DREAM – LUIGI TEODOSI 2018 September 13th – October 6th

The Centro Luigi Di Sarro, in collaboration with CesMa and the Associazione Amici di Palazzo Buonaccorsi, presents a Luigi Teodosi solo exhibition , curated by Paola Ballesi. On show works that summarize more than sixty years of artistic career always accompanied by great curiosity, enthusiasm and indomitable creativity.

Teodosi’s works – showed in important solo and group exhibitions both in Italy and abroad and included in Italian and foreign collections- mark the stages of a coherent aesthetic path, poised between abstraction and figuration, reality and fiction, past and present.

Luigi Teodosi was born in 1935 in Jesi where he lives and works. After attending the basic schools in his city, he enrolled at the Art School of Rome and among his teachers Franco Gentilini, Renato Guttuso, Marino Mazzacurati, Libero de Libero, while Mario Mafai and Francesco Sapori are his teachers at the Free School of Nude of via Ripetta. From 1955 to 1962, he completed his education thanks to scholarships first at the École Nationale Supérieure des Beaux-Arts in Paris and then in Zagreb, but also with long stays abroad. Among the many companions on the road with whom he shared the experience of the research we must remember the associations with Claudio Cintoli, Nino Ricci and Giuseppe Uncini. From the early 60s, reestablished in Jesi, he also entered the design world with his original creations and, as an experimenter without limits, continues his artistic activity to put in place the most disparate materials, but among all privileges the paper that has the the merit of retaining the memory and the secrets of the soul among its material textures, subsequently deployed in the large installations of the recent Gorilla series.


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LUIGI DI SARRO.The living body of painting, curated by Paola Ballesi. June 7th-September 7th, 2018. Istituto Italiano di Cultura in Cologne

Following the stage on Stuttgart, the exhibition LUIGI DI SARRO.The living body of painting, curated by Paola Ballesi, opens in the spaces of the Istituto Italiano di Cultura in Cologne. The exhibition continues the celebrations of the 40th anniversary of the death of Luigi Di Sarro.

“Di Sarro’s creativity investigates various artistic and scientific fields, such as painting, philosophy, poetry, mathematics, technology, which involved the aspects of the process more than those related to representativeness. His approach is rather analytical. We note that this diversity of interests is the result of his great curiosity and desire to deepen the issues he was dealing with. In the cycle of the gouaches of 1964 he repeated the motif of the square, and in the pictures partially realized with the “dripping” process, in which he sprays the canvas with color, he shows two different procedures, two opposite principles: repetitiveness and expressiveness. In his oil and acrylic paintings instead he experiments and plays with the three-dimensionality on the surface. Today his works offer a richness and a stratified meaning, which in the course of time have lost nothing of their artistic potential”, writes Maria Mazza, Director of IIC Cologne in the Prologue of the catalogue which offers a curatorial note and a large critical anthology.

On show 38 painting realized by Di Sarro between the Sixties and the Seventies with various techniques from gouache to oil, acrylic and mixed media that “decline the phenomenology of the sign born from the gesture of the body” – as Paola Ballesi explains – “With the ‘spelling’ of the body, understood in its variations, ranging from the physical presence of the painter on the canvas through the unique and continuous sign, to the ‘figuration’ of the body felt as a map of energy, Di Sarro subtracts the creation at each formal stylization. Perhaps he would have preferred, as an artist-physician, to make the language of art become a living body that acts and reacts in contact with new and different stimuli each time”.

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SEGNI disegni e fotografie di Luigi Di Sarro, curated by Carlotta Sylos Calò – Istituto Italiano di Cultura in Warsaw (2018, May 30th-June 28th) and Krakow (2018, July 6th-September 6th)

The celebrations on the occasion of the 40th anniversary of the death of Luigi Di Sarro go on with a series of events in Italy and abroad and the aim of spreading and deepening a multifaceted artistic production that is still considered highly topical today.

The tribute to Luigi Di Sarro, an artist active in the Sixties and Seventies – a period that is now being brought to the attention of the critics for the innovative pushes into contemporary art – wants to highlight his strong experimental vocation. An attitude and a need on the part of the artist who proceeded experimenting in all the fields and in all the expressive techniques with which he worked (besides photography, painting, drawing, sculpture and graphics). Italo Zannier writes in an essay on Di Sarro’s photographic research: […] but what is experimentation if not the result initiated by an idea? They are also the imprecise ‘photodynamics’ of Bragaglia as the ‘strobophotographies’, the ‘luminographies’, the ‘chronophotographies’, the “corporal” sequences of Luigi Di Sarro. These images are first of all results, not “trials”, as the “experiments” would be like. Experimentation is in fact implicit in doing and we do not know where it leads and when it will complete, if it will end; and woe, however, if we were to conclude, because every phase of it is already a result. […] Luigi Di Sarro – photographer, has realized his visual rite with an extraordinary expressive happiness, even lucid and dense but of irony, dramatic also, disturbing […]. (in I. Zannier, Luigi Di Sarro) Discovering Photography, 2001.)

In addition to the material kept in the Historical Archive dedicated to the artist, two substantial collections of photographic works are kept at the National Gallery of Modern Art and the National Institute for Graphics in Rome. Moreover, in 2009, some of the artist’s photographic works were acquired in the collection, and consequently also exhibited, in Paris by the Pompidou Center. The acquisition was curated by Quentin Bajac.

The ongoing archiving of the amount of work that the artist has left allows today to deepen and connect many issues, in the immediate not obvious. Numerous so far are the scholars who wrote about Di Sarro, who have studied a large part of his production, and many more are still under study. The occasion of the anniversary is to be a new and prolific opportunity to analyze a work that is increasingly revealed as a broad theorem argued in many directions, as if it were an encyclopedic atlas.

The exhibition SEGNI disegni e fotografie di Luigi Di Sarro curated by Carlotta Sylos Calò for the spaces of the Italian Institute of Culture in Warsaw and Krakow, in Poland,  is one of the many possible research about the links that Di Sarro studied and experimented. In the premises of IIC Warsaw are exposed some series of experimental photographs, a group of drawings and some etchings produced at the turn of the ’60s and’ 70s. 

Di Sarro’s research, writes the curator in the catalog published by the italian Institute of Culture: “became radicalized in terms of his experimental approach – dictated in part by his dual profession, given that Di Sarro is not only an artist but also a physician – and matured in terms of his irreverent use of materials (netting, bitumen, iron rods, brushes, pencils, photography) that could bring out particular evocations in the forms he created. In this context, the sign in particular took on an extraordinary power to generate forms and spaces, still (but now more consciously) without any real caesura between abstraction and figuration, thanks to the enduringly transversal nature of his approach to techniques”.

Following  the show and opening at IIC CRACOVIA (July 6th-September 6th 2018) pictures.

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Following the Opening at IIC Warsaw (30 May-28 June 2018) pictures.

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LUIGI DI SARRO.The live body of painting curated by Paola Ballesi 14th May – 1st June 2018 Rathaus Stuttgart

The celebration for the 40th anniversary of the death of Luigi Di Sarro continues. After the stage in South Africa, where the exhibition of Sculptures and Giantgraphies at the Edoardo Villa Museum of the University of Pretoria is still underway, Centro Di Sarro proposes a new exhibition of works, this time pictorial, at the Stuttgart Rathaus, in Germany. The international circuit takes place in partnership with the Istituti Italiani di Cultura. The exhibition titled LUIGI DI SARRO.The live body of painting is curated by Paola Ballesi, and realized with the collaboration of the Centro Studi Marche. On show 38 paintings realized by Di Sarro between the Sixties and Seventies with various techniques from gouache to acrylic. The opening will be on May 14th at 6.30pm.

GIUSEPPE RESCIGNO ATLANTE DELL’IMMAGINARIO curated by Massimo Bignardi April12th-May4th 2018

Opening April 12th 2018, 18 pm

The exhibition GIUSEPPE RESCIGNO Atlas of the imaginary, curated by Massimo Bignardi, proposes a selected selection of works created by the artist, taken from the cycles that highlight a sort of neonaturalism, charged with a playful figure.

“In current works – said Massimo Bignardi – striking the color, carefully studied and thought, to create an imaginative shot that subtracts the repeated forms of the branches, exhibited in their point of articulation (as bodies with raised arms that later take the form of totems and signals as it is for Vegetal symbolism, of 2013), from the universe of nature. It is a playful nature, dreamed, just like the color that intercepts it, leaving great margins to the imagination, even urging architectural similarities of an urban scenario. An order that over time will give space to paginations that call into question tactile perceptions that the artist manages by alternating molds of stylized leaves, made of wood or terracotta, with the imprints that they leave on paper, such as to activate, on a semiotic plane , a relationship between the graphic sign and the object-shape that determines it “.

“It is indicative, scrolling the biography of Rescigno – writes Ada Patrizia Fiorillo in the introductory essay to the recent monograph appeared for the types of Gutenberg Editions – to read that the beginnings of his artistic work should be placed at the beginning of the seventies. An affirmation that obviously induces to immediately enter the reader in contact with the phase of his work that he considers more assimilable to his own path. […] This is an aspect that connotes him in a relevant way, but with which attitudes emerge, that is a certain way of looking at things compared to which other points of view face to recognize his personality and his poetics. The broad spectrum of actions that has guided the path towards the production of images and situations historically placed, frame it, within the margins of a reconsideration of the visual […] for which today has focused more attention on the recovery of forms objects, signs taken, in an imaginative playful and disenchanted projection, from the world of nature “.

During the exhibition, Thursday April 19th at 6.30 pm, the book Arte contemporanea in Ferrara From the neo-avant-gardes to the post-modern outcomes, by Ada Patrizia Fiorillo (Mimesis, 2017) will be presented. Ferrara is a reality with which Rescigno will relate during the Seventies, with the participation in the exhibition “Extra Media. Current experiences of aesthetic communication”, curated by Enrico Crispolti in 1979, and with a performative intervention such as, Video cancellation (with Marano) made in the same year at the Multipurpose Hall of the Civic Gallery of Modern Art.

FINITE / INFINITE, Elena Giustozzi and Caterina Silva, EVERARD READ/CIRCA Cape Town, South Africa, March 22-31 2018

Opening March 22th, 2018 at 6.30pm


With FINITE / INFINITE, Elena Giustozzi and Caterina Silva show the work done during the ARP-Art Residency Project in South Africa. An exhibition that offers itself as a journey on many levels, not the simple notion of travel, but the will to observe from and with different points of view.

The slow walks in the nature of Elena Giustozzi are revealed in comparison with the gaze from the top offered by Boomslang, the suspended walkway of Kirstenbosh Gardens, but also in a sketchbook of digital sounds collected in various corners of Cape Town. Works done in Italy, in the Marche region where the artist lives, mix with the paintings painted in Cape Town. A work wich is  slow, meticulous, meditative, intimate and grandiose at the same time.

The vicissitudes of the soul of Caterina Silva, her continuous queries on the meaning of reality, and the language she would like to express it, are certainly in her large canvases, colored and wrinkled, but also in comparison with what the soul carries with its past far or near. And so, thanks to the meeting with the students of the Ruth Prowse School of Art the performance ticticfhsfhscoldcoldrainrain has come to life, and that continues a similar research just carried out by the artist in Norway.

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APORIE – MARCO PIANTONI and MERI TANCREDI – curated by Francesco Santaniello

opening: March 7, 2018 from 6pm
March 7 – 30, 2018 (tuesday-saturday 16-19 pm)

Double solo show by Marco Piantoni and Meri Tancredi.

“Aporia” was originally a Greek term, which has come to mean something like an insoluble contradiction in the homonym text of the French philosopher Derrida. This was the inspiration for the Curator Francesco Santaniello and the artists Meri Tancredi and Marco Piantoni for designing this exhibition, to be considered a sort of double solo exhibition. The two artists are documenting with a selection of their most recent works, their personal inquiry about knowledge, time and its perception, identity and identities, the multi-faceted codes of languages. Therefore, their art results in a plurivocal ensemble of medium, materials and expressive techniques.

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March 2 – May 18, 2018

Inaugurated in Pretoria, South Africa, the exhibition with which the international celebrations for 40 years after the death of Luigi Di Sarro starts. The event is promoted by the Istituto Italiano di Cultura in Pretoria with the collaboration of the UP ARTS Department of the University of Pretoria. The images of the opening and the academic lecture.

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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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