K466 Allegro assai – ANTONIO AMBROSINO – curated by MASSIMO BIGNARDI – 2018, October 10th/November 16th

Opening on Wednesday, October 10th, starting at 6pm. Catalog in the gallery. The event adheres to the Fourteenth Day of Contemporary Art promoted by AMACI.

The exhibition is divided into three moments, or better, in three movements, in resonance with the structure of the concert n. 20 by Mozart which gives the title to the exhibition.

The first space in the gallery houses the Kronos 2018 installation, consisting of an intervention on the wall and about sixty sculptures that run along the floor. The sculptures belong to the “fragments of time” series (performed from 2003 to today) and are made of terracotta, majolica and cold enamelled terracotta.

The second room is entirely dedicated to the series “nosce te ipsum”, works of 2018 made of acrylic, sand, earth and resin on Amalfi paper.

The exhibition closes in a deep and velvety blue, with works of the cycle “blue moments” realized starting in 2017: these are small and large sculptures made of EPS and synthetic resins with flocked finish.

Curated by Massimo Bignardi, the show was presented during 2017 at the Istituto Italiano di Cultura in Cologne, Germany and 2018 at the FraC Contemporary Art Museum in Baronissi (SA), italy.

ANTONIO AMBROSINO was born in Naples in 1982, he trained first in Torre del Greco in jeweler’s art Atelier and then at the Academy of Fine Arts in Naples where he graduated in Sculpture with an experimental thesis about the quartapittura collective. Since 2011 he lives and works in Serdes, small village near San Vito di Cadore in the north of Italy.

SEGNI. Photographs, drawings and sculptures by Luigi Di Sarro, curated by Carlotta Sylos Calò. 11 October- 14 November 2018 MLAC – Museo Laboratorio di Arte Contemporanea, Rome

In the fortieth anniversary of the death of Luigi Di Sarro, the exhibition organized by the MLAC with Centro Di Sarro offers a glimpse of the production of Luigi Di Sarro between the 1960s and the 1970s, highlighting the transversal nature of his approach to techniques and materials and his characteristic conception of the “sign” as a generative element of shapes and spaces, without a real caesura between abstraction and figuration, evident both in graphic and pictorial work, and in photography and sculpture.

Di Sarro, avid experimenter in his artistic activity, has practiced drawing, painting, engraving, sculpture, photography and performance, focusing in particular on themes related to the body, movement, light and abstraction capacity of the sign and the geometric figures. Di Sarro died only thirty-seven years old, killed for a fatal misunderstanding in the tense climate of the years of lead in Rome, on February 24, 1979; he left a vast artistic production (paintings, drawings, photographs, sculptures, graphics, projects, notes, aphorisms). Works by Luigi Di Sarro are in several Italian and foreign public collections (including GNAM, MACRO, Palazzo Braschi and the National Institute for Graphic Design in Rome, Pompidou Center in Paris).</p>

Active since 1987, the Museo Laboratorio di Arte Contemporanea-MLAC, directed by Prof. Claudio Zambianchi, has been proposed since the beginning as a meeting place between the university and the contemporary cultural world, distinguishing itself for its vocation to research and training. Among the initiatives that have animated the program for thirty years, there are exhibitions, conferences, round tables, book presentations, festivals, video reviews and musical proposals, which aim at first hand to put in contact the most lively artistic and cultural realities of the moment with the students and scholars of the University, often coming to involve them actively. In the same way, the will to open up to the city is strong, involving all citizens through the proposal of a very varied program.
Exhibitions and events promoted and organized by the MLAC take place in the spaces set aside in 1985 by the La Sapienza University of Rome, at the Rettorato Building, in the heart of the University City.


On the occasion of organizing and carrying out the exhibition the MLAC offers a possibility of internship to students who have an interest in deepening in the field the craft of the historian and art critic in all facets. The internship foresees, in fact, an active commitment both during the preparation stage, with the possibility of working in close contact with the curators, and during the opening period of the exhibition, managing the guided tours, the reception of visitors and, last but not least , all the work related to the promotion of the exhibition, learning to manage the various online communication channels, from the blog to the main social networks.


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.


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”.

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.

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

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.

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.



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.