Category: past exhibitions

ALS OB. GRENZE hosts Historical Archive Luigi Di Sarro. Verona, Arsenale. 2020, Sept 9-14.

September 9, 2020

3rd Edition of Grenze – Photographic Arsenals International and contemporary photography in Verona. Vernissage 11 sept h.18 (with face masks in respect of anti-Covid19 rules). Grenze Festival will take place in numerous locations from 9th September to 2nd novembre 2020.

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The Palladio Design Institute, in collaboration with the Department of Culture of Municipality of Verona – International Center of Photography Scavi Scaligeri and sponsorship of IUSVE University, present the third edition of Grenze, Festival of contemporary and international photography.

At the head of the artistic direction and curation of the festival we have the professor and art critic Simone Azzoni, the photographer Francesca Marra, and the professor and photography scholar Arianna Novaga.

This year’s theme is “Als Ob“, meaning “as if”. In German language it implies something doubtful: perhaps it is like this, it is as if it were like that and therefore, sooner or later, it will be like that, otherwise it can’t be helped. “As if” is a self-fulfilling prophecy. A hypothesis is projected into reality and lived as if it were true. The “as if” is an assumption that, by the mere fact of having been pronounced, it produces an event: no matter if it is a realistic thing or not. “Als Ob” opens scenarios towards possible realities, measuring and altering the distance between what is seen and the observer.

There are seven exhibition locations that will host the photographers of the 2020 edition:

– MilitaryArsenal
– Spazio Arte Pisanello
– Civic Library

– Laboratorio Theater

– ShyGallery33

– Isolo17 Gallery

– Museum of Natural Sciences


In addition, the photographers of the Off section will be hosted at :

– Vintage bus ATM – In bus
– Library Pagina12
– Bar Sipario

The program of this year’s edition will be packed with events in the city and outside the walls.

From September 9th to the 14th, at the former Military Arsenal (main venue of the festival), the Pad 20/1 will host :

Archivio Luigi di Sarro (L.Di Sarro Experimental Photography from the 70’s), Jacob Balzani Lööv (Armenia Azerbaijan Sports), Silvio Canini (What are you looking for, the sea?), Gianluca Camporesi (Visions of Hyperbody), Daniel W. Coburn (The Hereditary Estate), Enrico Fedrigoli, Brian McCarty (War-Toys), Rowshanbakht Hossein & Hassan (The Wall Collection), Stefano Mirabella (DOM) and Alessandro Secondin (The second number)

Also in the Arsenal, with the contribution of the Scavi Scaligeri International Center of Photography, we will be exhibiting a selection of photographs (from the Scavi Scaligeri archive) by Franco Fontana, Luigi Ghirri, Greg Gorman, Michael Kenna, Daniel Lee, Giuseppe Pino, Ferdinando Scianna, Tazio Secchiaroli, Enzo Sellerio, Oliviero Toscani and Jerry Uelsmann.

Inside the Arsenal, for the entire duration of the festival, a space dedicated to independent photographic publishing will also be set up.

From September 10th to 21st, at the Spazio Arte Pisanello will be hosted the exhibition of Mike Crawford Obsolete and Discontinued, a project based on the idea of, giving new life to analogue photography, considered by many to be obsolete. Thanks to the recovery and recycling of old materials that have been out of production for a long time and destined for pulping, the author photography is saved by the intervention of the English printer, involved in the field of ecology and sustainability. The exhibition was exhibited in Barcelona, Cologne, London, Ljubljana and Naples.

A vintage bus of the Inbusclub Association, parked on the Arsenal square during the festival, will host the Off photographers selected through an international call.

At the Civic Library, from October 5th to 12th, will be also possible to visit the photographic exhibition of Kevin Horan, which portrays goats and sheep in the studio.

The Dolomites Stories project by Alessandro Cristofoletti will be also exhibited from September 16th to 25th at ShyGallery33 in via XX Settembre.

From October 16th to 2nd November, at the Isolo17 Gallery (in via XX Settembre), will be exhibited “Cuando el recuerdo se convierte en polvo” by Cuban Ricardo Miguel Hernandez and “Interpose” by Eolo Perfido.

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There will be also numerous side events in various locations around the city and outside the walls:

The 8th of October at 4.00 pm, at the Museum of Natural Sciences, a talk will be held entitled: I spoke to a goat. The poetry of everyday life through photos of animals and plants. The speakers are the critic and journalist of the Republic Michele Smargiassi, the publisher Valentina De Pasca and the writer Giulia Mirandola.

The 15th of September at 9.00 pm, the electronic musician Vincenzo Scorza will hold an audio-video performance entitled “Island – liveset for inaccurate sounds and errant photons” at the Laboratorio Theater. The artistic intervention is in collaboration with the perAspera festival.

On September 12, at the former military Arsenal at 2.30 pm, the lawyer Toti Bellastella, will hold a conference entitled “Photography and copyright”.

In this third edition, Grenze will still maintain its identity linked to training and education. On Saturday September 12th, the photographer Yvonne De Rosa of “Magazzini fotografici di Napoli”, will be available throughout the day for free Portfolio Readings that will be held in the main office.

Two Workshops included in the program of the festival: the one with Eolo Perfido by the Association NESSUNO[press] and the one with Valeria Pierini.

Furthermore, Grenze is also out of town. This year the Festival has partnered with different events in Emilia Romagna and Trentino:

in Bologna, it partnered in the Art and The City Festival with Giorgia Chinellato’s The Flutter MtF / FtM project, created in 2018 on commission from the festival;

in Trento, it exhibited Andrea Roversi’s Dauðalogn at the Trentino Impact Hub. And again in Trento, at the Due Punti Bookstore will be exhibited Nostos by Fabio Moscatelli.

In the same bookstore in Trentino, a fanzine space will also be open for the duration of the exhibition (until the end of June).

Grenze is a non profit Festival but it is made possible by the important presence of some partner friends.

Supporters: Zanotto Foundation, Flos, Mail Boxes ETC, Cartongraph
Partner Galleries: Isolo17, Photographic Warehouses, Luigi di Sarro Contemporary

Artistic Documentation Center

Technical sponsors: E-Graphic, Art Verona 2020, Teatro Scientifico, Museo Diocesano d’Arte, Associazione Are We Human, IC09 Valerio Catullo, Nessunopress, Incontridifotografia, Libreria Due Punti, 5Continents Edizioni, Trentino Impact Hub, e Domini Veneti

Photo prints are possible thanks to Samuele Mancini e Canson.

The communication of the festival is entirely conceived and designed by the students of the IUSVE Graphic and Multimedia Communication Sciences and Techniques course, coordinated by the professor Stefano Torregrossa.

The exhibitions at the former Military Arsenal (Pavilion 20/01 and bus) and the Arte Pisanello space will be free entry and open during the festival days from 10.00 am to 7.00 pm.

For other locations, see the time of each individual office. Daily updated information on the festival can be found on

www.grenzearsenalifotografici.com www.facebook.com/grenzearsenalifotografici/

@grenze.arsenali.fotografici

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Luigi Di Sarro_Experimental Photography ’70_from Historical Archive L.Di Sarro

ATTICA. Enzo Cursaro. Curated by Massimo Bignardi. 4-28 March 2020

February 28, 2020

Opening March 4th 2020 5pm.

Paintings and papers created by Enzo Cursaro in recent years, which shows a marked interest in the sign as an expressive figure that finds in the plot, a narrative plot full of references drawn from the anthropological sphere. “At stake is the figure of his existential identity, of his link with the places where he was born, with Paestum and his mystery. Attica is above all the panorama that opens to his eyes when, from the top of his studio, they range over the expanse of the plain that welcomes the Magna Graecia city going west, until reaching Capri. It acts as a reunion with its origins, with memory, with the vitality of the first encounter with the sign “.

Enzo Cursaro was born in Paestum in 1953. He studied in Naples where, at the Academy of Fine Arts, he followed Domenico Spinosa’s lessons and where he graduated in 1978. In those years his interest was oriented towards abstract-informal compositions, which he would later resume in the 90’s. In the second half of the 70’s, as soon as he left the Academy of Fine Arts, he began his relationship with San Carlo Art Gallery directed by Raffaele Formisano, thus becoming an active part of a group of artists belonging to the Mezzogiorno (South of Italy). For about thirty years (1983-2012), he lives permanently in Verona, where he teaches art history and pictorial disciplines at public secondary schools. Since the mid-eighties he has exhibited mainly in Europe. Recently he has returned to Paestum where he lives and works.

A NICCA. Marcela Gottardo and Flavia Monteiro. Curated by Steven Y. Wong. 2019 November, 7th-30th.

November 5, 2019

A Nicca, refers to a core doctrine of Buddhism that is the idea of impermanence, one that articulates that existence is in a constant state of change. The etymology Anicca is a negation of the root word “nicca” meaning stability and continuity. The works of Marcela Gottardo and Flavia Monteiro are less of a negation of permanence but rather explore the Buddhist concept of Anicca through the instability and transformations of materiality and being. Together they interrogate how we see through the subjective lens of our own knowledge and embrace our destined impermanence, beyond the philosophical and existential crisis of nihilism. 

Gottardo employs familiar everyday materials and or themes to create fragmentations of one’s temporal existence and conception of self. These fragments are assembled and treated as unique forms that are in a stasis of decay, yet echo the memory of organic forms and negative space. Gottardo’s work presents material explorations of form, resulting in a survey of art works that evoke an archeological indexing, encouraging a visual unearthing of artifacts. 

Monteiro showcases several bodies of works that include suspended cyanotypes that echo garments drying on a clothesline; and also include organic shapes of everyday objects including the shadows of desert flora. Monteiro examines her adaptation to living in a new desert environment by embracing the desert sun and its shadows in the creation of her cyanotypes. These works refute her arid environment through the deep blues inherent to cyanotypes, the liquid process developing these images, and through blockages of the desert sun’s radiation in exposing the cyanotypes. These cyanotypes are also pared with photographs that reinforce the deserts yearning for water. Monteiro contrasts the cyanotypes and photographs with her warm paintings of grids and structures that suggest a containment of not only color, but the specter of fluids enveloping the void. Monteiro’s practice examines ideas of transformation through the visual entropy of structure, documenting ones environment and the desire to contain.

FriedrichWilhelm Nietzsche was critical of Buddhist concept of Anicca, postulating it in opposition to his idea of “will to power”, where he equated the idea of impermanence with nihilism. Gottardo and Monteiro’s works challenge his accusations of the ascetic practice Buddhism (and Christianity) as a “will to nothingness”, through their affirmative exploration of the ever-changing material and environment. Their works speak to their transition of impermanent lived lives within the Brazilian diaspora. Ultimately this exhibition embraces our world’s reality of impermanence with a goal of acceptance of the instable and unknown. (Steven Y. Wong, USA) 

Steven Y. Wong was born Los Angeles where he currently is the curator at Los Angeles Municipal Art Gallery. Previously he was Interim Executive Director and senior staff curator at the Chinese American Museum where he developed and implemented both contemporary art and history exhibitions. Steven has lectured at UC Santa Barbara and was an adjunct professor at Ventura College and Pasadena City College in Asian American Studies, History and Art Studio Departments. Steven holds a Masters in Asian American Studies from the University of California, Los Angeles and a Master in Fine Arts from the University of California, Santa Barbara.

  • Marcela Gottardo
  • Marcela Gottardo
  • Marcela Gottardo
  • Marcela Gottardo
  • Marcela Gottardo
  • Marcela Gottardo
  • Marcela Gottardo
  • Marcela Gottardo

Marcela Gottardo was born in Brazil. She lives and works in Pistoia, Italy. Marcela’s artwork utilizes materials and processes to investigate the nature of being and becoming. She received a Master of Fine Arts in 2014, and a Bachelor of Fine Arts in Painting in 2012, at Otis College of Art and Design, Los Angeles, California, USA. 

Flavia Monteiro was born in Rio de Janeiro, Brazil. She lives and works in the Coachella Valley desert in California (USA). She explores altered perceptions by continually reworking her artwork until preconceptions and expectations are broken and a transformation is completed. Flavia has exhibited her work in California at Los Angeles Municipal Art Gallery, Palm Springs Art Museum, Vincent Price Museum, The Bolsky Gallery, Los Angeles International Airport, and has created public artworks for the cities of Malibu and Glendale. Her artwork has been exhibited in galleries in Rio de Janeiro and at the Ibero-American Art Salon at the Mexican Cultural Institute (Washington, DC). Flavia earned an MFA from Otis College of Art and Design in 2013, and BA degrees in Art Education and Social Communication. She completed postgraduate studies in Art Therapy. Before moving to the US in 2003, she worked as an Art Educator and developed art education programs at Colégio Pedro II, the Brazilian Federal model school in Rio.

Marco Cingolani, Projections and Visions, curated by Paola Ballesi. 4 – 26 October 2019

October 14, 2019

Marco Cingolani is the winner of the first edition of the Pannaggi Award/New Generations, an initiative born from an idea of “Amici di Palazzo Buonaccorsi”, organization that supports young artists and promotes contemporary art in the Marche region.

The Centro Luigi Di Sarro which has collaborated on the project, in line with its forty-year promotion activity of young talents at national and international level, welcomes the solo of the young sculptor from Recanati, entitled Projections and Visions. The event is organized on the occasion of the 15th Contemporary Art Day promoted by AMACI.

Return. Rome-Berlin The exchange project with Verein Berliner Künstler will exhibit 5 italian artists. Opening 13 September, 6pm.

September 12, 2019

The project Return Berlin-Rome | Rome-Berlin, born from an idea by Susanne Kessler, promotes the collaboration of Centro Luigi Di Sarro with the VBK-Verein Berliner Künstler and aims to start an exchange between the artistic realities of Italy and Germany, through the dialogue between the two capitals where the proposing associations are located.

Andrea Aquilanti, Angelo Casciello, Veronica Montanino, Pamela Pintus and Sara Spizzichino are the italian artists on show at the VBK-Gallery, from September 13th to October 6th 2019.

The project, carried out in two stages, brought the works of 5 German artists (Birgit Borggrebe, Jürgen Kellig, Susanne Kessler, Nele Probst, Marianne Stoll) to Centro Luigi Sarro in Rome in April 2019.

Diversioni. Fabio Mariani, Priscilla Pallante, Rosario Vicidomini, Medina Zabo. Curated by Davide Silvioli. 2019, June 13th – July 3rd

June 11, 2019

Opening: 13 June, 5 pm

DIVERSIONI, curated by Davide Silvioli is a group show with artworks by Fabio Mariani, Priscilla Pallante, Rosario Vicidomini and Medina Zabo. These are new artworks prepared specifically for this project, in which the four artists, different to each other in terms of training, technique and experience, demonstrate further stylistic possibilities in their way of working, proposing realizations that widen the spectrum of research of everyone.
The project subtends an invitation to conceive today’s artistic research in systemic terms, therefore as something that expands horizontally towards a multiplicity of orientations without hierarchies, instead in linear terms, therefore following unilateral relations of cause and effect less and less appropriate to solve the complex articulation of artistic contemporaneity.

Fabio Mariani (1980) attended the Academy of Fine Arts in Rome where he graduated in Scenography. In the last few years he has begun to rediscover and experiment, in painting, the ancient Iron Gall ink. He has created sets for theatrical performances. Winner of several awards, he has exhibited in museums and galleries in Italy and abroad. His works are in public and private collections. He lives and works in Rome and Abruzzo.

Priscilla Pallante (1992) made her debut in 2018 with her first solo show at the Curva Pura gallery in Rome. At the basis of the artist’s experimentation there is an obsessive attitude in the search for representation. The photographic medium relates to new digital technologies, sound and 3D printing.

Rosario Vicidomini (1986) is a visual artist. He studied art in Salerno, Bologna and Urbino. From 2014 to 2017 he lived and worked in Hamburg and Berlin. He exhibited his works in museums, galleries and art fairs in Italy, Germany, France, Switzerland, Austria, Hungary and Japan. He currently lives in Rome.

Medina Zabo graduated in Communication studies at the University of Perugia, thereafter a specialization in New Media at IED Rome, studied at Fine Arts Academy Pietro Vannucci, currently attending the Academy of Fine Arts in Rome. Winner of the international O.R.A. Prize 2018, finalist at XIII Arte Laguna Prize in the Land Art section, main exhibition in museums and places of historical and cultural interest.

Francesca Floris – The World of Las – curated by Flavio De Bernardinis – 2019 May 11th / June 8th – Opening May 11th from 6:00 pm to 20:30 pm

May 1, 2019

Is the lens of the camera a window, or a mirror? And the mirror, in any case, can it also be a camera? And finally, what is seen, in both cases, is shown, or reflected? The photographic installations of Francesca Floris are inscribed within this conceptual field, which, in the electronic age, or rather the season of indistinct multiplication of images without support, constitutes the heart of the contemporary social and anthropological scene.

Combined with the reflection motif, the theme of the body. Perceivable as an eternally delayed presence in the game of refractions, the body is confirmed as a strong and inescapable presence.

The art of Francesca Floris thus poses the cardinal problem: in the labyrinth of reflections, is the image a support of the body, or does the body, with its tender and merciless availability, constitute, here and now, the support of the image?

It is up to the viewer to formulate a hypothesis, if not decisive, at least participatory, of a figurative and sensorial project, which touches, in depth and on the surface, the key theme of contemporary culture, a social and also a political theme, that is the fragile question, full-bodied and reflected, though still unresolved, of identity. (Flavio De Bernardinis)

The World of Las was born from the desire to describe a platonic love. The story is about a woman who is projected into the fantasies of the person who loves her. These imaginary places are the only place where she enjoys the love of which she is the object. To represent this situation, I chose to really project the protagonist of this project into the scenarios that represent the imagination of the narrator. The idea was, from the beginning, to “host” the woman in these fantasies, which in the photographs appear as concrete and tangible places, while she appears as a projection, an apparition, something distant and ghostly. The viewer then moves into the mind of the person who loves. (Francesca Floris)

The exhibition is structured in four parts. The first stage of the exhibition is composed of 10 illustrations (one for each chapter of the story), in 40 x 60 cm format, accompanied by a brief quote from the chapter of the story that each represents.

The illustrations are followed by an exhibition of 10 photographs, in 60 x 90 cm format.

The third stage of the journey consists of a limited space, where a backstage video is shown that shows the functioning of the mechanism and the process of making the photographs.

Finally, visitors access a specially lit space, inside which the mechanism with which the photographs were taken is exposed and where they, after learning how it works, can look at each other and photograph themselves inside an interactive environment recreated to show its function and to allow guests to immerse themselves, some in the eyes of the narrator, some in the shoes of the photographed woman.

Francesca Floris was born in Oristano on April 6th 1992. She received her classical high school diploma in 2011, in Sassari. She graduated from Brunel University in London in 2014. In England she joined the art collective Ad Libitum Films, with which she made numerous short films, a web series and her first feature film, the documentary Isole. She moved to the United States in 2014 to pursue a master’s degree. She started working as a photographer at the end of 2015. Since then she has presented two personal exhibitions (Olympus 50 and Il palco bianco) and taken part in two group exhibitions. She attended the Producing course at the “Centro Sperimentale di Cinematografia” in Rome in the 2016-2018 three-year period. At the moment she is graduating in Anthropology at the University of Siena.

The World of Las is her second project of staged photography. The first one was Il palco bianco (2017).

RETURN Berlin/Rome 2019 April 4th – May 4th. Exchange project with VEREIN BERLINER KÜNSTLER under patronage of Istituto Italiano di Cultura in Berlin. Opening 4.4.2019, 6-8pm

March 27, 2019

The project RETURN Berlin-Rome | Rome-Berlin, born from an idea by Susanne Kessler, is curated by the Centro Di Sarro in collaboration with the Verein Berliner Künstler, and under the patronage of the Istituto Italiano di Cultura in Berlin, with the intention of starting an exchange between the artistic realities of Italy and Germany through the dialogue between the two cities where the proposing associations are based. The project involves two parts: RETURN Berlin-Rome will exhibit the works of 5 German artists (Birgit Borggrebe, Jürgen Kellig, Susanne Kessler, Nele Probst, Marianne Stoll) and the works at the Centro Di Sarro, from 4 April to 4 May 2019 subsequently RETURN Rome-Berlin will see the exhibition of the works of 5 Italian artists (Andrea Aquilanti, Angelo Casciello, Veronica Montanino, Pamela Pintus, Sara Spizzichino) at the Galerie VBK-Verein Berliner Künstler, from 13 September to 6 October 2019.

Birgit Borggrebe.Born in Arnsberg, lives and works in Berlin.
“The harsh and abstract character of our cities, the globalization of the modern world, are in contrast with what remains of Nature: here a tree, a herd of goats there, yet even the clouds themselves shine with suspicious colors. Borggrebe’s images are kaleidoscopes, poetic encounters with a nightmarish reality that could soon cover a large part of our planet. An aesthetic protest spreads from the paintings: that our world is not as it should be. Although it seems strange, the futuristic and apocalyptic landscapes depicted in his paintings are permeated by something that could be described as a “nostalgia for Paradise”. (Kai Michel, Zurich)

Jürgen Kellig. Born in Berlin where he lives and works.
My drawings deal with rhythm and structure, in particular with the interaction between chaos and order, with the similarities between micro and macrocosm. Although reworked in a concrete way, these works can recall organic networks, as well as technological networks. (Jürgen Kellig)
Jürgen Kellig draws freehand. The accuracy of its graphic elements does not follow a program, a pre-established scheme. It simulates the certainty of geometric laws, as in a free zone between micrological proximity and macrological distance: a subject already addressed by the author in previous works. Consequently, the titles of his drawings suggest conceptual clarity: “notation”, “score”, “interconnection”, “civilization”. They transform images into conceptual associations. Images that are the result of associative processes related to a graphic self-referentiality, fixing point as point, line as line and plan as plan or their arbitrary succession. (Wolfgang Siano, from the text in the catalog “Implacable, between line and line and beyond”)

Susanne Kessler. Born in Wuppertal in 1955, she lives and works in Berlin and Rome.
She studied painting and graphics in Berlin at the Hochschule der Künste (UDK) and in London at the Royal College of Art (RCA). She prefers large installations, both indoors and outdoors. She has taught at California State University (CSU) and at the City University of New York (CUNY). Business trips have taken her to Ethiopia, Guatemala, Mali, Pakistan, India and Iran. All these places have left traces in her work. Her installations, sometimes ephemeral, are published in numerous catalogs and books.
The former director of the Wilhelm Lehmbruck Museum Raimund Stecker describes the artist’s method as follows: “Susanne Kessler constantly plays with separation and contact, closeness and distance, reality and illusion. The tangible is sometimes lost in the incomprehensible and the inconceivable becomes tangible, the chaotic becomes cosmic, the messy sometimes rational, and the certainties seem confused “.

Nele Probst. Since 1995 he lives and works in Berlin.
From 1989 to 1993 he studied Visual Communication, Fachhochschule für Gestaltung, Mannheim with Prof. Günter Slabon, Prof. Wolf Magin, Prof. Roland Fürst, Prof. Eckhard Neumann. From 1993 to 1995 he lived and worked in Hamburg.
In the works of Nele Probst, both in painting and in sculpture and installations, the additive process, understood as collection and thickening, plays an important role. The narrative moment and its associations are reflected both in the content and in the structure of his works. Color and material are in the foreground. His playful, experimental and sensitive relationship with materials and composition creates a sense of lightness and joy that characterizes his work and involves the viewer.

Marianne Stoll. Born in Darmstadt, lives and works in Berlin.
She studied art history with Prof. Uwe M. Schneede, Ludwig Maximilian Universität of Munich.
Through sculptures and drawings (…) Marianne Stoll explores in a playful but always serious, lucid and surprising way the many facets of living, of the house, of the origins – and of the constant threat of loss of a dwelling, of a shelter. In her compositions, Marianne recalls the question of how one should inhabit the World-Home, how to settle into this dwelling, which has not been handed over to humanity on a turnkey basis. With daring changes of perspective, the small and the large, the solid and the fragile, the dangerous and the harmless come together in the act of drawing (…) the graphic forms satisfy and nourish each other, in a strange analogy with creating a habitat for humans. (Dorothée Bauerle-Willert, from the text in the catalog “Dream Houses”)

  • B. Borggrebe, Unnamed-2
  • N. Probst, Ganze Seit Kleiner
  • J. Kellig, Muster 25-059
  • M. Stoll, oT
  • S. Kessler, Tutte le frontiere del mondo

Thanks to Giorgio Benni for photographs of the exhibition in slideshow.

Meteoriti a Roma – Giorgio Russi – curated by Antonello Rubini – Opening March 9th at 6.00 pm.

February 12, 2019

“I think it is not difficult to immediately realize that the most relevant key to reading for the intelligence of Giorgio Russi’s painting regards the dream-like dimension”. So the great Enrico Crispolti – who worked closely with Russi, at least for all the eighties, considering him then one of the most significant figures emerging in the Italian artistic landscape – opened the part dedicated to him in his text in the catalog of shows Casciello, Gadaleta, Russi. A current triangulation, held at the Galleria Comunale d’Arte Contemporanea of ​​Arezzo in 1986. A statement, therefore, of more than thirty years ago, but which besides well framing the imaginative area of ​​making of Russians of that period, the best known (among the most iconic celestial landscapes dominated by the presence of strongly disquieting birds, first, and more essential scenarios, now more less vaguely landscaped inhabited by mysterious “flames”, then), is perfectly fitting also to the current work of the artist , which constitutes the present exhibition. And it is the sign not only of a coherence, of a continuity (even if his art has made its way since then), but of the existence of a certain field to which Russi necessarily continues to respond, thus feeling almost always intimately as own. (…) Antonello Rubini

On show 20-25 recent works by Giorgio Russi including paintings and sculptures.

Giorgio Russi was born in Turin on December 29, 1946, he lives and works in Treviso. After the Diploma of Art Master and Applied Arts Maturity he obtained the Diploma of Sculpture at the Academy of Fine Arts in Rome under the guidance of Pericle Fazzini. From 1971 to 1988 he was a lecturer in Sculpture at the State Art High School of Teramo. Since the early eighties he has carried out an intense and significant artistic activity by participating in numerous national and international exhibitions. Winner of the National Competition, from 1988 to 2011 he was Dean of the Liceo Artistico Statale di Treviso.

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

October 3, 2018

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.