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Luca Arboccò

February 27th, 2020 by

Luca Arboccò was born in Chiavari (Genoa) in 1992. He lives and works in Leipzig.
In 2017 he graduated in painting at the Accademia Albertina di Belle Arti in Turin. Through his practice, Arboccò offers a reinterpretation of the linguistic codes of art in order to explore the limits and possibilities of the pictorial medium and its role in the contemporary flow of images. As Fabio Vito Lacertosa wrote, the works of Arboccò “occur as the result of a research that stands halfway between amazement and disillusionment, ‘portable trompe-l’œil’ in balance between tension and failure, in a dialectic of vision that consists in a challenge of closing the field of vision within the limits of a credible, acceptable, convincing, formal solution.” In 2016 Arboccò participated in the first edition of Pills at Associazione Barriera in Turin. The following year he won the Frase Got Talent 2017 award. In 2018 he presented his first solo exhibition, Dichiarazione d’intenti, curated by Fabio Vito Lacertosa, at Sala Dogana – Palazzo Ducale in Genoa. In 2018 and 2019 he presented his work in the collective SIX MEMOS (Valladolid, Lublin, Liverpool), a touring exhibition curated by Branka Benčić and was a recipient of the Willy Beck Scholarship.
In 2020 he won the JaguArt Prize, on which occasion he presented his works in an exhibition curated by Gaspare Luigi Marcone, at Mazzoleni gallery in Turin. Arboccò combines his artistic practice with the activity of a scholar, collaborating with public and private institutions to produce lectures and talks focused on new pictorial trends.

Sergio Limonta

December 14th, 2018 by

Born in Lecco, Sergio Limonta studied at the Brera Academy of Fine Arts. He lives and works in Lecco and Milan. His focus is on sculptural work based on reclaimed materials drawn from outside the traditional artistic canons.
He has exhibited in solo and group shows in various places, including Galleria Alberto M. Torri in Milan in 2008, the Milan Triennale and Galleria Neon in Bologna in 2009, Spazio O’ in Milan and the Teatro Margherita in Bari in 2011, the MaGa in Gallarate in 2011, 2013 and 2016, the Fondazione Capri, in Capri in 2012, the Galleria amt|project in Bratislava in 2014, Riss(e)-Zentrum in Varese in 2014 and 2016, the MAMBO in Bologna and the Fondazione Zimei in Montesilvano in 2016, and MARS in Milan in 2017.

Giuseppe Maraniello

December 14th, 2018 by

Giuseppe Maraniello was born in 1945 and frequented the city’s Art Institute and Academy of Fine Arts. He moved to Milan in 1971, where he began to work with the gallery run by Luciano Inga-Pin and where, between 1991 and 2003, he taught at the Brera Academy. In the 1970s, his attention was drawn to photography, a medium he gradually abandoned in favour of painting. The 1980s saw him involved in the new ferment of those years, largely focussing on the return of figuration and traditional expressive instruments. Maraniello in part distanced himself from this trend, accompanying his first large monochrome paintings with polymaterical inserts, and above all reclaimed wood and with small sculptures establishing a dialogue with the painted surfaces. His characteristic motif of the double figure of a centaur wrestling with its own rear half became a symbol of duality understood as a constitutive state of the subject. This referencing of myth returns constantly in Maraniello’s work in thematic persistence that we also find in the sculptural work to which he has dedicated himself since the early Eighties. The traditional bronze does not vehicle the idea of classicism and the work in fact stands in space in daring poses, suspended in studied equilibrium thanks to weights and counterweights.
Maraniello has participated in all the exhibitions dedicated to the “New New” by Renato Barilli from the first in 1980; in 1990 he had a solo room at the XLIV Venice Biennale and in the same year exhibited at the Palau de la Virreina in Barcelona, at the Palacio de Cristal in Madrid and the at the Matidenhohe in Darmstadt.
In 1993, the Galleria Civica in Trento and the Galleria d’Arte Moderna – Villa delle Rose in Bologna dedicated a broad anthological exhibition to his work. In 2004, the municipality of Ischia staged a comprehensive retrospective of his work at Torre Guevara, with a permanent installation located in Parco Negombo; in 2009 a major exhibition of monumental sculptures was staged in the Boboli Gardens in Florence while a solo show was held in 2012 at Lorenzelli in Milan. He has exhibited at the Marconi gallery in Milan in 1998, in 2000 and in 2015 on the occasion of another major retrospective show.

Filippo Manzini

December 14th, 2018 by

Born in Florence in 1975, Filippo Manzini graduated from the Tuscan city’s Academy of Fine Arts. His work is born out of a desire to overcome the closed space of the studio in order to explore the world; he therefore combines sculpture, installation and performative actions and selects urban public spaces in which to insert his works, creating ephemeral, spontaneous installations that he documents photographically. Similarly, in closed spaces the work is always conceived in relation to the specific qualities of the environment. Filippo Manzini’s installations occupy space as complimentary elements to pre-existing structures: volumes and surfaces compenetrate, while the materials establish dialogues and generate states of tension, relationships of forces, the result of which is the perfect equilibrium of the parts. Manzini worked for a year in Los Angeles where he exhibited, among other locations, at the Hammer Museum in 2012. He has also held exhibitions at the Villa Romana in Florence in 2010, the Galleria Artra in 2013, the Lissone Museum and the Assab One in Milan in 2014, the Italian Institute of Culture in Berlin in 2015 and in the MARS space in Milan in 2018.

Remo Salvadori

December 14th, 2018 by

Born in Cerreto Guidi (Florence) and living in Milan since the early Seventies, Remo Salvadori established himself among the artists of the generation following Arte Povera and Conceptualism.He initially used photography or everyday objects, scattering them in space in order to reinterpret philosophical concepts or archetypal figures.
The artist’s principal point of reference is always space, which he interprets as a source of creative psychic energy and his studio is incorporated in the work and transformed in the spiritual resonances that environments and objects always take on his work. Great attention is paid to the observer who is frequently thematizedin the work (Losservatore e non loggetto osservato, a sculpture from the 1980’s).
For Salvadori, the work of art is always born out of will to perceive, standing in relation to the interior “sonority” of the space in which it is created. In his words, creation “is a path to be followed with the mind, heart and limbs, in the direction of a desire for awareness, almost as if it is an ascension and the ascending is also a seeing”.
The works are frequently in cycles. Among these families – which evolve in a slow and aware maturation –Nel momentois a work begun in 1974 that is composed of metal plates of various dimensions on which the artist has intervened with cuts and folds in a complex dynamic of solids and voids. The title of the piece establishes the idea of the moment as both an“instant”and a “duration”, in reference to both the time of creation and that of fruition.
For Salvadori, art is a communion of opposites. The works are based on the conceptual and formal dialectic between interior and exterior, uniqueness and multiplicity, spirituality and materiality. Geometric forms interpreted as symbols recurs in many sculptures and installations: the square, for example, an indicator of the terrestrial dimension, countered with the circle, a metaphor for the celestial geometries. The chosen materials, the metals for the sculptures (the important Verticalicycle) or the grammar of colours (Lampada, 1988-89) for the works on paper, reference the theories of the anthroposopher Rudolf Steiner.Salvadori’s entire oeuvre revolves around the idea of overcoming the principles of opposition, which derives from the frequentation of that thinking as an interior discipline expressed in art, in such a way as to achieve a more profound perception of reality. Remo Salvadori has exhibited in private galleries such as those of Lucio Amelio in Naples (1978), Salvatore Ala in Milan and New York (1980 and 1982), Mario Pironi in Rome (1981, 1985 and ’86), Christian Stein, Milan (1988, 1999, 2005, 2017) Buildig, Milan(2017). He has featured in anthological exhibitions at institutions such as the Art Gallery of Ontario, Toronto, in 1987; Le Magasin, Grenoble and the Padiglione d’Arte Contemporanea in Milan in 1991, the Museo Pecci in Prato in 1997; the Fondazione Querini Stampalia in Venice in 2005, MAXXI in Rome in 2012. He was invited to the Venice Biennale in 1982, 1986 and 1993 and to Documenta in Kassel in 1982 and 1992. Among the group shows in which he has participated mention has to be made of Chambres damisin Ghent in 1986, the inaugural exhibition in Mori Museum in Tokyo in 2003 and Ytaliaat the Forte del Belvedere in Florence in 2017.