Galleria di arte Ellebi

Transcription

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Graphic designer:
Gianni Cusumano
Roberto Panzera
[email protected]
www.sansserifstudio.it
© 2016 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.
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
GALLERIA ELLEBI ARTISTI 2014
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
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 board
120 x 120 cm.
NO G.M. FOOD #35 , 2012
acrylic on board
60 x75 cm.
NINETEEN, EIGHTY FOUR #33, 2011
acrylic on board
120 x 100 cm.
BARBARA BONFILIO
NINETEEN, EIGHTY FOUR #29, 2011
acrylic on board
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.
COLLECTIVE EXHIBITIONS
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 board
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 board
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 board
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 was born in 1979 in
puts at the center of its research genetic modi-
Salerno as a writer. The nonconformist
fication and cloning, a universe made of tubes
is its main inspiration that, after years of training
and laboratory experiments. Transforming the
the IED in Rome, leads him to experiment with
reality by means, Branca paints in his works the
different forms of expression. The dissatisfac-
different moods of the modern era in his works,,
tion that emergers from his works, reveals a re-
the same that makes you sense the arrival of a
bellious spirit and a strong character. The obsti-
new natural order. Using instinctive signs and
nate thirst for knowledge leads him to meet the
a gestures instinctive, industry transforms the
maestro Cesare Berlingeri sense its true nature
canvas as a meeting place between signs and
and see the potential of his undisciplined cre-
elements-not always recognizable- that, in the
ativity. To further study and improve his paint-
end, mix with the color. Incomplete, bumpy
ing techniques, he decided to relocate in Cal-
and erased phrases, emerge from his works,
abria, in the artist’ studio where he took care of
and they are a symbol of his past life as a writer.
his image andgave his support in the various
Over time he has abandoned its tag but not the
editorial projects and the preparationof exhibi-
relationship with the word, which continues to
tions. Today he lives and he works in his city.
experience and to apply, giving life to composi-
W
tions which behind their apparent disorder, hide
ith his works Gennaro Branca shows
a total harmony. By means of the iconographic
the unstable equilibrium that is
chaos, Branca wants to represent in a clear and
formed on a reality made of hopes, fears, as
readable future prospects that he receives from
well as ethical and moral battles. For a long
the external environment.
time the artist examines a complex world that
Gregorio Raspa
MAIN SOLO EXHIBITIONS
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.
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.
DOMENICO
D
omenico Cordì, was born 07/09/1979 in
ousness through which a jagged harmony with
Catanzaro (Italy). The passage that gathers
the surrounding space is attained, with reciprocal
and distinguishes the pieces of Domenico Cordì
and measured invasions. This dialectic between
is encapsulated in a particular homogeneous
object and space is sophisticated and is often
tension, a vibration of the surface given by the
able to enclose shocking and not always regu-
particular materials he uses (liquid insulators, fi-
lar portions of emptiness in the piece that must
ber glass, synthetic grass) which are able to attain
be understood as pauses, as the inclusion of si-
captivating three dimensional effects and a con-
lences, as negation and overturning of what is ex-
trolled trespassing of the levels of the supports.
pressed by the surface; they are attractive cavities
His discourse is one that in many ways maintains
that can hold captivating elements of surprise.
significant tangencies with the informal sphere
that, when necessary, does not renounce to enig-
Andrea Romoli Barberini
matic hidden impressions, often unsettling, that
accentuate the reach of the enigma, whilst pru-
ARTIST RESIDENCIES
dently remaining at a distance from any narrative
2011
temptation. The use of extra-pictorial materials,
Schoolarship of Dena Foundation for Contem-
serving the negation of flat surfaces and the ex-
porary Art at Art Omi International Artists Resi-
altation of a constant tension, almost an ebul-
dency, Ghent – New York.
lience of materials – that reflects the emotional
condition of the creator - frozen in the fixity of
AWARDS:
the piece, exalts a concept of unstable precari-
2010
Colonne, 2013
sheath liquid, fiberglass, cement, putty variable size.
Untitled, 2013
sheath liquid, fiberglass variable size
Domenico Cordì
Special Prize Award Mario Razzano fourth edition, Biennal of Benevento (Italy).
III International Painting Prize, Sculpture and Poetry,
“The Sacred Fire of the art “ (first prize), UNICAL, by the
Cultural PUL., Cosenza.
BUYERS:
2012
Museum Arcos, Benevento (Italy).
DONATIONS:
2012
L’Art Omi International Artists Residency, Ghent (NY).
MAON Museum, Cosenza (Italy).
SELECTED GROUP EXHIBITIONS:
2013
“Immanente trascendente”, curated by Diocesano
Mueum, Catanzaro.
“SeiSud”, curated by Andrea Romoli Barberini. Istituto
Sant’Antonio dei Portoghesi, Rome.
2012
“Collezionando”, curated by Marilena Sirangelo. Ellebì
art gallery, Cosenza.
“SeiSud”, curated by Andrea Romoli Barberini. Palazzo
d’Arte Ducale, Maierà (CS).
“SeiSud”, curated by Andrea Romoli Barberini e Federico
Bonioni, Reggio Emilia.
Untitled, 2013
mixed media
40 x 40 cm.
SELECTED GROUP EXHIBITIONS:
Il Gianicolo Gallery, Perugia.
2012
“SeiSud”, curated by Andrea Romoli Barberini.
“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
xx secolo”, curated by Sergio Risaliti.
Strappo per anime individuali, 2013
sheath liquid, fiberglass on board 100x100 cm
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.
NICCOLÒ
I
chase images of everyday life, visions of
press 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 is therefore, in carrying out my work,
of the human soul in an attempt to enjoy the
I experience the use of different materials, very
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
and coming to self-destruction. “In my work
in constant denials that reinforce the centu-
Performative, there is always an object or ac-
ries. And it was in dialogue with the ambigu-
tion that is opposed to something else, putting
ity and paradox that came the insatiable de-
“something” that is questioned or canceling its
sire for experimentation that leads me to the
initial meaning, I like to trigger a short circuit
development of a gesture that is not always
between the work and the viewer! In shaping
recognizable, but firm and consistent in its ba-
the intention, I attach a value to the subject
sic language system. In my creative process, I
“transfinalizzante”, which combines in itself a
am attracted by the ambiguity of obsolete ma-
recognizable aesthetic value and a symbol in
terials or symbols, I find that they are strong
itself.. It is in a symbolic, archaic world, trans-
and aware of having participated in the con-
figured in the sign, which store the access keys
struction of past activities, and for this reason
of my works and the sense, deep in my being
I am able to prevail more strongly in this! I ex-
an artist. 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.
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
T
he universe in which Mario Loprete’s re-
the incarnation and the embodiment of the
search takes place is the one related to hip
Soul. In the works of the “Black” cycle, where
hop culture, essentially a melting pot where
he examines and inspects the world of Amer-
rap music, breakdance, streetwear and spray
ican hip hop, Loprete looks for iconographic
art merge. Loprete has been working on this
benchmarks with the universe of Italian young
topic for a long time plumbing, exhibition after
people who are careful and wary in absorbing
exhibition, all its numerous aspects. However
inspirational motifs from the American ste-
his curiosity for hip hop culture doesn’t show
reotype. Loprete’s continuous research has
a social concern. As a fond listener of this kind
brought him to use a new support: reinforced
of music he has, on the other hand, examined
concrete, a material that was created millenni-
by degrees all the values characterising the
ums ago by the Romans (it was then known as
milieu in which hip hop arose and developed.
“betunium”) which is at the same time up-to-
Only a year ago Loprete painted his boys with
date. It is the contemporary material that sym-
a military tarpaulin on the background: the in-
bolizes Western industrialization and moder-
evitable huge radio with built-in loudspeakers,
nity more than other ones. It is used all over
their hoodies paying tribute to the magic of
the world as the base on which Writers give
music and with a basketball cap turned three-
vent to their creativity. On the crusted, disfig-
fourths on.
ured walls figures appear and colours dance.
Anna Caterina Bellati
In the same way Loprete uses concrete as a
support for his oil paintings. The artist intends
The artist thinks it is fascinating to sketch the
to bring the city, the urban style and contem-
human figure but he considers the persons
poraneity inside the houses, the art-galleries,
of color as a challenge; they may be seen as
the museums.
Francesco
painting on cement 80x60 cm.
SOLO EXHIBITIONS
2006
2014
FACE TO FACE –a cura di Gianluca Murasec-
FACES – a cura di Edith Ganter e Cornelia
chi– Contemporanea Galleria d’Arte - Foggia.
Claas – Galerie Ganter – Zell im Wiesenthal.
FACE TO FACE –a cura di Gianluca Murasecchi– Ass. Bel Ami - Foggia.
2013
PERSONAL AFFECTIONS - a cura di Rosetta
2005
Gallo – Caffè Imperiale- Catanzaro.
ALL BLACK, ONLY BLACK – Galleria Arte
Contemporanea e Dintorni – Como.
2009
FACE TO FACE – a cura di Gianluca Murasec-
IL VOLO DELL’HIP HOP – a cura di Anna Ca-
chi – Caffè Imperiale- Catanzaro.
terina Bellati – Studio D’Arte Fedele – Monopoli.
BLACK BOYS – Galleria L’Alfiere – Torino.
TALKIN’ ABOUT GIRLS – a cura di Angela
Trimboli – Loft Gallery – Corigliano Calabro.
2003
B-BOY – Salone dell’Auditorium – Filadelfia -
2008
Vibo Valentia.
LIBERA NOS A MALO – a cura di Alberto
B-BOY – Pizia Arte – Teramo a cura di Joseph
Mattia Martini – Galleria L’Idioma –Ascoli Pi-
C. Fekete.
ceno.
2002
2007
WITH PRIDE – Fondazione “Fiorentino Scop-
MANN IN BLACK,L’HIP HOP A VENEZIA -
pa “ ex Educandato – Catanzaro.
Fenice Gallery -Venezia
FACE OFF. SIMPLY MY BLACK- Contemporastudio- 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.
Fabri Fibra
painting on cement diameter 25 cm.
2000
MEMORIE – Palazzo Brezia – Serrastretta –Catanzaro.
SELECTED GROUP EXHIBITIONS
2014
FIVE SQUARED – Davis Family YMCA – Boardman – Ohio - Usa.
2013
COLECTIVO – a cura di Pablo Ribas Mateos - Can Pop Gallery – Girona - Spagna.
GENIUSAECULI - a cura di Francesca Londino e Ferrari Editore – Vibo Valentia.
ART TAKES TIMES SQUARE 2013 -Times
Square NYC 1555 Broadway - New York
Preview The icons, volti della musica- a
cura di Nello Arionte- Casa della Musica
Federico I- Napoli.
The “Home” Project - Ground Arts Project
Space - New York.
Amir, 2011.
painting on cement, 18x25 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.
GIUSEPPE
U
sing photography as a medium for the
a ‘universe’ made of thoughts, the freedom of
objective approach to reality, as an inter-
imaginary potentiality of the unconsciousness
pretation of the world in cut-out form, was nev-
to ‘levitate’ and achieve cognitive levels that
er the main aim of the Italian visual artist, Gi-
surpass reality.”
useppe Lo Schiavo. The starting point for the
On the other hand, his 2013 series “Ad Vivum”
work of Lo Schiavo, who combined the studies
celebrates the authority of historic pictorial
of both architecture and photography, is al-
repertoires, specifically 15th century Flemish
ways an imaginative reproach that by means
portrait painting. Colour and form appear,
of a perfectly-staged pictorial reality assumes
however, strongly reduced and devoid of ev-
its visualization. This already became clear in
ery individualization. The term “ad vivum” (Lat.
his earlier photography project, the 2009 “I
according to the living model) used in the por-
Stay Here”, which focused on the emigration of
trait painting of the 15th and 16th centuries
young people from Southern Italy.
to postulate the strongest possible likeness of
Giuseppe Lo Schiavo achieved his international
the painting with the model, is therefore given
breakthrough in 2012 with “Levitation”, a series
a reciprocal level of meaning since Lo Schia-
of pictures based on the works of the surrealist
vo’s photographs depict models, who as a re-
painter René Magritte. It is therefore only con-
sult of their fair complexions and statuary pos-
sistent that the Parthenon, the Coliseum, the
es, give the impression of anything other than
Eiffel Tower, the Taj Mahal or the monumental
naturalness: image and effigy seem to exclude
statue of Cristo Redentor (Christ the Redeem-
each other reciprocally, the traditional defini-
er) in Rio de Janeiro appear on floating rocks.
tion of portrait likeness becomes undermined
For Giuseppe Lo Schiavo “these photos do
and replaced by archetypal figuration.
not depict the actual reality but they illustrate
His most recent series, “Art Currency” explores
the indissoluble, ambivalent alliance between
The Exposure Award Exhibition - Aperture
art and money: since money dominates all sec-
Foundation gallery - NEW YORK Curator: See.
tors of our life, art and creativity also become a
me Team.
part of acquisition
The Gap – MixerArt Gallery – ISTANBUL Cura-
through capitalism. Lo Schiavo transmits this
tor: Mehmet Kahraman.
tension in a picture series using ultraviolet print-
Show Your Art at Saatchi Gallery – Saatchi
ing technology to print the images directly on
Gallery – LONDON Curator: Rebecca Wilson.
to US Dollar banknotes, creating the impres-
Fotografia Europea - 2Photo – Ateliers Via-
sion that the picture motives are indissolubly
duegobbitre – REGGIO EMILIA Curators:
interwoven into the texture of the banknotes.
2Photo.
The symbiotic relationship between artist or
LVII Premio Cascella 2013 – Museo Civico
work of art and the art market is demonstrat-
di Arte Contemporanea - ORTONA Curators:
ed, among others, through a portrait by Andy
Alessandro.
Warhol or by the Parthenon, which as a result
of the economic interests of one individual,
2012
lost the major part of
Creativi Under30 - Associazione Grossetana
its figural or namentation.
Arti Figurative - GROSSETO Curator: Antonia
Ingo Seufert
Pesarè.
Young at Artissima – Galleria Claudio Bottel-
SOLO EXHIBITIONS
lo Contemporary – TURIN Curators: Claudio
2014
Bottello e Barbara Gamba.
Motion Photography Prize – Saatchi Gallery
Young at Art, I Stay here – Imbiancheria del
– LONDON Curator: Rebecca Wilson.
Vajro – TURIN Curators : Massimo Garofalo e
Impossible Structure – Kare Art Gallery – IS-
Andrea Rodi.
TANBUL Curator: Rasit Mutlu.
Aspettando la biennale – Colleggio San’Adri-
Intro 15 – Ingo Seufert - Galerie für Fotogra-
ano – TURIN Curators: Massimo Garofalo e
fie der Gegenwart – MUNICH Curator: Ingo
Andrea Rodi.
Seufert.
Arte ispirata ad Hans Ritcher - Museo d’Arte
2013
Contemporanea di Acri – COSENZA Curators:
Portrait Salon 2013 - LONDON: Four Cor-
Silvio Vigliaturo e Andrea Rodi.
ners, LEEDS: White Cloth Gallery, Edinburgh.
Art currency, distribution of wealth, 2014.
uv prints on banknotes of 1 dollar, 55x55 cm.
Francesco Lo Schiavo
Levitation, Parthenon, 2011.
carbon pigment print on hahnemuehle matt fine art paper ed. 7, 80x80cm.
Levitation, Colosseum, 2011.
Levitation, Taj Mahal, 2011.
Levitation, Cristo Redentor, 2011.
Art currency, Moneyspots, 2014.
uv prints on banknotes of 1 sterling, 35x50 cm.
Ad Vivum, The Flemish Girls A, 2013.
giclée print on hahnemuehle fine art paper ed.7, 70x105 cm/50x70cm.
Ad Vivum, The Flemish Girls B, 2013.
Ad Vivum, The Flemish Girls A, 2013.
Ad Vivum, The Twins, 2013.
Beyond reality, beyond photography
turin 2014
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
Smoothness is the first sensation and the pe-
experiment when admiring Giuseppe Masca-
culiarity of Giuseppe Mascaro’sworks. There are
ro’s works. Because, by quoting his very words b
neither asperities, nor angularity in them. All is
about his work, “Art yields no answers, still ques-
rounded, soft-like, as if it would embrace the
tions”, and his work lies in those questions. As
observer ‘s perceptions, embalming and almost
he says:“..in the rational uncertainty and the cer-
preserving them from the easy oblivion which
tainty to be in front of something irrational... The
defines our era of massive production without
quest for the shape is the very basis for every
clear purpose, or, at best, with a misleading one.
sculptor, and in this quest I always refused the
Everyone could be easily fooled by the com-
recognizable shapes, but the attempts regard-
mon meaning of the adjective artistic. Currently,
ing houses and trees, represent the passing out
“artistic” is meant as the generic, popular word
of the shape itself, houses are no more, house is
that goes far beyond its very original mean-
an organic, living matters container, and, in this
ing. Actually, people are forced to think that
case, the container becomes itself living matter,
every human product, with a specific function,
dropping out of its original role.” His intent, and
or usability, if fashioned with a certain exterior
so his work, are meant to produce, as said be-
beauty, or pleasantness, can automatically be
fore, questions living inside everyone of us, that
classified as an artistic one. The truth is that, art
could possibly be the keys for a different sight,
eludes common senses; plus, it enhances them
of an artistic work as of the life itself.
towards a boundary where all is uncertain, indefined, yet to estabilish, categorize, acquire.
If a human product gives the user something
more than the mere aesthetic attractiveness,
then there is art. These are the sensations we
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
GIUSEPPE
G
iuseppe Negro was born in Catanzaro
ery becomes more direct and the story, no
in 1974. At the basis of Giuseppe Ne-
longer clearly readable, is almost whispered
gro’s work we find, on the other hand, a vo-
by the object, by its history. This is how an
cation to recover and re-read what belongs
ancient bedspread made of precious fabrics
to the past and memory. His procedure is a
- that tells the story and revives the memory
complex one based on a noble approach
of the splendor of the silks and velvets from
and in many ways desperate action of rescu-
Catanzaro, but also of the dignity of people
ing all that is menaced by oblivion. Images
from distant times that were unable to cul-
and situations that belong to the history and
tivate the beauty in the severe existentiality
culture of his place of origin revive as majes-
of the domestic sphere - becomes the pre-
tic flashback formations. It is not only re-elab-
cious support for refined interventions that
orated testimonies emanating from old snap-
give it new meaning, transform it. And all not
shots, but also of recovered objects that can
only for the pleasure of transgressing form
enter the pieces intact or transformed by the
and function, but to integrate value therein
manipulating and visionary action of the art-
through an action that is simultaneously of
ist that, with the conscious and rigorous use
appropriation and defense.
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
2005
sophisticated integration of unforeseeable
“Scene”, curated by Guglielmo Gigliotti and
inclusions and highly iconographic quotes.
Lara Caccia, Catanzaro, Italy.
There is no lack of pieces where the recov-
Sei sud, 2012
palazzo ducale gubbio
2001
“Calabrian New Wave”, curated by Tonino Sicoli and Massimo Di Stefano, Rome, Italy.
GROUP EXHIBITIONS
2013
“Sei Sud”, curated by Andrea Romoli Barberini,
Rome, Italy, Istituto dei Portoghesi.
“Il Cortile dei Gentili”, curated by Cardinale
Ravasi, Tonino Sicoli and Andrea Romoli Barberini, Catanzaro, Italy.
2012
“Collezionando”, curated by Marilena Sirangelo, Cosenza, Italy, Ellebi Art Gallery.
“Sei Sud”, curated by Andrea Romoli Barberini, Maierà (Cosenza), Italy, PDAC Palazzo Ducale Arte Contemporanea.
“Sei Sud”, curated by Andrea Romoli Barberini, Reggio Emilia, Italy, Bonioni Art Gallery.
“Sei Sud”, curated by Andrea Romoli Barberini, San Benedetto del Tronto, (Ascoli Piceno),
Italy, Galleria Genus.
2011
“Lo stato dell’arte”, curated by Vittorio Sgarbi,
Torino, Italy, 54th Biennal of Venice, Padiglione
Italia, Sala Nervi.
“Sei Sud”, curated by Andrea Romoli Barberini, Rome, Italy, Tartaruga Gallery.
Untitled.
mixed media on canvas, 30x40 cm
“Sei Sud”, curated by Andrea Romoli Barberi-
ni, Perugia, Italy, Il Gianicolo Gallery.
“Ibridazioni”, curated byTonino Sicoli, Rende
“Luoghi e realtà di ricerca tra realtà e mu-
(Cosenza), Italy, Museum of the Present.
tamento”, curated by Teodolinda Coltellaro,
San Demetrio Corone (Cosenza), Italy, Collegio
2008
Sant’Adriano, VI Biennal of Contemporary Art
“Nevica nella dimora”, curated by Ghislain
“Magna Grecia”.
Mayaud, Lamezia Terme, Italy, Sukiya Gallery,
“Zone Scoperte 3”, curated by Andrea Romoli
Centro Angelo Savelli Arte Contemporanea.
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.
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 in
the pure handicraft, personified by the small
1975. Highly inclined for experimenta-
skeletons that Nicotera creates with maniac
tion, his research, based on an irreducible
attention from raw clay, which he covers with
will of conserving what society tends to
a solid and leathery layer of glue instead of
eliminate, has lingered in the possibilities
cooking. He also intends to conserve and
of form and meaning that vinyl glue offers.
restitute, with the apparent haphazardness
Choosing this singular material has lead him
of a drizzle, the idea of a dramatic and very
to a path of strong suggestions, an articulat-
human impermanence that struggles to find
ed but coherent one, that has driven the art-
its stable form.
ist to put himself up against the two-dimensionality of the painting (always questioned
by the highly protruding applications) or,
2013
depending on the case, against the pure
three-dimensionality of the sculpture and the
“Sei Sud”, Istituto Portoghese di Sant’
installation. Through the use of glue - which
Antonio, Rome, Italy.
given its physical properties embraces and
accommodates, conserves and preserves,
2012
veils and reveals - you can interpret, on one
“Sei sud”, Pdac- Palazzo Ducale d’Arte Con-
hand, the intention of contrasting and con-
temporanea, Maierà (Cosenza), Italy.
testing he principle of commercialization,
“Collezionando”, Ellebi Art Gallery, Cosen-
therefore of obsolesce and abandonment of
za, Italy.
thoughts, things and traditions that flog our
“Sei Sud”, Bonioni Art Gallery, Reggio Emil-
time – with the subsequent elimination of
ia, Italy, curated by A. Romoli Barberini and
Paesaggio, 2013
wood, crystal, vinyl glue - variable size
Federico Bonioni.
“Sei Sud” Genus Art gallery, San Benedetto del Tronto ( Ascoli Piceno), Italy.
2011
54th Biennal of Venice, “Lo stato dell’arte” curated by Vittorio Sgarbi, Torino.
“Sei Sud”, Tartaruga Art Gallery, Rome, Italy.
“Zone
scoperte”,
omaggio
all’Italia
(150° anniversario Unità d’Italia), curated by Andrea Romoli Barberini, texts by
Raffaele Simongini, Palazzo di Vetro, Catanzaro, Italy.
“Sei Sud”, curated by Andrea Romoli Barberini, MADP- Museo Arte Ducale, Palazzo
Ducale, Gubbio (Perugia), Italy.
“Mario Razzano per giovani artisti
Prize”, Biennal of Benevento, curated by
Associazione culturale Proposta, text by
Tonino Sicoli. ARCOS Museum of Contemporary Art of Sannio, Benevento, Italy.
“Limen Arte Prize” curated by Giorgio
di Genova and Enzo Le Pera, text Enzo Le
Pera, Palazzo Comunale E. Gagliardi, Vibo
Valentia, Italy.
2010
“Slang”, curated by T.Sicoli, texts by T.Sicoli,L.Magli,R.Sottile, Museum of the Present, Rende (Cosenza), Italy.
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.
Pinacoteca e gipsoteca comunale, ”Arte dal
xvi al xx secolo”, curated by Sergio 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
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.
ERNESTO
E
rnesto Spina was born in Cosenza in
fish and other animals crowd without key
1963. Of an extraordinary refinement
to continuity, always apparently the same
capable of eluding the quicksands of the
but substantially different, on these sur-
pure and sterile self-celebratory virtuos-
faces as if sealed by a diaphanous screen
ity, the work of Ernesto Spina bewitches
of wax that modulates the light and shapes
with that type of orchestrated duplicate
the forms to exalt an idea of animalism to
enchanting possibility that initially, at a
be interpreted also as a substantial com-
distance, captures the gaze of the observ-
ponent of human nature. These works of
er with hybrid forms – molded and perfo-
Spina, by celebrating the preciousness of
rated - that accommodate the calculated
life in its diverse forms, almost sardoni-
portions of wall, dominating with surfaces
cally once again reveal that bewilderment
of a mysterious attractive material, vague-
and monumental nature can also inhabit
ly transparent and colorless, in which even
small things.
from afar you can distinguish the internal
motto; that particular texture that commands to be approached. Moving only
a few steps towards these crafts and just
2013
barely focusing on the extraordinary folly
“Elementi TransitoriI” SeiSud curated by
that with sophisticated coquetry include
Andrea Romoli Barberini, Rome, Italy, Istituto
with a type of artistic, Castiglione scorn of
Portoghese di Snt’Ántonio (IPSAR) Art Instal-
the thing that almost by hazard and effort-
lation.
lessly happens, you become irresistibly
2012
attracted and seduced. Monkeys, oxen,
Elementi transitori, 2013
mixed media
“SeiSud”, curated by Andrea Romoli Barberini,
Maierà (Cosenza), Italy, PDAC ( Palazzo Ducale
Arte Contemporanea).
Reggio Emilia, Italy,Bonioni Art Gallery.
2011
San Benedetto del Tronto (Ascoli Piceno), Italy,
Genus Gallery.
Zone Scoperte” curated by Andrea Romoli
Barberini, Rome, Italy, Museum Foundation Venanzo Crocetti.
Rome, Italy,Tartaruga Art Gallery.
Perugia, Italy, Il Gianicolo Art Gallery.
Padiglione Italia 54th Biennal of Venice,
curated by Vittorio Sgarbi, Reggio Calabria, Italy,Villa Genoese Zerbi.
“Zone Scoperte III”, curated by Andrea Romoli Barberini, Catanzaro, Italy, Palazzo della Provincia.
Gubbio (Perugia), Italy, MAD Palazzo Ducale.
2010
“Internazional Limen Art Prize”, Palazzo E.
Gagliardi, curated by Giorgio Di Genova, text
of Enzo Le Pera, Vibo Valentia, Italy.
Slang” curated by Luigi Magli, Tonino Sicoli
and Roberto Sottile , Rende (Cosenza).
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 Sciglia-
the most precious and delicate goods and
no in 1963. His development as an
made himself into an object for subsequent
artist is mostly a self-education experience.
commercialization. His sculpture materials
He attended the Liceo Artistico in Cosenza
reveal, in their right of existence, their trans-
and then a course in sculpture at the Fine
mutation power into human materials, in an
Arts Academy in Florence where he spe-
attempt to take over the social condition of
cialized in marble and bronze working. He
the contemporary man fully-absorbed by
lives and works in his study-laboratory in his
the whirling production process and subju-
birthplace. Talarico’s creative experience is
gated by new idols exerting all their influ-
highlighted by his conscious awareness of
ence on his freedom of choice and moral
man’s fragility: a man involved in the social
actions.
process of production, balancing between
On the other side, the world of com-
two unsolvable opposition: fall and salva-
merce, the scope of his artistic research, is
tion, light and darkness rising from the great
focused on moving necessarily from place
achievements;
never-ending
to place, in a non-aesthetical speculative
and sorrowful conflict between nature and
travel aiming to ship all goods laid into
culture where the question of conscious-
proper containers in order to preserve their
ness and true life value is hardly postulated
original conditions. On his way around the
through. So that, in the Container series, the
land of creation, Talarico discovers the ob-
word “Fragile” becomes the connotative el-
ject extension of his containers rebuilding
ement, the distinguished logo, an extended
their body, reinventing their surfaces traced
metaphor of man himself portrayed as a vul-
through the signs of contemporary civiliza-
nerable son of his own time, but fragile like
tion repeated and reproduced: the barcode
fighting
a
identifies items by losing its business function and
becoming the constitutive element of an 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
COLLECTIVE EXHIBITIONS
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 abil-
has been characterised by the value of the
ity of the individual observer to indentify the
sign which became an element for scan-
images one shot, being successful in deci-
ning the space and “writing” the surface, in
phering the images themselves.
an undefined way which follows a fantastic
These “stories” start from the interior world
dimension, by taking from the reality simple
and bring back to the light some elements
elements of the real life in order to become
apparently unsignificant elements but with
a “philosophic” adventure. Everything is sup-
a combination which can be observed as a
ported by a monochrome choice of prima-
unique point of reference and as an equilib-
ry colours, in a dualism between light and
rium within the space. The equilibrium be-
shadow.
tween shiny and opaque colours allows the
Each artwork is shown as a non 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, an expedient which was also used by the
Il silenzio delle ombre, 2010
ellebi art gallery - cosenza
Pop Art. 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
© 2016 Copyright Galleria Ellebi
Via Riccardo Misasi, 99
87100 Cosenza (CS) - Italy
Tel. (+39) 0984-1812534 - Fax (+39) 0984-1812534
[email protected]
www.galleriaellebi.com

Galleria di arte Ellebi

Transcription

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