Starting from February 24, 2018, on the occasion of the anniversary of the 40th year after the death of Luigi Di Sarro, the Centro di Documentazione della Ricerca Artistica Contemporanea Luigi Di Sarro presents a series of events in Italy and abroad, in order to make the multifaceted artistic production of Di Sarro, still considered highly topical today, known internationally.

The tribute to Luigi Di Sarro, an italian artist active in the Sixties and Seventies – a period that is now being brought to the attention of the critics for the innovative pushes brought into contemporary art – wants to highlight his strong experimental vocation. In the 2008 text (Edizioni Peccolo), Flaminio Gualdoni writes: “By learning, by working actively in several fields simultaneously, Di Sarro imagines being able to force clichés and conventional protocols, and to open up to art – that art is, however, his predominant, and in some ways absorbing passion – perspectives that, in times like these, seemed not only possible but necessary. Not worried about giving himself a recognizable expressive figure, well convinced that it is no longer a question of style or fashion, he immediately interprets his role as that of the pure experimenter, in debt only with the intensity of the work and the his intellectual sharpness, at the cost of expiating, in addition to the suspicion that the avant-garde professionalism reserved to an author as he atypical for training, also the no less tenacious suspicion reserved by the artistic system to spirits that are brilliant but not prone to the rules and regulations of the new , no less inflexible, we now know, of the old academics.
`Di Sarro shows that he does not care too much, embodying in the Roman scene of the sixties and seventies the role of the experimenter whose work in progress is assumed not rhetoric, but practice of life”.

The project – ideally launched by Di Sarro himself, who in a pen drawing had indicated the destinations on the terrestrial globe “Rome, New York, Tokyo and … who knows where” (at the extreme south of the world, perhaps, where it was never gone) – was enthusiastically received by the Director of the IIC of Pretoria, Anna Amendolagine, and therefore will begin its process, on 1st March 2018, just from Pretoria in South Africa, at the Museum of the University of Pretoria, which will host an exhibition of sculptures and giants drawings.

Other stages have already been defined: an exhibition of Di Sarro’s pictorial work in Stuttgart in Germany, with the collaboration of the Istituto Italiano di Cultura and the City of Stuttgart (in May 2018) and with the IIC of Colonia (autumn 2018); an exhibition of experimental photography of the ’70es will be at the IIC in Warsaw and Krakow in Poland in May-June 2018, and at the IIC of Rabat in Morocco, early 2019. More destinations are under construction.

NOT PROVISIONAL ISABELLA NAZZARRI – VIVIANA VALLA double solo curated by Ivan Quaroni in collaboration with ABC-ARTE di Genova 8/2-2/3 2018

Opening 2018 March 8th, 6pm


The double solo exhibition of Isabella Nazzarri (Livorno, 1987) and Viviana Valla (Voghera, 1986) focuses on the direct comparison between the different methodological and stylistic approaches that the two artists used to build their own original pictorial language.

Focused on an essentially gestural and erratic process, Isabella Nazzarri’s painting coagulates in a series of surprising shapes, characterized by vivid and brilliant colors that stand out on monochromatic backgrounds in the papers as in the canvases. The light precipitated in the pigments becomes the material also of her sculptures, made of colored resins enclosed in glass ampoules (Monadi) or expanded polyurethane molded to evoke the rock formations and calcareous deposits present in nature.

Based on the stratigraphy of paper materials is the research of Viviana Valla, who through the reworking of post-it, clippings of magazines, pre-printed sheets, shreds of silver papers and much more builds an intimate and diaristic painting that paradoxically assumes the appearance of a geometric composition. The theme of her investigation is the conflict between emotionality and censorship, which is expressed in a continuous balance between the accumulative method, of an intuitive nature, and the rigid control exercised on the often orthogonal forms of his compositions.

Both Isabella Nazzarri’s erratic method, based on gestural trust and freedom and on chromatic and signic lightness, as well as the critical and conflictual one by Viviana Valla, articulated in a dynamic contrast between emotionality and rationality, prefigure the assumption of responsibility towards the pictorial language, used as an interpretative filter for the construction of a Weltanschauung, a vision of the world.

The title Not Provisional alludes to the committed and “non-temporary” character of the pictorial approaches of Nazzarri and Valla. The two Italian artists, in fact, differently from provisional painters who avoid the overload of expectations linked to a secular medium such as painting, accept to elaborate grammars capable of expressing the dubious, enigmatic and uncertain character that is on the origin of the visual art training.
The exhibition Not Provisional presents about thirty works – including paintings, papers and sculptures – of the recent production of the two artists.

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CALENDARIO GUTENBERG 2018: young italian artists curated by Massimo Bignardi

Tuesday, January 23 at 6pm opening of the exhibition of selected works for the valuable publishing, now in its 15th edition, dedicated this year to Italian artists under 30.

The exhibition proposes the works of Andrea Bressan (Cittadella, Padova), Flavia Bucci (Castel Frentano, Chieti), Emanuela Cruccu (San Gavino Monreale, Medio Campidano), Francesca Dondoglio (Torino), Flavia Carla Fanara (Formello, Roma), Roberta Favarato (Milano), Marco Goi (Sabbioneta, Mantova), Xhimi Hoti (Verona), Annatonia Luperto (Galatone, Lecce), Davide Pisapia (Napoli), Andrea Schifano (Castro, Lecce), Marco Tallone (Revello, Cuneo); paintings, drawings, engravings, photographs that testify to a new generation of Italian art.

The works on show are the winners of the competition announced by Gutenberg Edizioni for the realization of the 2018 CALENDAR: a contest in which 78 young artists under 30 participated, a significant adhesion that responds to the novelty that, from fifteen editions, marks the calendar art. The commission composed of Massimo Bignardi (Storia dell’arte contemporanea, Università di Siena), Danilo Maestosi (journalist and novelist), Franco Marrocco (artist and Director of  Accademia di Belle Arti di Brera-Milano) e Giuseppe Rescigno (artist) has selected the works that today articulate the GUTENBERG CALENDAR 2018.

The exhibition will run till February 3rd (from Tuesday to Saturday from 4 pm to 7 pm).