the then President of the Republic Carlo Azzeglio Ciampi, and placed in
1995
the Tarantelli Library at the University of Cal-
A. Savelli Gallery, Lametia Terme (Cat-
abria.
anzaro), Italy.
In 2006 Giorgio Di Genova inserts three
works in the Permanent Collection of the
1996
Bargellini Museum in Pieve di Cento (BO), and
Maniaci Castle, Bronte (Catania), Italy.
the following year the same Di Genova counts
the Calabrian artist’s activity in the “History of
2003
the Italian Art in ‘900, through generations”.
Medieval Castle, Malvito (Cosenza), It-
Generation forties, Bora Editions (BO) .
aly.
Palazzo del Trono, Cetraro (Cosenza), Italy.
2004
Gnaccarini Gallery, Bologna, Italy.
1973
Gallery 98, Cosenza, Italy.
2011
Le Opere Gallery, Rome, Italy.
1974
Il Faro Gallery,
Belvedere Marittimo,
(Cosenza), Italy.
Marconipiù, La Scultura immateriale
“corpi vuoti”.
“Sottovuoto”, Rende, Cosenza, Italy.
1975
Gallery 98, Cosenza, Italy.
MAIN GROUP EXHIBITIONS
1990
1974
Idra Gallery, Cosenza, Italy.
Nepetia International Prize, Cosenza, Italy.
FRANCO PALETTA
MAIN GROUP EXHIBITIONS
Art Museum, Trevi, Perugia, Italy.
1977
1999
Villa Prize, Villa San Giovanni, Reggio Cal-
10th Exhibition of Contemporary Art, Pa-
abria, Italy.
dova Art ’99, curated by Alba of Ferrara Art
Gallery, Padova, Italy.
1988
Art Prize ’98, Milan, Italy.
2000
XIII Mediterranean Festival, curated by La
1992
Bussola Art Gallery, Cosenza, Italy.
Biennal of Monterosso Calabro, Vibo Valentia, Italy.
2004-2005
International Expo, Line Art Gent, Belguim
1994
Flanders Expo, curated by Gnaccarini Gallery
Milan Art Center, curated by Angelo Savelli
of Bologna.
Center, Mercantile Italian Bank, Milan, Italy.
2005-2006
1995
International Expo of Modern Art Karl-
First Prize Trevi Flash Art Museum of paint-
sruhe, Baden, Germany, curated by Gnacca-
ing, sculpture and videos, Trevi, Perugia, It-
rini Art Gallery of Bologna.
aly.
2006
1997
10th Forlì Fair of Contemporary, Forlì, Italy.
Calabria-America, New York and Calabresi at Antibes, France, curated by the Art and
2009
Culture, Brutium Center, Reggio Calabria, It-
5th Biennal of International Art “Magna
aly.
Grecia”, S. Demetrio Corone, Cosenza, Italy.
Biennal of Art of Trevi Flash Art Museum,
Museum of Art of Italian Generations G.
Trevi, Perugia, Italy.
Bargellini, Pieve di Cento, Bologna, Italy.
Limen Art international Prize, curated by Gi-
1998
orgio Di Genova, Palazzo Comunale Gagliar-
First Prize – Trevi City, curated by Trevi Flash
di, Vibo Valentia, Italy.
Corpo vuoto illuminato, 2009
enamel on steel h. 80 x 33 x 38 cm
Corpo vuoto luminoso, 2011
painted steel h. 131 x 30 x 37 cm.
FRANCO PALETTA
Corpo vuoto, 2007
painted steel h. 230x60x60 cm.
Corpo vuoto illuminato, 2002
painted steel, h 100 x 50 x 20 cm.
Domenico Cordì - Sebastiano Dammone Sessa - Giuseppe Negro Fabio Nicotera - Vincenzo Paonessa - Ernesto Spina
I
t is not the name of a group, but could
still vastly unexplored, unique and multiple,
become it. SeiSud is only, at least for the
and thus preciously rich and complex. It is
time being, the title given to an itinerant ex-
not a challenge, posed and accepted. It is,
hibit. Half question, half affirmation, it acts as
on the contrary, under the wave of glocal
confronted mirrors that reflect and capture
experiences, the risen hand that announces
the self and the other self. It is the extreme
a calm objection. SeiSud is the success of a
synthesis of the situation of art going out
recognition mutated into project. Therefore
into the open to reclaim - being completely
it is, also and certainly, a proposal.
aware of the making itself, without proclamations nor controversy - a role and a space
The passage that gathers and distin-
of the present artistic debate beyond the
guishes the pieces of Domenico Cordì is
boundaries of the continuous localistic cul-
encapsulated in a particular homogeneous
tural ghettoization, asphyxiated and crystal-
tension, a vibration of the surface given by
lized, that survive and condition the global-
the particular materials he uses (liquid insu-
ized world. It is an open discussion with the
lators, fiber glass, synthetic grass) which are
diverse declinations of being contemporary,
able to attain captivating three dimensional
supported by a mature identity pride and by
effects and a controlled trespassing of the
an approach of method that in process of
levels of the supports. His discourse is one
creation of the piece cannot exclude an un-
that in many ways maintains significant tan-
transferrable craft, interpreted from the ac-
gencies with the informal sphere that, when
ceptance of a thought that is translated into
necessary, does not renounce to enigmatic
a creating action of significant forms. SeiSud
hidden impressions, often unsettling, that
is, in its own way, a Kaleidoscopic art space
accentuate the reach of the enigma, whilst
Domenico Cordì, 2013
installation istituto sant’antonio dei portoghesi, rome.
prudently remaining at a distance from any
self as a model for a possible representation
narrative temptation.
The use of extra-pic-
he provides, in fact, the essential departure
torial materials, serving the negation of flat
point from which a rigorously pictorial re-
surfaces and the exaltation of a constant ten-
flection can arise, attentive and analytical,
sion, almost an ebullience of materials – that
regarding the subject of light and color.
reflects the emotional condition of the cre-
Even the simple observation of a landscape,
ator - frozen in the fixity of the piece, exalts a
through the different seasons and the differ-
concept of unstable precariousness through
ent times of day can acquire, therefore, the
which a jagged harmony with the surround-
precious connotation of a stimulus to trigger
ing space is attained, with reciprocal and
a research exclusively focused on the study
measured invasions. This dialectic between
- therefore on the recovery - and in some
object and space is sophisticated and is of-
way on the tentative of appropriation of the
ten able to enclose shocking and not always
prodigy of light. A prodigy that is here man-
regular portions of emptiness in the piece
ifested through color, in single paintings or
that must be understood as pauses, as the
in extraordinary modular compositions, in a
inclusion of silences, as negation and over-
sophistically de-contextualized key and no
turning of what is expressed by the surface;
longer retraceable to the initial suggestion.
they are attractive cavities that can hold cap-
And if it is the light, modulated as the hours
tivating elements of surprise.
go by, that gives life in reality to the diverse
pallets and a variation of tones, it is not haz-
Distant from any reference to forms, the
ardous to find in these pieces a subtle refer-
course followed by Sebastiano Dammone
ence, almost a pleasant surprise, of the strat-
Sessa, of minimalism without renouncing to
ification and overlapping in time that govern
a lyric register, is based on fundamental con-
everything.
cepts of overlapping and stratification. Key
Sebastiano Dammone Sessa - Ipotesi di struttura, 2013
paper, plywood, vinyl emulsion - variable size
concepts that guide and give substance to
At the basis of Giuseppe Negro’s work we
his action without legible references to the
find, on the other hand, a vocation to recov-
sphere of experience and reality. Neverthe-
er and re-read what belongs to the past and
less, in spite of appearances, the dimension
memory. His procedure is a complex one
of the real plays a significant role in his re-
based on a noble approach and in many
search because, instead of presenting him-
ways desperate action of rescuing all that is
SEISUD
menaced by oblivion. Images and situations that belong to the history and culture
of his place of origin revive as majestic
flashback formations. It is not only re-elaborated testimonies emanating from old
snap-shots, but also of recovered objects
that can enter the pieces intact or transformed by the manipulating and visionary
action of the artist that, with the conscious
and rigorous use of white and black, is always commendably able to redress and
reassign heart rendering fragments of the
past in a mysterious sacredness, at times
ironic, at times severe, with the sophisticated integration of unforeseeable inclusions and highly iconographic quotes.
There is no lack of pieces where the recovery becomes more direct and the story,
no longer clearly readable, is almost whispered by the object, by its history. This is
how an ancient bedspread made of precious fabrics - that tells the story and revives the memory of the splendor of the
silks and velvets from Catanzaro, but also
of the dignity of people from distant times
that were unable to cultivate the beauty
in the severe existentiality of the domestic sphere - becomes the precious support for refined interventions that give
it new meaning, transform it. And all not
only for the pleasure of transgressing form
Giuseppe Negro - 2013
istituto sant’antonio dei portoghesi, rome
and function, but to integrate value therein
attention from raw clay, which he covers with
through an action that is simultaneously of
a solid and leathery layer of glue instead of
appropriation and defense.
cooking. He also intends to conserve and
restitute, with the apparent haphazardness
Similar in many ways, even if only in terms
of a drizzle, the idea of a dramatic and very
of the sense, is the subject presented in Fa-
human impermanence that struggles to find
bio Nicotera’s pieces. Highly inclined for
its stable form.
experimentation, his research, based on an
Fabio Nicotera, 2013
installation istituto sant’antonio dei portoghesi, rome.
irreducible will of conserving what society
More inclined towards depicting mankind
tends to eliminate, has lingered in the pos-
in a delicately elusive manner - though a
sibilities of form and meaning that vinyl glue
poetic, calligraphic attempt of defining ter-
offers.
restrial and celestial horizons - is the work of
Choosing this singular material has lead
Vincenzo Paonessa that assumes a combat-
him to a path of strong suggestions, an artic-
ed existential condition, equally substantiat-
ulated but coherent one, that has driven the
ed and attracted by the opposing polarities
artist to put himself up against the two-di-
of spirit and mind.
mensionality of the painting (always ques-
Seductive astral maps, most of the times
tioned by the highly protruding applications)
dominated by the cosmic darkness with the
or, depending on the case, against the pure
imposition of paths, stellar routes and ce-
three-dimensionality of the sculpture and the
lestial trails in the form of silver spider-webs
installation. Through the use of glue - which
sketched with the countenance and atten-
given its physical properties embraces and
tion of a consummated cartographer. Also
accommodates, conserves and preserves,
simpler creations of astral maps recovered
veils and reveals - you can interpret, on one
and pasted on the supports, almost in an im-
hand, the intention of contrasting and con-
probable attempt of reconstructing a dream
testing the principle of commercialization,
full of blanks that hides absolute truths, rep-
therefore of obsolesce and abandonment of
resent the immediately recognizable subject
thoughts, things and traditions that flog our
of the artist. Often populated with spheres of
time – with the subsequent elimination of
precious marble, these pieces are lightened
the pure handicraft, personified by the small
up here and there by spurts of light from the
skeletons that Nicotera creates with maniac
glitter that is irregularly spaced out in deep
SEISUD
cavities that burst though the continuous
surface of the piece to accommodate other and familiar dimensions, real and feasible physical voids, that stand out in the
symbolic emptiness of the representation
of the universe gently suggesting that
void also has its zones of shadow. It is easy
to see in the celestial bodies the presences that inhabit these deep skies and give
them life, moving them with their astral
paths - a reference to the human dimension - to the uncertainties and surprises
of the existential paths that seem to contradict their apparent and calculated predictability and that hide all the beauty and
poetry of life in this precious uncertainty.
Of an extraordinary refinement capable
of eluding the quicksands of the pure and
sterile self-celebratory virtuosity, the work
of Ernesto Spina bewitches with that type
of orchestrated duplicate enchanting possibility that initially, at a distance, captures
the gaze of the observer with hybrid forms
– molded and perforated - that accommodate the calculated portions of wall, dominating with surfaces of a mysterious attractive material, vaguely transparent and
colorless, in which even from afar you can
distinguish the internal motto; that particular texture that commands to be ap-
Vincenzo Paonessa - “Sono Cavoli”, 2013
plaster, alabaster, iron - environmental dimension
proached. Moving only a few steps towards
these crafts and just barely focusing on the
extraordinary folly that with sophisticated
coquetry include with a type of artistic, Castiglione scorn of the thing that almost by hazard and effortlessly happens, you become
irresistibly attracted and seduced. Monkeys,
oxen, fish and other animals crowd without key to continuity, always apparently the
same but substantially different, on these
surfaces as if sealed by a diaphanous screen
of wax that modulates the light and shapes
the forms to exalt an idea of animalism to be
interpreted also as a substantial component
of human nature. These works of Spina, by
celebrating the preciousness of life in its diverse forms, almost sardonically once again
reveal that bewilderment and monumental
nature can also inhabit small things.
Andrea Romoli Barberini
Ernesto Spina, “Elementi transitori”, 2013
mixed media
DOMENICO
D
omenico Cordì, was born 07/09/1979 in
DONATIONS:
Catanzaro (Italy).
2012
L’Art Omi International Artists Residency,
ARTIST RESIDENCIES
Ghent (NY).
2011
MAON Museum, Cosenza (Italy).
Schoolarship of Dena Foundation for Contemporary Art at Art Omi International Artists Resi-
SELECTED GROUP EXHIBITIONS:
dency, Ghent – New York.
2013
“Immanente trascendente”, curated by Dioc-
AWARDS:
esano Mueum, Catanzaro.
2010
“SeiSud”, curated by Andrea Romoli Barberini.
Special Prize Award Mario Razzano fourth
Istituto Sant’Antonio dei Portoghesi, Rome.
edition, Biennal of Benevento (Italy).
III International Painting Prize, Sculpture and
2012
Poetry, “The Sacred Fire of the art “ (first prize),
“Collezionando”, curated by Marilena Siran-
UNICAL, by the Cultural PUL., Cosenza.
gelo. Ellebì art gallery, Cosenza.
BUYERS:
Palazzo d’Arte Ducale, Maierà (CS).
2012
“SeiSud”, curated by Andrea Romoli Barberini
Museum Arcos, Benevento (Italy).
e Federico Bonioni, Reggio Emilia.
Colonne, 2013
sheath liquid, fiberglass, cement, putty variable size.
Untitled, 2013
sheath liquid, fiberglass variable size
Domenico Cordì
Untitled, 2013
mixed media
40 x 40 cm.
SELECTED GROUP EXHIBITIONS:
Il Gianicolo Gallery, Perugia.
2012
“SeiSud”, curated by Andrea Romoli Barberini
Palazzo Ducale, Gubbio (PG).
e Federico Bonioni. Bonioni Arte Gallery, Reggio Emilia.
2010
“Slang, Segmenti di Arte Contemporanea”,
2011
curated by Tonino Sicoli and Roberto Sottile.
“International Award Limen Arte”, curated
Museo del Presente di Rende (CS).
by Giorgio di Genova. Palazzo E. Gagliardi,
Vibo Valentia.
2009
“Ventiperventi” III International Exbition , cu-
Genus Art Gallery, San Benedetto del Tronto (AP).
rated by Officina Creativa Lineadarte, Napoli.
“Zone scoperte III bis, Omaggio all’Italia”,
“Re-making worlds. Tributo alla Biennale”,
curated by Andrea Romoli Barberini. Venanzo
Curated by ArteOltre, Caffè Letterario, Rome.
Crocetti Foundation, Rome.
“Open Space 1, la dimensione umana del
2008
contemporaneo”, curated by Fabio De Chiri-
“Zone Scoperte II”, curated by Giancarlo
co, Giovanni Viceconte and Carmelo Cipriani.
Chielli, Guglielmo Gigliotti and Monica Torru-
Cosenza National Art Gallery.
sio. Palazzo della Provincia, Catanzaro.
“SeiSud”, curated by Andrea Romoli Barberi-
“Contemporanea 2008”, curated by Frances-
ni. La Tartaruga Contemporany Art Gallery, Rome.
ca Londino and Settimo Ferrari. Palazzo San
“Zone Scoperte III, Omaggio all’ Italia”,
Bernardino, Rossano (CS).
curated by Andrea Romoli Barberini. Palazzo
IoOltre: viaggio dentro lo sguardo inven-
della Provincia, Catanzaro.
tore”, a cura di ArteOltre, Tirabouchon, Rome.
“Punto Critico, giovani critici e giovani artis-
“XXIII Premio Pandosia per l’Arte Contem-
ti under 35”, curated by Tonino Sicoli, Roberto
poranea”. Marano Principato (CS).
Sottile, Luca Raschella. Museo del Presente,
“La Terra ha bisogno degli uomini”, curated
Rende (CS).
by Francesco Ruggiero. Royal Palace of Caserta.
Dignità Precarie, 2013
mixed media diam. 130x130 cm
Domenico Cordì
Untitled, 2013
sheat liquid fiberglas
30 x 30 cm.
Sedute circolari
mixed media diameter 130 cm.
COLLABORATION : contracts and occasional work
as a curator and exhibition designer at MARCA Museum, Catanzaro Arts museum:
2013
Angelo Savelli, “Il maestro del bianco ”, curated
by Alberto Fiz and Luigi Sansone.
2012
Daniel Buren , “Construire sur des vestiges, d’un
éphémère à l’autre. Travaux in situ”, curated by
Alberto Fiz.
2010
Alessandro Mendini, “Alchimie. Dal Contro-design alle Nuove utopie”, curated by Alberto Fiz.
2009
BerlinOttanta, “Pittura irruente”, curated by Alberto Fiz.
Perino & Vele, “Sottovuoto”, curated by Alberto Fiz.
2008
P. De Pietri, F. Favelli, D. Rivalta, “Archeologia del
presente”, curated by Sergio Risaliti.
Mimmo Rotella, “Lamiere”, curated by Sergio
Risaliti.
Pinacoteca e gipsoteca comunale, ”Arte dal xvi al
Strappo per anime individuali, 2013
sheath liquid, fiberglass on board 100x100 cm
xx secolo”, curated by Sergio Risaliti.
SEBASTIANO
F
ar from any reference to shape, Se-
pleasant referenceto the stratications and
bastiano Dammone Sessa’s journey, a
overlapping of time that rules everything.
sort of minimalism that does not reject lyricism, is based on fundamental concepts of
overlapping and stratication. Key notions that
guide his action without readable reference
to experience and reality. However, despite
appearances, reality has a signicant role in
W
ith Sebastiano Dammone Sessa the
final result launches chaos into or-
his inquiry. Instead of being a model for a
der, and the centripetal force is laid out in
potential representation, it actually gives the
circular signs of dierent depths. The stroke
essential starting point to a pictorial reection
discovers the beauty of the material, stained
on the themes of light and colour.
by pigments, and each circle unveils a dier-
Even though observing a landscape, in
ent colour, depending on the strength used
dierent seasons and at dierent times of the
to etch. Wood is often treated in multiple
day, it can become a precious starting point
parts, so everything is balanced in the result-
to study, and in a way to appropriate, the
ing compositions.
extraordinary wonder of light. This wonder
Each module encapsulates a story, a leg-
is shown in colour, in single canvases or in
end, a myth; and, by repeating itself in a
astonishing modular compositions, in a ver-
similar but slightly dierent way, it ensure the
sion that is no longer identiable with the ini-
conveyance and the subsistence of its value.
tial suggestion. Light, beating time, puts life
Serena Carbone
into reality and colour, and changes its tone.
is not hasty to see in these works a slight and
Structure hyphotesis, 2013
polyurethane, cardboard and pigment
environmental dimension
Sebastiano Dammone Sessa
SOLO EXHIBITIONS
“XXVI Premio Pandosia per l’Arte Contemporanea” (rst prize), curated by the town of Marano
2009
Principato (CS).
“Moduli”, curated by Giancarlo Chielli. Palazzo
“Seguendo il cammino di Marco Polo, Artisti
della Corte, Noci.
Italiani che dipingono.
“Carta su carta”, curated by Giancarlo Chielli
Hangzhou”, curated by Hangzhou Cultural Brand
and Lara Caccia, Palazzo Staglianò, Chiaravalle
and Assoartisti - Confesercenti. Henlu Art Gallery
C.le (CZ).
Hangzhou, China.
2008
Palazzo d’Arte Ducale, Maierà (CS).
“Trame”, with Marco Querin, curated by Cristina
“SeiSud”, curated by Andrea Romoli Barberini e
Marinelli. Kairos. Contemprorary Arts Gallery,
Federico Bonioni. Bonioni Arte Gallery, Reggio
Catanzaro.
Emilia.0
“Hangzhou Immagini”, curated by Assoartisti
GROUP EXHIBITIONS
- Confesercenti and Hangzhou Cultural Brand.
Fortezza da Basso, Florence.
2013
First conference on the artistic heritage of the
Academies of Fine Arts, by the MIUR-AFAM,
Leonardo da Vinci Museum, Vinci (FI).
ABA Naples.
“Immanente trascendente”, curated by Diocesa- - Confesercenti and Hangzhou Cultural Brand.
no Mueum, Catanzaro.
Glass Museum, Empoli (FI).
“Omaggio al Cavalier Calabrese”, curated by
Andrea Romoli Barberini. Palazzo Santacroce Al-
dobrandini, Rome.
Montaione (FI) townhall.
“SEISUD”, curated by Andrea Romoli Barberini.
Istituto Sant’Antonio dei Portoghesi, Rome.
2011
Seguendo il cammino di Marco Polo: artisti
2012
italiani dipingono Hangzhou”, Fondazione
“COLLEZIONANDO”, curated by Marilena Siran-
Bevilacqua la Masa, San Marco Square Gallery,
gelo. Ellebì Art Gallery, Cosenza.
Venice.
Girone, 2012
mixed media on board - 100 x 100 x 9 cm
Structure hyphotesis, 2013
ecoline and oil on emulsion on paper
86x84 cm.
Sebastiano Dammone Sessa
“International Award Limen Arte”, curated by
Giorgio di Genova. Palazzo E. Gagliardi, Vibo
Valentia.
Genus Art Gallery, San Benedetto del Tronto
(AP).
“Zone scoperte III bis, Omaggio all’Italia”,
curated by Andrea Romoli Barberini. Venanzo
Crocetti Foundation, Rome.
“Open Space 1, la dimensione umana del
contemporaneo”, curated by Fabio De Chirico, Giovanni Viceconte and Carmelo Cipriani.
Cosenza National Art Gallery.
La Tartaruga Contemporany Art Gallery, Rome.
“Zone Scoperte III, Omaggio all’ Italia”, curated by Andrea Romoli Barberini. Palazzo della
Provincia, Catanzaro.
“Punto Critico, giovani critici e giovani artisti
under 35”, curated by Tonino Sicoli, Roberto
Sottile, Luca Raschella. Museo del Presente, Rende (CS).
“SeiSud”, curated by Andrea Romoli Barberini. Il
Gianicolo Gallery, Perugia.
Palazzo Ducale, Gubbio (PG).
2010
“Mario Razzano young artists award”, IV Biennale di Benevento, curated by Associazione
Culturale Proposta, Benevento.
Untitled, 2009
paper, emulsion and pigment on board - 30 x 30 x 3 cm.
Gironi, 2012
mixed media, diam. 33 cm.
“L’Uomo nel labirinto”, curated by F. M. Minerv-
“XXIII Premio Pandosia per l’Arte Contempo-
ino. Palazzo Sant’Agostino di Paola (CS).
ranea” (work distinguishedby the jury). Marano
“Slang, Segmenti di Arte Contemporanea”,
Principato (CS).
curated by Tonino Sicoli and Roberto Sottile.
“Premio Felice Casorati, VI Biennale Internazi-
Museo del Presente di Rende (CS).
onale di pittura”, (work distinguished by the
jury), curated by Associazione Piemontese
2009
Arte. Castello Zavattaro Ardizzi, Pavarolo TO).
“Senectute”, curated by Rocco Pangaro e Luigi
“La Terra ha bisogno degli uomini”, curated by
Magli. Università degli Studi “Magna Graecia”,
Francesco Ruggiero. Royal Palace of Caserta.
Catanzaro.
“Accademia nel Borgo”, curated by Tonino Si-
“Ibridazioni”, immagini fra pittura fotograa e
coli and Luigi Magli. Renaissance Palace of Aieta (CS).
tecnologia”, curated by Luigi Magli e Tonino Si-
“Chiedi di loro”, curated by Giancarlo Chielli.
coli. Museo del Presente, Rende (CS).
Corte di Noci Palace.
“La Contemporaneità del libro”, curated by
Antonio Bandirali and Anna de Filippi. Villa Mira-
2007
bello Civic Museum, Varese.
“Arte e Vino”, curated by the social cooperative
“In eri”, exhibition by young artists nalists of
Cuntrascienzia. Fermento Palace, Caulonia (RC).
the Premio Nazionale delle Arti 2007”, curat-
“Premio Nazionale delle Arti 2007” (national
ed by the Fine Arts Academy of Massa Carrara
winner of the award, Decoratin category), curat-
and by Afam. Palazzo Ducale, Massa Carrara.
ed by Afam. Le Ciminiere center, Catania.
“Il pensiero creativo”, curated by Girifalco
2008
town. Historical walls of Girifalco (CZ).
“Zone Scoperte II”, curated by Giancarlo Chielli,
“AntePrima”, curated by Lara Caccia. Kairos
Guglielmo Gigliotti and Monica Torrusio. Palazzo
Contemporary Art Gallery, Catanzaro.
della Provincia, Catanzaro.
“Contemporanea 2008”, curated by Francesca
Londino and Settimo Ferrari. Palazzo San Bernardino, Rossano (CS).
“VI Biennale Internazionale di pittura, Casorati visita Barcellona”, (work distinguished by the
Piccolo girone organico
diam. 33 cm.
jury). Fine Arts Academy of Barcelona, Spain.
GIUSEPPE
G
iuseppe Negro was born in Catanzaro
“Sei Sud”, curated by Andrea Romoli Bar-
in 1974. He lives and works there.
berini, Maierà (Cosenza), Italy, PDAC Palazzo
Ducale Arte Contemporanea.
“Sei Sud”, curated by Andrea Romoli Barber-
2005
ini, Reggio Emilia, Italy, Bonioni Art Gallery.
“Scene”, curated by Guglielmo Gigliotti and
Lara Caccia, Catanzaro, Italy.
ini, San Benedetto del Tronto, (Ascoli Piceno),
Italy, Galleria Genus.
2001
“Calabrian New Wave”, curated by Tonino
2011
Sicoli and Massimo Di Stefano, Rome, Italy.
“Lo stato dell’arte”, curated by Vittorio Sgarbi, Torino, Italy, 54th Biennal of Venice, Padi-
GROUP EXHIBITIONS
glione Italia, Sala Nervi.
2013
berini, Rome, Italy, Tartaruga Gallery.
ini, Rome, Italy, Istituto dei Portoghesi.
“Il Cortile dei Gentili”, curated by Cardinale
berini, Perugia, Italy, Il Gianicolo Gallery.
Ravasi, Tonino Sicoli and Andrea Romoli Bar-
“Luoghi e realtà di ricerca tra realtà e mu-
berini, Catanzaro, Italy.
tamento”, curated by Teodolinda Coltellaro,
San Demetrio Corone (Cosenza), Italy, Colle-
2012
gio Sant’Adriano, VI Biennal of Contempo-
“Collezionando”, curated by Marilena Siran-
rary Art “Magna Grecia”.
gelo, Cosenza, Italy, Ellebi Art Gallery.
“Zone Scoperte 3”, curated by Andrea Ro-
Sei sud, 2012
palazzo ducale gubbio
moli Barberini, Catanzaro, Italy, Palazzo della
Provincia.
“Sei Sud”, curated by Andrea Romoli Barberini, Gubbio (Perugia), Italy, Palazzo Ducale.
2010
“International Limen Art Prize”, curated by
Giorgio Di Genova, Vibo Valentia, Italy, Palazzo
E. Gagliardi.
“Slang”, curated by Tonino Sicoli, Luigi Magli
and Roberto Sottile, Rende (Cosenza), Museum
of the Present.
“Premio Terna 03”, Rome, Italy, Premio Terna
per l’Arte Contemporanea.
“L’uomo nel labirinto”, curated by M. F. Minervino, Paola (Cosenza), Italy, Palazzo Sant’Agostino – Week of the Culture.
2009
“05 - Giornata del Contemporaneo, stili e
linguaggi del XXI secolo”, Catanzaro, Italy,
Museum MARCA.
“Senectute”, curated by Luigi Magli, Catanzaro,Italy, Policlinico Universitario Germaneto.
“Ibridazioni”, curated byTonino Sicoli, Rende
(Cosenza), Italy, Museum of the Present.
2008
“Nevica nella dimora”, curated by Ghislain
Mayaud, Lamezia Terme, Italy, Sukiya Gallery,
Untitled.
mixed media on canvas, 30x40 cm
Centro Angelo Savelli Arte Contemporanea.
Giuseppe Negro
2008
“Il luogo dell’arte e i suoi segni nascosti” curated
by Antonio Basile,Tiziana Altomare and Paolo Aita,
S.Severina (Crotone), Italy, Castello normanno.
“Zone Scoperte”, curated by Giancarlo Chielli, Catanzaro, Italy, Palazzo della Provincia di Ca- tanzaro.
2007
“Senza Precedenti, il territorio contemporaneo”,
curated by G.Chielli, Milan, Italy, Bazzini 15 Gallery.
“Olevano,paesaggio,memoria”, curated by AMO
Association, text of L.Arnaudo, Olevano Romano
(Rome), Italy, Museum - Centro studi sulla pittura di
paesaggio europea del Lazio,Villa de Pisa.
2006
“Chiedi di loro”, curated by G.Chielli, Noci (Bari),
Italy.
“La mano e l’ esempio, percorsi nell’arte contemporanea”, curated by Vittorio Cappelli and Paolo
Aita, Cosenza, Italy, C.A.M.S. University of Calabria.
2001
Unicorno Gallery Club, curated by Tonino Sicoli,
Cosenza, Italy.
2000
Complesso Monumentale S.Giovanni, Catanzaro, Italy.
Spazio greco.
mixed media on emboidered wool
Untitled, 2012
mixed media 330x180 cm.
Spazio
mixed media on embroidered wool 230x180 cm
Giuseppe Negro
Ventaglio
mixed media
1997
2012
First European competition of Arts “Borgo
Daniel Buren , “Construire sur des vestiges,
Antico”, Badolato (Catanzaro), Italy, Church of
d’un éphémère à l’autre. Travaux in situ”,
S. Domenico.
curated by Alberto Fiz.
Accademy of Fine Arts of Catanzaro, curated
by Tony Ferro, Squillace (Catanzaro), Italy.
2010
Alessandro Mendini, “Alchimie. Dal Con-
DONATIONS
tro-design alle Nuove utopie”, curated by
2010
Alberto Fiz.
Museum MAON, Rende (Cosenza), Italy.
2009
2007
BerlinOttanta, “Pittura irruente”, curated by
Museum - Centro studi sulla pittura di pae-
Alberto Fiz.
saggio europeo del Lazio of Olevano Roma-
Perino & Vele, “Sottovuoto”, curated by Al-
no (Rome), Italy.
berto Fiz.
Volume Foundation of Franco Nucci.
2008
COLLABORATIONS
P. De Pietri, F. Favelli, D. Rivalta, “Archeolo-
Collaboration contracts and occasional work
gia del presente”, curated by Sergio Risaliti.
as a curator and exhibition designer at MARCA
Museum, Catanzaro Arts museum:
Risaliti.
Pinacoteca e gipsoteca comunale, ”Arte dal
2013
Angelo Savelli, “Il maestro del bianco ”, curated by Alberto Fiz and Luigi Sansone.
Mixed media
100x140 cm.
xvi al xx secolo”, curated by Sergio Risaliti.
FABIO
F
abio Nicotera, was born in Catanzaro, It-
“Sei Sud”, Tartaruga Art Gallery, Rome, It-
aly in 1975. He lives in Catanzaro
aly.
“Zone scoperte”, omaggio all’Italia (150°
anniversario Unità d’Italia), curated by
2013
Andrea Romoli Barberini, texts by Raffaele
Simongini, Palazzo di Vetro, Catanzaro, Italy.
“Sei Sud”, Istituto Portoghese di Sant’
Antonio, Rome, Italy.
berini, MADP- Museo Arte Ducale, Palazzo
Ducale, Gubbio (Perugia), Italy.
2012
“Mario Razzano per giovani artisti Prize”,
“Sei sud”, Pdac- Palazzo Ducale d’Arte Con-
Biennal of Benevento, curated by Associazi-
temporanea, Maierà (Cosenza), Italy.
one culturale Proposta, text by Tonino Sico-
“Collezionando”, Ellebi Art Gallery, Cosen-
li. ARCOS Museum of Contemporary Art of
za, Italy.
Sannio, Benevento, Italy.
Bonioni Art Gallery, Reggio
“Limen Arte Prize” curated by Giorgio di
Emilia, Italy, curated by A. Romoli Barberini
Genova and Enzo Le Pera, text Enzo Le Pera,
and Federico Bonioni.
Palazzo Comunale E. Gagliardi, Vibo Valen-
“Sei Sud” Genus Art gallery, San Benedet-
tia, Italy.
“Sei Sud”,
to del Tronto ( Ascoli Piceno), Italy.
2010
2011
“Slang”, curated by T.Sicoli, texts by T.Si-
54th Biennal of Venice, “Lo stato dell’ar-
coli,L.Magli,R.Sottile, Museum of the Pres-
te” curated by Vittorio Sgarbi, Torino.
ent, Rende (Cosenza), Italy.
Paesaggio, 2013
wood, crystal, vinyl glue - variable size
Untitled, 2013
slow of glass, vinyl glue on canvas
Fabio Nicotera
2009
truzione dell’Università e della Ricerca, I Dioscuri
“Pubblicinvasioni”- Arte in transito, Paesaggio
al Quirinale, Rome, Italy.
Urbano & Arte Contemporanea, MIBAC-Minis-
“Come l’acqua” curated by J.Nagasawa and
tero per i Beni e le Attività Culturali, Regione Ba-
Renzo Gallo, University of the study of Salerno,
silicata, Exibart, curated by Association Basilicata
4th Salone del confronto tra le proposte forma-
1799, texts by Barbara Improta, Potenza, Italy.
tive dell’Europa e del Mediterraneo, FrontierArt.
“I luoghi dell’arte e i suoi segni nascosti,artisti
e giovani creativi a Santa Severina” curated by
DONATIONS:
A.Basile, texts by A. Basile, G.Livoti, T.Coltellaro,
2012
G.Viceconte, P.Aita, Castello di S.Severina, (Cro-
Museum MAON (Centro per l’Arte e la Cultura
tone), Italy.
dell’Otto & Novecento “Achille Capizzano”),
Rende (Cosenza), Italy.
2007
“Olevano, paesaggio e memoria” curated by
2007
”AMO” Association, text of L.Arnaudo, Museum
Museum Centro Studi sulla pittura di paesag-
-Centro studi sulla pittura di paesaggio europea
gio europeo del Lazio di Olevano Romano,
del Lazio, Villa de Pisa, Olevano Romano, Rome,
Rome, Italy.
Italy.
“Senza precedenti” curated by G.Chielli, text by
WORKSHOPS: collaboration contracts and occa-
Mauro F. Minervino, Bazzini Art Gallery, Milan, Ita-
sional work as a curator and exhibition designer
ly.
at MARCA Museum, Catanzaro Arts museum:
2013
2006
Angelo Savelli, “Il maestro del bianco ”, curat-
“La mano e l’esempio” curated by V.Cappelli,
ed by Alberto Fiz and Luigi Sansone.
text by P.Aita, C.A.M.S. Centro Arti Musica e Spet-
In continuo movimento, 2013
mixed media on canvas
tacolo, University of Calabria, Cosenza, Italy.
2012
2003
Daniel Buren , “Construire sur des vestiges, d’un
“Premio Nazionale delle Arti” Ministero dell’Is-
éphémère à l’autre. Travaux in situ”, by Alberto Fiz.
Untitled
mixed media cm. 100x100
Fabio Nicotera
WORKSHOPS
2010
Alessandro Mendini, “Alchimie. Dal Contro-design alle Nuove utopie”, curated by Alberto Fiz.
2009
BerlinOttanta, “Pittura irruente”, curated by Alberto Fiz.
Perino & Vele, “Sottovuoto”, curated by Alberto
Fiz.
2008
P. De Pietri, F. Favelli, D. Rivalta, “Archeologia
del presente”, curated by Sergio Risaliti.
Risaliti.
Raffinato, 2013
acrylic, vinylglue on canvas 30x30 cm.
Il Pensiero Tattile, 2014
galleria ellebi
L’eredità, 2012
mixed media on canvas 60x60 cm.
Detail
VINCENZO
V
incenzo Paonessa was born in Gimiglia-
2007
no nel 1970. He lives in Mantova.
Malta Istituto Italiano per la Cultura
“edizione Miur”.
2013
2006
“Sono cavoli”- Istituto Portoghese di Sant
Galleria del teatro dell’Opera al Cairo
‘Antonio in Rome, Italy.
(Egitto), curated by Carmine Siniscalco.
2012
2005
“Sei Sud” curated by Andrea Romoli Barber-
XIV Primaverile Romana, “Edieuropa Qui
ini , Bonioni Art Gallery in Reggio Emilia, Italy.
Arte Contemporanea” Art Gallery, curated
54th Biennal of Venice - Padiglione Italia
by A.R.G.A.M.
per il 150 dell’Unità d’Italia curated by Vit-
“Antonio Labriola e la sua Università” cu-
torio Sgarbi Reggio Calabria Villa Genoese
rated by Nicola Siciliani De Cumis.
Zerbi.
“Collezionando” – Ellebi Art Gallery in
DONATIONS:
Cosenza, Italy.
“Volume” Foundation of Franco Nucci ,
Rome, Italy.
2011
Museum Maon, Rende, Cosenza, Italy.
“SeiSud” curated by Andrea Romoli Barber-
Palazzo di Vetro della Provincia, Catan-
ini – Palazzo Ducale – Gubbio (Perugia), Italy.
zaro, Italy.
Sono cavoli, 2013
plaster, alabaster, iron - variable size
Detail
plaster, alabaster - variable size
Vincenzo Paonessa
WORKSHOPS: collaboration contracts and occasional work as a curator and exhibition designer
at MARCA Museum of Arts of Catanzaro.
2012
Daniel Buren, “Construire sur des vestiges,
d’un éphémère à l’autre. Travaux in situ”, curated by Alberto Fiz.
2010
Alessandro Mendini, “Alchimie. Dal Contro-design alle Nuove utopie”, curated by Alberto Fiz
2008
P. De Pietri, F. Favelli, D. Rivalta, “Archeologia
del presente”, curated by Sergio Risaliti.
Risaliti.
Zolle, 2010
200 x 300 cm.
Scasso, 2011
mixed media on canvas cm 160x160
Scasso, 2011
mixed media on canvas cm 160x160
Installazione
variable measures
Vincenzo Paonessa
Bonioni Art Gallery, 2012
Faglia, 2012
lazed earthenware 50 x 60 cm.
ERNESTO
E
rnesto Spina was born in Cosenza in
Zone Scoperte” curated by Andrea Romoli
1963. He lives and works in Carolei
Barberini, Rome, Italy, Museum Foundation
(Cosenza - Italy).
Venanzo Crocetti.
“SeiSud”, curated by Andrea Romoli Barber-
ini, Rome, Italy,Tartaruga Art Gallery.
2013
“Elementi TransitoriI” SeiSud curated by
ini, Perugia, Italy, Il Gianicolo Art Gallery.
Andrea Romoli Barberini, Rome, Italy, Istituto
Padiglione Italia 54th Biennal of Venice,
Portoghese di Snt’Ántonio (IPSAR) Art Instal-
curated by Vittorio Sgarbi, Reggio Calabria,
lation.
Italy,Villa Genoese Zerbi.
“Zone Scoperte III”, curated by Andrea Ro-
2012
moli Barberini, Catanzaro, Italy, Palazzo della
Provincia.
ini, Maierà (Cosenza), Italy, PDAC ( Palazzo
ini, Gubbio (Perugia), Italy, MAD Palazzo Du-
Ducale Arte Contemporanea).
cale.
“SeiSud”, curated by Andrea Romoli Barberini, Reggio Emilia, Italy,Bonioni Art Gallery.
2010
“Internazional Limen Art Prize”, Palazzo E.
2011
Gagliardi, curated by Giorgio Di Genova,
text of Enzo Le Pera, Vibo Valentia, Italy.
ini, San Benedetto del Tronto (Ascoli Piceno),
Slang” curated by Luigi Magli, Tonino Sicoli
Italy, Genus Gallery.
and Roberto Sottile , Rende (Cosenza).
Elementi transitori, 2013
mixed media
Mixed Media
diam. 80 cm.
Rigenerazione, 2012
Detail
Ernesto Spina
Rigenerazione 2, 2012
2010
1996
XII National conference Aimi-Simit,
“ Work in progress”, Via Margutta,Rome,Italy.
“Malattia e arte” curated by Rocco Pangaro,
Catanzaro, Italy.
1995
“Terzo premio nazionale di pittura” 24 Accademie di
2009
Belle Arti,Hoepli Gallery,Milan,Italy.
“Ibridazioni” curated by Luigi Magli and Tonino Sicoli.
1994
“Zone Scoperte/2”, Catanzaro, Italy.
“Pittura,scrittura e materia”,Catanzaro Lido,Italy.
2004
Italy, Arte & Società Gallery, Catanzaro.
1993
”Doppia casa doppia”,curated by Claudio
2003
De Paolis,Catanzaro,Italy.
“Casa delle culture”, Cosenza, Italy.
1992
2001
“Premio Adriano Petrocchi”,Palombara Sabina (Rome).
Unicorno Gallery Club, curated by Tonino
Sicoli, Cosenza, Italy.
DONATIONS:
2000
2010 “Senza titolo” Museum MAON-,Rende Italy.
“Mostra dell’Accademia di Belle Arti di Catanzaro”,
2007 ”Artebox” Franco Nucci “Volume” Foundation
curated by Rocco Pangaro, Catanzaro, Italy,
Rome.
1999
Centro documentazione artistica contemporanea “Luigi Di Sarro”,Rome,Italy.
1997
“Il cielo sopra il Gramna”, Centro sociale autogestito
Gramna,Cosenza,Italy.
Untitled, 2012
mixed media 50x50 cm
Ernesto Spina
Detail
Untitled, 2012
Elementi transitori, 2013
mixed media
Vortice
GIOVANNI
G
iovanni Talarico was born in Scigliano
made himself into an object for subsequent
in 1963. His is mostly a self-education
commercialization. His sculpture materials
experience. He attended the Liceo Artistico
reveal, in their right of existence, their trans-
in Cosenza and then a course in sculpture at
mutation power into human materials, in an
the Fine Arts Academy in Florence where he
attempt to take over the social condition of
specialized in marble and bronze working.
contemporary man fully-absorbed by the
He lives and works in his study-laboratory in
whirling production process and subjugat-
his birthplace. Talarico’s creative experience
ed by new idols exerting all their influence
is highlighted by his conscious awareness of
on his freedom of choice and moral actions.
man’s fragility: a man involved in the social
On the other side, the world of com-
process of production, balancing between
merce, the scope of his artistic research, is
two unsolvable opposition: fall and salva-
focused on moving necessarily from place
tion, light and darkness rising from the great
to place, on a non-aesthetical speculative
achievements;
never-ending
travel aiming to ship all goods laid into
and sorrowful conflict between nature and
proper containers in order to preserve their
culture where the question of conscious-
original conditions. On his way around the
ness and true life value is hardly postulated
land of creation, Talarico discovers the ob-
through. So that, in the Container series, the
ject extension of his containers rebuilding
word “Fragile” becomes the connotative el-
their body, reinventing their surfaces traced
ement, the distinguished logo, an extended
with the signs of contemporary civilization
metaphor of man himself portrayed as a vul-
repeated and reproduce: the barcode iden-
nerable son of his own time, but fragile like
tifies items by losing its business function
the most precious and delicate goods and
and becomes the constitutive element of an
fighting
a
original syntax of symbols while schematically sketched pictograms are represented
in their essential form. They are all structural
elements belonging to a meaningful code
derived from the world of commerce whose
symbolic signs are scanned as a series of
frigid decorative motives, with no ostensible
soul as consumerism requires.
2005
“Containers and Contents”, Galleria Edilmercato, Turin, Italy.
1997
Banca Popolare di Milano, Milan, Italy.
1995
Villa Aldrovandi Mazzacorati, Bologna, Italy.
“Sculture and graphics”, Rogliano, Cosenza, Italy.
1993
“Solo for two artists”, Sala A. Cefaly Palazzo
della Provincia, Catanzaro, Italy.
1992
Club Grafica d’Autore, Cosenza, Italy.
Galleria Enigma, Soveria Mannelli, Catanzaro, Italy.
Idea di albero, 2013
stainless steel, 85 cm x 30 cm x 48.5 cm.
Giovanni Talarico
ate curated by Ellebi Art Gallery.
Art in Progress, Palazzo Marini, Lecce, Italy.
2012
“Collezionando”, Cosenza Ellebi Art Gal-
1999
lery.
42nd Festival of Spoleto Contemporary
Art Exhibition, Spoleto, Italy.
2009
Biennal of Contemporary Art Magna Grae-
1998
cia, San Demetrio Corone, Cosenza, Italy.
Galleria La Bussola, Cosenza, Italy.
2007
1997
Italian Lifestyle of Sharjah, United Emirates.
1st Art Biennal, Flash Art Museum, Trevi
(PG), Italy.
2006
Starting again 11th year, International Ho-
1992
tel Art Fair, Rome, Italy.
Columbus Centre, Carrier Art Gallery, Toronto, Canada.
2005
One. Photography: from its origins to the
1990
present, Galleria Zuma, Turin, Italy.
Finarte,Rome, Italy.
Sharjah Art Museum, Sharjah, United Emir-
Dissipatore di idee, 2006
bronze, copper, resin 41.4 cm x 30.2 cm x 18 cm.
Non capovolgere, 2012
steel inox, resin.
Porzioni di natura, 2005
wood, lead, paint, airbrush, 100 cm x 80 cm x 163.5 cm.
Giovanni Talarico
Non capovolgere
Stainless steel and bronze, 45 cm x 30 cm x 40.7 cm.
Kee dry, 2012
stainless steel, bronze thermo-incision 40 cm x 30 cm x 63.5.
Relazioni
steel inox 320x140 mt. lucerna (Svizzera)
GIULIO
T
he pictorial research made by the art-
the presentation of the artworks seems to be
ist Giulio Telarico during the last years
a television zapping and it refers to the ca-
has been characterised by the value of the
pacity of the individual observer to indentify
sign which become an element for scan-
the images one shot, being successful in de-
ning the space and “writing” the surface, in
ciphering the images themselves.
an undefined way which follows a fantastic
These “stories” start from the interior
dimension, by taking from the reality simple
world and bring back to the light some ele-
elements of the real life in order to become
ments apparently not significant but with the
a “philosophic” adventure. Everything is sup-
combination of which may be observed as
ported by a monochrome choice of prima-
a unique point of reference and as an equi-
ry colours, in a dualism between light and
librium within the space. The equilibrium be-
shadow.
tween shiny and opaque colours allows the
Each artwork is shown as not perfected element but as a fragment of an artwork to be
observer to indentify this mysterious alphabet.
still defined which is based on an equilibrium
In the end the observer is requested to
of colours, on the differences between the
participate to the artwork by discovering the
tonality of colours, on the dualism full/emp-
slight difference between the colours, the
ty, positive/negative, light/shadow on the
shape built with the relief or not. Everything
diverse dimensions and intensity of works.
has the purpose to obtain an “handwriting”
Reference details of said research may be
characterized by a codified message which
discovered trough a long period time: from
encourages the observer to decode the mes-
the beginning of the occidental civilization
sage, recalls the game of the conventional
to the current days. Use of the fragments in
images, expedient used by the Pop Art.
Il silenzio delle ombre, 2010
ellebi art gallery - cosenza
The continous research of the rhythm,
pologici della Calabria, a personal art exhibition
equilibrium and harmony of the shapes, is
named “Dialogo con l’ombra”, showing more
inserted in a context of the roots of the sign.
than 20 large artworks and “La Stanza segnata”, a
Evrything is focused on the research of an
site specific installation;
equilibrium and on the creation of a universal language which is not only writing. A language based upon the sign.
- in 2011, shows his artworks of the series
“Sempre e comunque bianco” at Fondazione
Volume! in Rome;
- in 2004 he has been invited to the art ex-
G
hibition “Arte in Calabria 1960 – 2000” first
iulio Telarico was born in Cosenza
acquisition MAON – Museo D’Arte Dell’Otto e
(Italy) in 1949. Discipline Arte Musi-
Novecento. He joins the “Terza Triennale D’Ar-
ca e Spettacolo degree, he was a professor
te Sacra Contemporanea” in Lecce, in 2004,
of Discipline Pittoriche at Liceo Artistico of
whereby he won a premium in the paint section;
Cosenza.
Coming to the last ten years of his career the
main events are the following:
- in 2010 during the event “Notte dei Musei”
(night of museums) organised by Soprintendenza per i Beni Storici Artistici ed Etnoantropologi-
- in 2011 he has been invited at 54a Biennale
ci della Calabria (the Government entity for the
di Venezia “Lo stato dell’arte – Calabria” Padi-
safeguard of the art) presents a personal exhibi-
glione Italia;
tion “Il silenzio delle ombre” at Galleria d’Arte
ELLEBI in Cosenza;
- in 2012 presents at Galleria Nazionale di
Cosenza, an art exhibition organisied by Soprintendenza per i Beni Storici Artistici ed Etnoantro-
- in 2010 is in Milan at Fondazione Mudima
with the art exhibition “Tornare@Itaca”.
Ritratti, 2011
9 works mixed media on board, 50x40 cm.
Giulio Telarico
Conversazione, 2012
diptych mixed media on board, 186x152
La stanza segnata, 2012
site-specific installation 2,80x3,50x2,50 mt
Giulio Telarico
Omaggio a Marilyn e altre storie, 2007
zona sud, maierà (cs)
Sempre e comunque bianco, 2011
volume foundation rome
© 2014 Copyright Galleria Ellebi
Via Riccardo Misasi, 99
87100 Cosenza (CS) - Italy
Tel. (+39) 0984-1812534 - Fax (+39) 0984-1812534
[email protected]
www.galleriaellebi.com

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