Galleria Stefano Forni


40124 Bologna

Italy

Phone : +39051225679

Fax : +39051225679

Mobile Ph. : +393667206888

URL : www.galleriastefanoforni.com

Michele Andrioli   ()

Silvia Righes Forni   (Director)

About

Galleria Stefano Forni organizes many personal exhibitions of national and international artists, including young artists already well‐known for their artistic worth. Besides, since many years the Gallery contributes with some important Italian Museum to the organization of very interesting public exhibitions and it partecipates in important international Art Fairs.

Kromogramma, 1979 - Renata Boero

Renata Boero Kromogramma, 1979
natural colors on navy canvas
cm 255x170

Turso 2/S24
 - Daniele Papuli

Daniele Papuli Turso 2/S24

Exhibiting Artists

Other Represented Artists

  • Giorgio Bevignani  (+)

    Biography : Born in Città di Castello in 1955, Giorgio Bevignani moved with his family to France at the age of ten, before returning to his native Perugia in 1975. He attended the Art Institute of San Bernardino di Betto of Perugia, where he obtained a diploma of Master of Arts in 1979. He moved to Tuscany, first to Florence then Siena, and resumed his studies at the Institute of Art Duccio di Siena diploma in Applied Arts (Sculpture) in 1981. He attended the l’Accademia di Belle Arti di Bologna between 1984-1986 and the Academy of Brera in Milan from 1986-1988. During this period he worked intensively in his new Bolognese studio focusing in particular on shapes and researching the use of new materials. Although Giorgio currently lives and works in Castel San Pietro Terme his artistic displays in recent years have taken him to the far corners of the world: Ancona, Bologna, Cesena, Imperia, Milan, Modena, New York City, Rome, Reggio Emilia, Bogota, Siena, Strasbourg, Basel, Nice, London, Florence. After his work was noticed by Professor Brian Falconbridge (PPRB), in 2014, Giorgio was invited to submit his candidacy as a member of the RBS Board of Directors. In the same year he was appointed a member of the Company. “The Spotlight 2015 award was an important recognition…” Successful exhibitions include: Ancona, Bologna, Cesena, Imperia, Milan, Modena, New York City, Rome, Reggio Emilia, Bogota, Siena, Strasbourg, Basel, Nice, London, Florence. International recognition for his work followed very quickly afterwards when he won the international competition Spotlight hosted annually by the RBS. “The Spotlight 2015 award was an important recognition that has allowed me to exhibit at the Andipa Gallery in London with my installation ‘I’m ready to live’.” The piece reflects a large network like a desert and is dedicated to the millions of people who flee from their lands for a better life or simply to start living again. As a member of the esteemed RBS institution,

    Detailed Description : Giorgio Bevignani, a multi-faceted artist working with unconventional materials across various formats including painting and sculpture. Italian-born Giorgio Bevignani currently lives and works in the countryside near Bologna, where he molds and forms diverse materials into distinctive conglomerations, round-like forms, that aggregate into larger constructions, relating the smaller elements to the larger form which are arranged and mounted together to create a larger, cohesive work. His creativity, which is considerable, emerges in the elegant combination of technical skill and conceptual knowledge. His profound study of history, contemporary science, mythology, philosophy, and mathematics greatly influences his work. Using special patinas, phosphorus tints, and colours, his idiosyncrasy of composition and form, both so playful and magical, combined and merged with a certain charm, create something new to the world. Bevignani’s work has a real presence, his connection to nature and culture, his organic plasticity, his use of positive and negative spaces, filled with awareness of form, create a body of work that seems to float, that go beyond our understanding of gravity, time, space, light, and balance. The larger spiritual role played by the sculptures in all their complexity give it a presence finally so human in both its goals and intentions

  • Renata Boero  (+)

    Biography : Born in Genoa in December 1936, Renata Boero spent her childhood in Turin, then she moved to Switzerland where she studied the humanities taught from a Jungian perspective. When she returned to Genoa, she met Emilio Scanavino: this was an important encounter that encouraged her to enrol at the Liceo Artistico N. Barabino where, in 1952, the artist taught drawing and representation of the human figure. Her training with Scanavino made a notable contribution to the development of her artistic career. Regarding how and to what extent Scanavino influenced her work, Boero recalls his ability to give form to an idea on paper as soon as it came into being. It was a sort of strange tension giving a sense of rapidity to the gesture. It was the ‘delving into the images’ that made her feel close to the world of Scanavino, and thanks to this she understood the importance of the result and the way in which this was perceived. After completing her studies, she started an intense period of experimentation in which her work mainly focused on the relationship between ‘sign’ and colour, and their possibility of revealing a link with nature and, at the same time, their capacity to represent it; at first she used oil paints, which she then decided to abandon for smooth plastic. Boero continued to work ‘on nature’ and ‘not again with nature’, until she had an experience that was decisive for the development of her artistic language. From 1960 to 1964 she worked as an assistant to Caterina Marcenaro, director of the Museo Palazzo Rosso in Genoa. In this period she undertook conservation work for the Soprintendenza per i Beni Artistici e Storici (Artistic and Historical Heritage Office) of Genoa, which allowed her to ‘experience the work in a different, more fascinating way’ because there was a direct relationship with the painting. Thus she was able to analyse the materials used and the way they changed over time, and to study the canvases that, whil

    Exhibition : SOLO EXHIBITIONS 1975 La Fabrique, Toulouse. 1976 Galleria Martano, Torino. Galleria Il Brandale, Savona. Centrosei Arte Contemporanea, Bari. Per una tela di 20 metri, Galleria dei Carbini, Varazze. 1977 Galleria Martano, Torino. Galleria Franco Cicconi, Macerata. Galleria d’Art Actuel, Knokke, Belgio. 1978 Istituto di Storia dell’Arte, Universita  di Palermo. Boero/Acconci, International Cultureel Centrum, Anversa. Modern Art Gallery, Vienna. Galerie Anne Van Horenbeeck, Bruxelles. 1979 Cromogrammi, Sala Comunale, Alessandria. Galleria 4 Venti, Palermo. Galleria Chantal Crousel, Parigi. Galerie Carinthia, Klagenfurt (Austria). 1980 Grifone Arte, Messina. Istituto di Storia dell’Arte, Universita  di Salerno. Galleria E Tre, Roma. Galleria Quadrum, Lisbona. Studio La Citta , Verona. 1981 Galleria Martano, Torino. Galleria La Polena, Genova. 1982 Galleria Il Gabbiano, La Spezia. Galerie Anne Van Horenbeeck, Bruxelles. 1983 Con il giallo curcuma, Studio G7, Bologna. Le Landeron, Neuchâtel. 1984 Galleria d’Arte Nane Stern, Parigi. Galleria La Polena, Genova. 1985 Il mercato del Sale, Milano. 1986 Synergon, Bruxelles. 1987 Scenografia per Il Suono giallo di Kandinsky, Teatro della Tosse, Genova; Teatro due, Roma. 1988 Galleria del Falconiere, Ancona. Studio Ghiglione, Genova. 1989 Musei Civici, Serrone della Villa Reale, Monza. Boero/Nunzio – Artisti a confronto, Studio G7, Bologna. Galleria Centrosei, Bari. Break Club, Roma. 1990 Ado Gallery, Anversa. Galleria del Falconiere, Ancona. Sant’Elmo, Salo . Kulthurnset, Stoccolma. Galleria Centrosei, Bari. 1991 Telamone Centro d’Arte, Lecce. Scultura per un museo all’aperto, Portofino. Istituto di Cultura, Oslo. 1992 Casa del Mantegna, Mantova. Istituto di Cultura, Helsinky. 1993 Framart Studio, Napoli. L’alfabeto gestuale della memoria, Arte 90, Isernia. Palazzo Comitini, Palermo. 1994 Cromogrammi 70, Telamone Centro d’Arte,

    Detailed Description : Over the years, Renata Boero, an artist with great depth who has received con- siderable critical attention, has executed many important series of paintings — including Specchi (Mirrors), Blu di legno (Wood Blue), Enigmi (Enigmas), Architetture (Architectures), Acquerelli di San Diego (San Diego Watercolours) and Germinazioni (Germinations) — all of which have been carefully balanced on the tightrope of research or the dizzy heights of experimentation. The underlying structure of her work — what might be described as the ‘grammar’ of her painting (another word deriving from the Greek gramma), recognized by all the critics and admirers of her art — is undoubtedly represented by the Cromogrammi (Chromograms), works produced from 1970 onwards and always present in her output. They are, in fact, a pictorial invention that she has neither abandoned nor concluded thanks to the semantic fullness and the countless combinatory potentialities they contain: in other words, they are a cornucopia from which, little by little, the artist judiciously allows flashes of light, echoes, tastes, pearls and perfumes to emerge. I will, therefore, write about the Cromogrammi, not to stress their ‘distinctive- ness that is even a little mysterious’ but to attempt, once again, in my capacity as a new travelling companion, to add some marginal notes or extra words to the gaze seeking to conduct a dialogue with the image. What one is immediately aware of is the synaesthetic quality of these pictures that, still today, many years after they were painted, call to mind earth and nature. It was again Paolo Fossati who perceived that in them ‘the senses are not involved, but rather it is the mind that is brought into play’, but we should not forget that, in addition to reason, the mind is nurtured, above all, with perceptions, sensations and emotions: that is, with the sensory elements that, in the Cromogrammi, offer all their seductive power and that involve

    Artist's Objects:

    • Renata Boero - Kromogramma, 1979 Kromogramma, 1979

  • Andrea Boyer

    Biography : Andrea Boyer was born in Milan in 1956. For years he works as professional photographer in Milan , and then devoted himself exclusively to the pencil , painting and drypoint . In 1991 he meets Giovanni Testori , that invites him in USA for his first solo exhibition of drawings and engravings in the States. Since then his works are been exhibited in solo and group exhibitions in public and private galleries in Italy and abroad.

  • Franco Fontana

    Biography : Franco Fontana was born in 1933 in Modena. He took up photography in 1961 and joined an amateur club. He held his earliest solo shows in 1968 in Modena, his native city, which marked a turning point in his career. He has published over seventy books with Italian, French, German, Swiss, Spanish, American and Japanese publishers. His photographs have appeared worldwide in over 400 exhibitions, solo and collective. His images are in collections in over fifty public and private, Italian and international galleries, including: the Bibliothèque Nationale, and the Maison Européenne de la Photographie, Paris; the George Eastman House International Museum of Photography, Rochester, the Musée de la Photographie, Arles, the Museum of Modern Art, New York, the National Museum, Beijing, the Stedelijk Museum, Amsterdam, the Metropolitan Museum of Photography, Tokyo, the Galleria Civica d’Arte Moderna e Contemporanea, Turin, and the Victoria and Albert Museum, London. Many companies have asked him to collaborate on advertising campaigns, he has published photographs in Time-Life, The New York Times, Vogue Usa, Vogue France, Il Venerdì di Repubblica, Sette del Corriere della Sera, Panorama, Frankfurter Allgemeine Zeitung, Class, Epoca and others. Fontana has been invited to hold photography workshops in various schools, universities and institutes such as the Guggenheim Museum in New York, the Tokyo Institute of Technology, the Académie Royale des Beaux Arts, Brussels, the Toronto University, and so on in Rome, Paris, Arles, Rockpot, Barcelona, Taipei and many other cities. Every year he holds academic courses at the Politecnico di Torino, and the LUISS University, Rome. He is the director of the Toscana Fotofestival. He has collaborated with the Centre Georges Pompidou, the Japanese Ministry of Culture, the French Ministry of Culture.

  • Edite Grinberga  (+)

    Exhibition : 1975 – 1982 Janis Rozentals School of Art, Riga 1982 – 1983 Studies at the State University of Latvia (English and Philology) 1983 – 1988 Studies at the State Academy of Art, Riga (Painting and Textile Design) 1989 Freelance artist in Riga – installations, theatre costumes, wax figures Since 1990 Painting, lives and works in Berlin 2011 Residency in Santa Fe Art Institute, New Mexico, USA 2012 Final Round Losito Art Award Berlin 2014 Audience Award 28. Art Prize Savings Bank Esslingen-Nuertingen EXHIBITIONS ”Through the Looking Glass” Zimmerli Art Museum, New Jersey, USA (G) 2015 „Bamequinox 2015“, Museum Ixchel, Guatemala City, Guatemala (B) 2015 „Geteiltes Licht“ Friedmann-Hahn Gallery, Berlin (S) 2015 Stephanie Breitbard Gallery, Art Market San Francisco (G) 2015 Mimi Ferzt Gallery, New York, USA (S) 2014 Art Miami Context (with Friedmann-Hahn Gallery) (G) 2014 Art Karlsruhe (with Friedmann-Hahn Gallery and Barbara von Stechow Gallery) (G) 2014 Kunst Zürich (with Barbara von Stechow) (G) 2014 „Behausung“ Galerie Verein Berliner Künstler (G) 2014 „Pace of Silence“ Barbara von Stechow Gallery, Frankfurt (S) 2013 Kunstkreis Hameln, Kunstverein Schöningen, Kunstverein zu Hohenaschau (S) 2013 Friedmann-Hahn Gallery Berlin (S) 2012 Art Santa Fe, Santa Fe, New Mexico, USA (G) 2011 „Esquisse“ Gallery, Nyon, CH (S) 2010 Friedmann-Hahn Gallery, Berlin (S) 2009 Museum in Waldemarturm, Dannenberg-Elbe (S) 2008 Lindern Gallery, Lindern (S) 2008 Golkar Gallery, Köln (G) 2007 Studio Brandt Credo, Bremen (S) 2007 Kunstoffice Berlin (S) 2006 „Homeland“, Kommunale Galerie Wilmersdorf, Berlin (G) 2006 Thea Fischer-Reinhardt Gallery, Berlin (S) 2005 Gallery for Contemporary Art, Sylt (S) 2005 St. Thomas Church Berlin (S) 2002 „Movin’ Art“ Gallery, Berlin (S) 2001 „The Tiny Happiness, the Great Longing“, Darmstadt (G) 2000 „Les Beaux Artes“ Gallery, Berlin (S) 1998 Abguss-Sammlung Antiker Pl

    Detailed Description : Edite Grinberga’s paintings, with this strong chiaroscuro effect, throw a melancholic glance back at history. Nevertheless, artworks can sometimes have a lot of staying power, accumulating different layers of meaning in different time periods, especially when cultural change is as dramatic as it is today. Just as the industrial revolution transformed society in the 18th and 19th century and if nothing else, brought forward a bourgeoisie with their ideals of edification, so it is today shattered by the digital revolution, which now streamlines intellectual work on top of the last century’s systemization of physical labor. Traditional cultural media, like the book, the musical instrument and the painting are also seized by this revolution; access to them is now democratized, in which they also have been economically devalued, no longer functioning as bourgeois status symbols. The question will be raised of what role books, paintings and musical pieces will play in a culture shaped by the digital revolution. In this way, Edite Grinberga’s paintings act as visual memories of a future that has only now just begun.

  • Matteo Lucca

    Biography : Since his debut Lucca shows an interest in eclecticism and the experimental process of trial materials and creates cycles of artwork using lead shaped cantilever, the series “Faces”, a cross between theatre and funeral masks, the sequence of the assembly of the materials and the settings of large colourful boats. His artwork is always accompanied by written compositions: they sound like this: “On every knot there is a mantra, a word of love, a question, a secret to be kept and hidden, each knot has tied to itself a concept that transforms and radiates. “Halfway between being both the sculptor and poet, Lucca had a passion for dance-theatre and performance (IT ME and YOU, 2009), as well as the ability to experiment with different materials, with which he made majestic primitive totem artwork which is imbued with deep and archaic spirituality, like “The Ancestor That Is in Me” in 2010, a self-portrait made out of wood, lead and fabric which is a votive tribute to his origins.

  • Florencia Martinez  (+)

    Biography : Florencia Martinez was born in Buenos Aires in 1962 and since 1990 works and lives in Milan. Since 1984 she exhibited in several group and solo exhibitions in Argentina, Brazil, China, Cuba, Europe (France, Italy, Holland, Austria) and the USA. Several critics curated her exhibitions, among which there are: Achille Bonito Oliva, Vittorio Sgarbi, Francesca Pasini, Angela Madesani, Luca Beatrice and Valerio Dehò.

    Exhibition : Personal exhibition 2008 Il pasto nudo, Annovi Arte Contemporanea, Sassuolo, A cura di Ivan Quadroni. Catalogo 2006 Madri, Galleria Zaion, Biella. A cura di Roberto Borghi. Catalogo Eben In Eden, Galerie Tazl, Graz catalogo [testo di Alessandro Riva] Il sorriso e il pianto Spazio espositivo Tessitura Mantera, Como. A cura di Roberto Borghi 2005 Disegni dell’ultimo decennio di quest’ultimo millennio, Yaonde Spazio d’Arte, Milano Tessuti a 3600 [antologica], Spazio Galleria ArtePensiero, Milano 2004 Nemmeno la memoria è un paese felice, Galleria La Corte, Firenze 2003 Il cielo o la terra, Galleria Silvy Bassanese, Biella Encontraras seguramente lo que no sabias, buscabas, Galeria Ester Montoriol, Barcelona Il sorriso e il pianto, Galleria San Salvatore, Modena 2002 Muro di Merlino, Galleria Studio G7, Bologna. A cura di Valerio Dehò. Catalogo 2001 Die Mithologie Van Het Dagelljks Leven, Galerie Maria Chailloux, Amsterdam 2000 Né avanti, nemmeno indietro, e mai fermo, Galleria Maria Cilena, Milano. A cura di Alessandro Riva e Paola Tognon. Catalogo 1999 Memorie delle città, Spazio Kalon, Padova 1998 Il morso dell’orso rabbioso, Galleria Cristiani, Torino. A cura di Chiara Guidi. Catalogo 1997 Non guardarmi così, tesoro, Care Off, Milano [con Silvia Levenson]. A cura di Francesca Pasini. Catalogo Group exhibition 2008 Galleria Stefano Forni, Bologna 2007 Unreal Flowers. MyownGallery, Milano. A cura di Alessandro Riva 2006 La via di Antigone, Galleria Daniela Rallo, Cremona. A cura di G. Fiorenza Vissi d’arte, Spazio Galleria ArtePensiero, Milano 2005 Dark ladies, Castello del Bramante, Vigevano, Pavia. A cura di G, Fiorenza The voyage of the beagle, Galleria Pinxit, Torino 2004 La via dell’arte, Centro Culturale Paraxo, Alassio, Savona. A cura di Giorgio Bonomi. Catalogo 2003 XSmall, Galleria San Salvatore, Modena a cura di Luca Beatrice Forever young, Galleria Studio G7,

  • Carlo Mattioli  (+)

    Exhibition : 2004 Carlo Mattioli, Galleria Nazionale, Parma 2001 Tacea la notte placida. Mattioli per Verdi, Teatro Regio di Parma. Carlo Mattioli. Dal Cestino del Caravaggio, Galleria Il Triangolo, Cremona. Carlo Mattioli. Paesaggi 1973-1993, Galleria Trentasette, Palermo. 2000 Carlo Mattioli Opere 1938-1993, Galleria Forni, Bologna. Luce da Luce. L’arte sacra di Carlo Mattioli, Palazzo Sanvitale, Parma. La memoria del Po, Palazzo del monte di Credito su Pegno, Busseto (Parma). 1999 Carlo Mattioli. Simboli e percorsi del colore, Tour Fromage, Aosta. 1998 Carlo Mattioli., Cercle Municipal, Luxembourg. Carlo Mattioli. Obras 1938-1993, Museu Diocesà, Barcelona. Mattioli &Leopardi, Museo Amedeo Lia, La Spezia. I “Libri” di Mattioli, Centro Polifunzionale, Mantova. Carlo Mattioli, Museo delle Mura, Borgotaro, (Parma). 1997 Carlo Mattioli. Notturni, B&B Arte, Mantova. Carlo Mattioli. La terra e l’ombra, Museo d’arte Moderna «Mario Rimoldi”, Cortina d’Ampezzo. Carlo Mattioli o la poesia infinita del silenzio, Galleria Gioacchini, Ancona. 1996 Carlo Mattioli. Disegni, Galleria Stefano Forni, Bologna. Per Anna, Galleria Appiani Arte Trentadue, Milano.1995 Carlo Mattioli.Opere 1938/1993, Fondazione Magnani Rocca, Mamiano di Traversetolo, Parma. Carlo Mattioli.La figura in interno, Villa La Marrana, Montemarcello(La Spezia). 1994 Carlo Mattioli.Opere 1941-1990, Galleria Carlina, Torino. 1993 Carlo Mattioli.Paesaggi da collezioni private, Chiesa di S. Agostino, Città di Pietrasanta (Lucca).1991/1992 Carlo Mattioli. Le Apuane, Galleria Goethe, Bolzano. 1991 Carlo Mattioli. Opere dal 1979 al 1991, Palazzo Comunale di Pienza. Carlo Mattioli.Opere recenti, Galleria Bergamini, Milano. 1990 Carlo Mattioli. I ritratti, Palazzo Ducale di Massa. Carlo Mattioli.Paesaggi, Galleria Marescalchi, Bologna. Arte Fiera, Torino. 1989 Carlo Mattioli. Spiagge – Strande, Galleria Goethe, Bolzano. Carlo Mattioli. Nudi femminili 1944-

  • Daniele Papuli  (+)

    Biography : Daniele Papuli was born in 1971 at Maglie, Puglia, Italy. After graduating in Sculpture at the Accademia di Belle Arti di Brera, he settled in Milan where he still works. His first approach to sculpture dates back to 1991 with his earliest stone, wood and plaster artefacts. In 1993, on the occasion of an international workshop in Berlin, he learned methods for manufacturing sheet paper. It was a crucial experience that brought him in 1995 to choose paper as the most suitable material for his research and his own language. He then experiments with the production of handmade paper and from 1997 makes his first sculptures with different types of paper material. In this period he meets the publisher Vanni Scheiwiller, who entrusts him with the extraordinary production of handmade sheets of paper for the graphic underlay of the art book in 300 copies: Trittico, tre poesie di Wislawa Szymborska, tre collage di Alina Kalczynska. His continuous investigation into matter and his experimentation on new materials similar to paper and proposed for their structural and tactile potential lead him to continuous interconnections from sculpture to design, to installations and sets for fairs and international exhibitions. The exhibited objects, mostly limited editions and single pieces, dialogue with the whole experience of contemporary design. For Flux Laboratory of Geneva, a foundation for art, dance and experimental disciplines, he produces, in his solo exhibitions of 2011, Le Gèant de Papier, projections de la matière, four installations that interact with the dance performances created for this particular purpose. His works are in private and public collections in Italy and abroad, as well as in specific publications of Paper Art.

    Detailed Description : "... In the paper sculptures he created in 1997, Papuli moves from the heaviness of ‘incunabula’ to the lightness of kites, from dense surfaces to a sort of rough factures. His sculptures are abstract compositions entering into the space for an equal dialogue. They are not ‘objects’ but open, spatial constructions…” Vanni Scheiwiller, 1998 My approach to paper dates back to 1995. I tried many different materials such as stone, wood, plaster, unconsciously following a route, a continual passage from gravity to the lightness of the form, from the solidity of the matter to its ductility. According to the way of "making" which pertains to sculptors - excavating and ‘removing’, the volumes grew thinner and thinner, through forms in resin, too, worked out in large bidimensional surfaces; at last I reached paper, paper handling. In order to know and master it, I tried to produce it; I minced different kinds of paper, I mixed and reassembled them together with grounds, herbs and colours. In this process - its metamorphosis from an almost impalpable cellulose to a stratified material, I was spurred by the accumulation and combination of reams and reams, usually strips and cuttings, useful as raw materials to start with. I resolved ‘to build’ a shape choosing the sheet of paper as unit of measure; I was fascinated by light and thick textures, by the structural potentialities of surfaces, by this matter - alive, vibrating, changeable. A matter characterized by a physical, tactile pleasure apparently hidden in its more usual shape, flat and bidimensional, committed to its colour and grain. Through some crucial actions such as cutting, decomposition and extrapolation of the pursued volumes, the sheet of paper becomes a surface on which I can act. I carry on and develop my research through the construction of more and more complex structures, founded on the repetition of the different paper moduli. The volumes are lamellar compositions, made up by nu

    Artist's Objects:

    • Daniele Papuli - Turso 2/S24
Turso 2/S24

  • Gianriccardo Piccoli

    Biography : Gianriccardo Piccoli, born in Milan in 1941, trained at the Academy of Brera under the guidance of Pompeo Borra and obtained a diploma in 1964. In this same year he began to live in Sarnico, on the Bergamo side of Lake Iseo. His first one-man exhibition, dedicated to drawings, took place during the years of “existential figuration” (1963, Milan, Galleria Celiberti). In his 1966 exhibition, at the Permanente, Milan, he offered an original interpretation of Lombard informal painting, placing at the centre of his reflections the object which “however much it may be dissolved and lacerated, never abandoned its own presence, was never con- tent to leave just a shadow or traces, but remained like a heart beating inside the painting. And it remained thereafter like something inalienable, a preliminary assumption, almost like a pledge of reality” (Roberto Tassi, 1974). The three years from 1967 to 1969 were years of crisis and experimentation. During this period Piccoli attempted a sort of organic abstraction reminiscent of Graham Sutherland and the photography of Man Ray. This phase was short-lived and has not significantly influenced his artistic outlook. He overcame the crisis of 1968 through a singleminded re-examination of his Lombard roots. The example provided by Ennio Morlotti played a significant role at this stage. During the 1970s, Piccoli deepened his investigation of everyday objects and of the landscape, themes and subjects that were to recur during his later production. Particularly important, in this phase, were the exhibitions of 1972 at San Se- condo Parmense, of 1974 at the Galleria Mosaico of Chiasso and, also in 1974, at the Galleria Correggio of Parma. Public recognition of Piccoli’s work grew over the next decade, with the Premio Feltrinelli in 1984, the one-man exhibition at the Teatro Sociale of Bergamo and his participation in the Venice Biennial of 1986. He also exhibited in the public spaces of Wiesbaden in 1988 (Brunnenkolo

  • Jorge R. Pombo  (+)

    Biography : Born in 1973 in Barcelona, Spain, Jorge began drawing as a young child and completed his first painting at the age of 20. By age 24, he was painting professionally and in 2000, he had his first solo show in Barcelona. Since then, Pombo has had 18 solo shows and dozens of group exhibitions in countries across Europe, including Spain, Switzerland and Italy. Pombo has traveled to Greenland, Mexico, Siberia, Tibet, India and many other countries to observe the cultural differences and find subjects for his works. He uses photographs of cities to inspire his works but his paintings are solely oil on canvas. He often incorporates several scenes from various cities layered on top of one another to draw comparisons between the metropolises. In 2013, Pombo moved to NYC where he now lives and works; he also maintains a studio in his hometown of Barcelona.

    Exhibition : Solo shows 2016 “Religare”, Grande Museo del Duomo di Milano. Italy.* 2014 “Mapes” Galeria El Quadern Robat, Barcelona. “Lucca - The Passion”, Chiesa di San Cristoforo, Lucca, Italy.* 2013 “Variations on Tintoretto”, Scuola dei Mercanti, Madonna dell’Orto, Venice. Italy.* 2012 ¨Ciudades¨, Galería Manuel Ojeda, Las Palmas de Gran Canaria. ¨Jorge R. Pombo¨, Espace Courant d´Art, Chevenez, Switzerland. 2008 “Pinturas. 2000-2007″, Tinglado 1, Tarragona.* “Ciudades”, Galería Joan Prats-Art Gràfic. Barcelona.* 2007 “Istanbul”, Embajada de España en Andorra. Organizada por UNICEF.* 2006 “Variaciones de pintura. Trilogía”, Tinglado 1. Tarragona.* 2005 “Variacions de pintura”, Tecla Sala. Barcelona.* “Iceberg”, Galería María Llanos. Cáceres. 2004 “Blanco”, Galería Joan Prats-Art Gràfic. Barcelona. 2003 “Ventanas”, Galería Manuel Ojeda. Las Palmas de Gran Canaria. * 2002 Galería María Llanos. Cáceres. “Intro”, Galeria Joan Prats-Art Gràfic. Barcelona.* 2001 Galería Trece. Ventalló, Girona. 2000 Galería Forma. Llafranc, Girona. “Pintura”, Galería Joan Prats-Art Gràfic. Barcelona.* Group shows (selection) 2015 BDG Gallery, New York (Dec 2014 / Feb 2015) 2014 Galeria El Quadern Robat, Barcelona. “Un musée pour un eté” Galerie Courant d’Art, Chevenez, Switzerland. 2012 ¨3 Under 40¨, Marlborough Gallery, Barcelona. Museum of Mankdind. London ¨Living with Art¨, London, Christie´s auction feb. 10 2010 “Tapies et des jeunes artistes” Galerie Courant d’Art, Chevenez, Switzerland. 2009 “Pinturas”, Galeria Joan Prats - Artgrafic, Barcelona. 2007 “Diálogos con el agua”, organizada por Intermon Oxfam. * Madrid, Zaragoza, Sevilla y Barcelona.* “Monografia” Palau Solterra. Torroella de Montgrí. Girona. * 2006 Centro Cultural Bancaja. Alicante.* 2005 IVAM (Instituto Valenciano de Arte Moderno), Valencia. * Casa Museo Polo. Villareal. Sala Glor

  • Nicola Samori'  (+)

    Biography : NICOLA SAMORÌ Born 1977 in Forlì Lives and works in Bagnacavallo

    Exhibition : Solo exhibitions/ Selection 2016 Double Page (of Frogs and Flowers), Galerie EIGEN+ART, Leipzig Nicola Samorì, Monitor Gallery, Rome 2015 RELIGO, TRAFO Centre for Contemporary Art, Szczecin Gare du Sud, Anatomical Theatre, Bologna La disciplina della carne, FAR Fabbrica Arte Rimini, Rimini La disciplina della carne, Museo Civico Luigi Varoli, Cotignola 2014 L’Âge Mûr, Rosenfeld Porcini Gallery, London Begotten, not made, Ana Cristea Gallery, New York INTUS (cristalli di crisi), Museum of Contemporary Art, Lissone La pittura è cosa mortale, interrati palladiani, Palazzo Chiericati, Vicenza 2013 Guarigione dell’Ossesso, Galerie Christian Ehrentraut, Berlin Vom Abtun der Bilder, Hospitalhof Stuttgart, Stuttgart Die Verwindung, Galleria Emilio Mazzoli, Modena The Disappearing Act, LARMgalleri, Copenhagen 2012 Fegefeuer, Kunsthalle Tübingen The Venerable Abject, Ana Cristea Gallery, New York 2011 Imaginifragus, Galerie Christian Ehrentraut, Berlin Scoriada, Studio d’Arte Raffaelli, Trento 2010 La dialettica del mostro, MarcoRossi artecontemporanea Gallery, Milan 2009 Lo spopolatore, Civic Museum of Riva del Garda, Fortress of Nago Being, Magazzini del Sale, Cervia Presente, ancient Monastery of St. Francis, Bagnacavallo 2008 Pandemie, Allegretti artecontemporanea Gallery, Turin Not so private. With my tongue in my cheek, Villa delle Rose, Bologna 2006 Lapsus, Fortress of Strino, Vermiglio, Trento 2005 Disiecta, Church of the Pious Suffrage, Fusignano New Works, Studio d’Arte Raffaelli, Trento TAC. Un paesaggio chiamato uomo, L’Ariete artecontemporanea Gallery, Bologna 2004 Classicism Betrayed, Erdmann Contemporary Gallery, Cape Town La conquête de l’ubiquité, Former Church in Albis, Russi 2003 Dei Miti Memorie, Central TAFE Art Gallery, Perth 2002 Enigma man. The fire of rebirth, Modern Art Museum Ca’ la G

  • Gianluigi Toccafondo  (+)

    Biography : Gianluigi Toccafondo (San Marino, 1965) graduated from the Istituto d’Arte in Urbino. He has illustrated many design books for some Italian publishers such as Fandango, Einaudi, Mondadori, Little More, Giunti, Pulcinoelefante, Salani, Feltrinelli, Frassinelli, has designed covers for Fandango since 2000 and has collaborated with magazines such as Linea d’ombra, Lo Straniero, Internazionale, Mano, Abitare, Telema, Macrame, Diario. In addition to producing various film shorts, he has created famous TV trailers and commercial campaigns for international brands. His artistic production has been exhibited worldwide. In particular the Ottawa International Animation Festival devoted a retrospective to his works and career in 2005. Recently, he has been assistant director for Matteo Garrone’s film Gomorra. He currently lives and works between Milan and the countryside near Bologna.

    Detailed Description : Exciting, dreamy, funny: the videos by Gianluigi Toccafondo are made with hundreds of drawings, magically assembled in a succession of screen-shots. Toccafondo, who worked extensively in the Unites States, recently gained huge popularity thanks to the stunning 3 minute long footage which serves as an introduction to Ridley Scott’s new feature movie Robin Hood. The inspiration for his animations mainly comes from his father’s pottery work: during the process of creation of an artifact, it is in fact possible to capture the beauty of a form in movement and perceive the appeal of the passage from one figure to the next. For his short films, Toccafondo uses a method based on the re-elaboration of the image: he takes an image, a photo or any other preexisting idea and modifies it through painting. “Cinema is my starting point. I make photos from film-clips; I xerox them on paper and then paint on them, transforming the original subject. Finally I make the shots with 35mm film and they become cinema again.”

  • Luciano Ventrone  (+)

    Biography : Luciano Ventrone was born in Rome in 1942 and moved to Denmark at the age of six, where he hosted by Lady Metha Petersen – a wealthy and most of all a lovely woman who lavished him with gifts. Among them was a box of colored pencils…and from that time colors have shaped his life. Returning to Italy after his compulsory education and due to his family situation, Ventrone had several jobs but nevertheless, in 1960 he managed to attend Arts school in Rome. After graduating in 1964, he studied Architecture until 1968 and then joined the student protests and decides to abandon his studies and dedicate his life to painting – which he never abandoned and was his only source of income at that time. His life drawings were published in the Academic book (“Human anatomy – the central nervous system”) written by Prof. Gastone Lambertini of Cattolica University in Rome. Ventrone confronts himself with all the main issues of contemporary art, until he arrives to Realism. With an article published in 1983 on the Italian magazine “L’Espresso”, Antonello Trombadori motivated art critic Federico Zeri to get closer to Ventrone who, under suggestion of Zeri, takes a new path with still life. From this point on, Ventrone starts a life-long journey inside all the aspects of Nature, always capturing more and more details that are almost invisible to our eyes, which nowadays are exposed to millions of images. As he liked to tell to his selected students: painting is not about the mere representation of an object, it’s about color and light. The right proportions between those two elements form a shape inside the space. The subject cannot be seen as it is but as an abstract element.

    Exhibition : Selected Solo Exhibitions 2014 “The thrill of the real” Hollis Taggart Galleries, New York 2013 Luciano Ventrone’s Parallel World, Moscow The Nude, Albemarle Gallery, London Luciano Ventrone, Mucciaccia & Partners Gallery, Gillman Barracks, Singapore 2012 Luciano Ventrone, Albemarle Gallery, London Luciano Ventrone, Musei di Villa Torlonia Casino dei Principi 2011 Luciano Ventrone, Hollis Taggart Galleries, New York “Le Stanze dell’arte” Museo civico di San Francesco, Montefalco, Perugia 2010 Albemarle Gallery London Palazzo del Broletto, Como Luciano Ventrone, Marble Palace – Ludwig Museum in the Russian Museum, State Russian Museum, St. Petersburg 2009 L’Inverosimile Verosimiglianza, curated by Beatrice Buscaroli, Fondazione Bandera, Busto Arsizio Studio Forni, Milano Simposio, Albemarle Gallery, London 2008 Luciano Ventrone e l’eterno presente, Galleria Forni, Bologna Luciano Ventrone. Le verità dipinte, Palazzo Luigi Einaudi, Chivasso – Turin Bernarducci & Meisel Gallery, New York Luciano Ventrone, Albemarle Gallery, London 2006 Luciano Ventrone and the Eternal Present, curated by E. Lucie-Smith, Albemarle Gallery, London Luciano Ventrone, Correggio – Reggio Emilia Studio Forni, Milan 2004 Xenia. Ossia Il gioco degli occhi, Studio Forni, Milan 2003 Studio Forni, Milan 2002 Portraits of Nicola Mancino and Marcello Pera, Presidents of the Senate of the Italian Republic, Rome Two commissioned paintings for the bouvette of the Senate of the Italian Republic, Rome 2001 Galleria Il Tempietto, Brindisi 2000 Studio Forni, Milan 2000-1963 Over 40 solo exhibitions worldwide Selected Public, Corporate and Private Collections Modern Art Collection of the Italian Senate Barilla Collection Umberto Agnelli Collection Carlo De Benedetti Collection Silvio Scaglia Collection Ente Fiera Bologna Collection Ferrari President Luca Cordero di Montezemolo Romano Prodi (Former Italian Prime Minist

  • Antonello Viola  (+)

    Biography : Antonello Viola (b. 1966, Rome) received his degree from the Academy of Fine Arts in Rome in 1989. After a long period of study in Spain, he received a PhD from the Fine Arts Department of the University La Laguna, where in 1990 he began to exhibit his work. His work was exhibited in Rome – Galleria Il Segno; Milan – Galleria L’Affiche, Bolzano – Galleria Goethe, Frankfurt – Carloni SpazioArte and Peter Bauschke Gallery, Wien – Gallery Image and Italian Cultural Institute, New York – Magnet Gallery.

    Exhibition : 2016 AB – Antonello Viola SF studio, Roma Le ragioni della leggerezza Galleria Intragallery, Napoli 2015 In Versi Guendalina Salini, Antonello Viola Galleria Francesca Antonini, Roma The Solo Project Galleria Il Segno, Basilea 2013 Aperto con fine Galleria Il Segno, Roma a cura di Guglielmo Gigliotti testi in catalogo di Guglielmo Gigliotti e Claudia Cieri Via 2010 Monocromalia Galleria Goethe, Bolzano a cura di Silvia Litardi 2009 Helio Galleria Il Segno, Roma testo in catalogo di Antonio Arevalo 2007 Licht in der Zeit Carloni SpazioArte, Frankfurt am Main testo in catalogo di Lorenzo Canova 2006 Planetarisch Galleria Goethe2, Bolzano testo in catalogo di Lorenzo Canova (con Francesco Bocchini) 2005 Rosso e Viola Galleria L’Affiche, Milano catalogo a cura di Lorenzo Canova con un contributo critico di Martina Cavallarin 2004 Lavori recenti Galleria Officina14, Roma catalogo a cura di Gabriele Simongini 2003 Antonello Viola – Icone Mediterranee Carloni SpazioArte, Francoforte catalogo a cura di Serena Carloni 2002 Recent Paintings by Antonello Viola Magnet Gallery, New York Antonello Viola Galleria Peter Bauscke, Francoforte 2001 Fragile rosso Galleria Image Istituto di Cultura Italiano, Vienna catalogo a cura di Alessandra Melandri e Sergio Vanni Fragile rosso Galleria L’Affiche, Milano catalogo a cura di Alessandro Masi e Silvia Evangelisti 2000 Opere recenti Galleria Spazio Blu, Roma catalogo a cura di Vito Calabretta 1999 Antonello Viola Galleria L’Affiche, Milano Galleria Studio G7, Bravo Caffè, Bologna 1998 Un’attesa Galleria Fidia Arte Contemporanea, Roma in catalogo poesie di Cesare Vivaldi e Fabrizio Falconi, testo di Giudo Giuffrè 1994 Energia della luce Galleria Fidia Arte Contemporanea, Roma testi in catalogo di Cesare Vivaldi 1993 Il ritmo della luce Libro Galleria Ferro di Cavallo, Roma catalogo a cura di Alessandro Masi 1990 Antonello Viola – Lavori Università della Laguna (E)

    Detailed Description : In his works on canvas, paper or glass, Antonello Viola traces a chromatic perimeter where, through a process of accumulation, stratification and sedimentation, the canvas becomes a place devoted to meditation and the research of the absolute. The artist converts invisible into visible with thin layers of paint that are then scraped, removed and deleted. The painting’s quiet surface is animated by signs that reveal what lays underneath, the deep, pulsating matter that ultimately gives shape to the work. The artist’s visual experiences and the memory of them are absorbed by this process of stratification and sublimated in the pureness of colours: rarefied gold, translucent turquoise, elegant red–brown. Through the material density of his work, Viola establishes a new relationship with the space, a renewed dialogue between the inner dimension of the work and the environment that surrounds it. The pictorial space is defined by the artist with four straight lines: rectangles that frame pure mental dimensions, filled with colour and silence. The artist does not act instinctively or empirically, but moves from this specific starting point, the drawing of a rectangle or a square. This simple shape is intended to hold the colour in its perimeter, a fence whose boundaries are instead constantly exceeded by the vibrating energy of the act of painting. These graphic devices immediately become undefined as, through a strategy of accumulation, the artist ends up rejecting limits by making colour triumph over structure. Viola establishes a new relationship with the modern tradition of monochrome painting, where the reduction of the pictorial vocabulary corresponds to a positive and constructive understanding of the world, which perception is renewed through the energy of colour. The sedimentation of the chromatic material, with its concretions and its impalpable roughness, becomes a backwards journey where the pulsating life in Painting is rediscovered. The artist creates i