Galleria Seno , Stand n° 

N/A -  Getulio Alviani

Getulio Alviani N/A

Exhibiting Artists

  • Josef Albers  (+)
  • Getulio Alviani  (+)

    Biography : Getulio Alviani, is one of the most important International artists during the 1960’s and early 1970’s, as a leading member of Optical Art, Kinetic Art, and Programmed Art. Getulio Alviani’s artistic training was close to masters like Josef Albers, Konrad Wachsmann and Max Bill, who in developing the theoretical and practical premises of the Bauhaus, nudged artistic innovation and creative work in a scientific direction. This by basing aesthetic work on expansion of the field of perception and the verifiability of solutions to problems. Alviani has been conducting research on materials and their organization in programmatic compositions for over forty years: his interest in the use of art for plastic structures and visual knowledge deriving from the industrial field began in the 1960’s with the production of his first works in aluminum, one of which was acquired for the permanent collections of the MOMA in New York starting in 1965, the year when the artist was invited to participate in the group show “The Responsive Eye”. Alviani has always followed an artistic approach working not only in the field of the visual arts but also extending his creativity to the fields of design, architecture, and fashion.

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    •  Getulio Alviani - N/A N/A

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  • Alighiero Boetti  (+)

    Biography : Alighiero Fabrizio Boetti was born in Turin 1940. Boetti abandoned his studies at the business school of the University of Turin to work as an artist. Already in his early years, he had profound and wide-ranging theoretical interests and studied works on such diverse topics as philosophy, alchemy and esoterics. At seventeen, Boetti discovered the works of the German painter Wols and the cut canvases of Argentine-Italian artist Lucio Fontana. From 1963 to 1965, Boetti began to create works out of then unusual materials such as plaster, masonite, plexiglass, light fixtures and other industrial materials. His first solo show was in 1967, at the Turin gallery of Christian Stein. Later that year participated in an exhibition at Galleria La Bertesca in the Italian city of Genoa, with a group of other Italian artists that referred to their works as Arte Povera, or poor art, a term subsequently widely propagated by Italian art critic Germano Celant. Boetti continued to work with a wide array of materials, tools, and techniques, including ball pens (biro) and even the postal system. Some of Boetti’s artistic strategies are considered typical for Arte Povera, namely the use of the most modest materials and techniques, to take art off its pedestal of attributed “dignity”. Boetti also took a keen interest in the relationship between chance and order, in various systems of classification with grids and maps, and non-Western traditions and cultural practices, influenced by his Afghanistan and Pakistan travels. His fascination with doubles or twins with his own examination into self-identity brought him to call himself Alighiero and Boetti. As in two personalities even forcing himself to paint with the opposite hand. Active as an artist from the early 1960s to his premature death in 1994, Boetti developed a significant body of diverse works that were often both poetic and pleasing to the eye while at the same time steeped in his diverse theoretical interests and influenced b

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  • Francesco Carozza  (+)

    Biography : Francesco Carozza opens a new perspective on traditional artistic relations and an unconscious tension, otherwise nested in the most hidden corners of the psyche. He is able to observe the intangible in order to be able to then translate it into reality, operating an alchemy, even disturbing in its appearance. Carozza has tried to determine a change both conceptual and phenomenal and his works on display propose this unveiling. The translation of his dream into painting takes place according to a surprising construct: within a pure material space conquering the two-dimensionality using the points of colour to hypnotize the by stander, capture their gaze and fascinate the mind.

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  • Enrico Castellani  (+)

    Biography : Enrico Castellani was born in Rovigo, Italy in 1930. He moved to Brussels in 1952 where he studied Painting and Sculpture at the Académie des Beaux Arts before graduating in architecture at the École Nationale Supérieure de la Cambre in 1956. He returned to Milan, where he quickly becomes one of the major figures in the new Italian artistic scene. After his first experiences inspired by American Action Painting, in particular by Mark Tobey, he started a collaboration with Piero Manzoni founding the avant-garde magazine Azimuth. Castellani starts to analyse different possibilities through the use of nails and ribs placed behind the canvas and, in 1959, he created his first painting in relief, Superficie. Today Castellani moved to Celleno, Italy, where he lives and works. And where he continues to play by his own rules. Day by day he creates new relief surfaces, convinced of the validity and timeliness of his inventive spirit. In recent years the importance of his work has been recognised and validated internationally.

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  • Nando Crippa  (+)

    Biography : Marco Rota about Nando Crippa: Modelling the clay to give shape to figures is the single most presumptuous thing a man can accomplish. I believe it is precisely through this act that you really get to understand why, in the art vocabulary, the word “creation” is so fundamental and recurrent. Nando Crippa’s work is a process of sedimentation of a collective imaginary that has gone through the Willendorf and Brassempouy Venuses, but it is also loaded with the whole iconography of modernity that we find in the ads of old magazines and in posters. His figures are almost always archetypes: women are creatures halfway between Eve and Penelope, but they won’t find among the little men their Adam, nor their Ulysses. You could never identify in this artist’s figures the madness of a Don Quixote, that sort of energy able to support the action in spite of its own irrationality. They are just passengers, standing at a station. They will never get on any train, because they just have forgotten their destination (and also their own destiny). There is always in them a kind of enigma to penetrate, which is not the intellectual, hermetic (perhaps alchemical) exercise that you meet in works of art such as Albrecht Dürer’s Melancholia, but rather the metaphysical or existential questioning, as in Giorgio De Chirico’s Enigma of the Arrival and the Afternoon. Just like the figures in De Chirico’s painting, Nando Crippa’s little men and women are at the edge of an empty chessboard, but they have forgotten the rules of the game. Or perhaps they still have to invent them.

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  • Santolo De Luca  (+)

    Biography : This experience brought De Luca to the attention of one of the most important Italian scholars of international graffiti, the late Francesca Alinovi, and to a familiarization with the city of Bologna and the Emilia Romagna region in general. Due to his growing interest in various visual and written languages of communication, De Luca met with Rosanna Chiessi of Reggio Emilia, publisher of visual poetry and curator of the most important international bodyartists, some of whom he had wound up collaborating with. At this point, De Luca designed costumes for the theater piece “Invisible Painting” by Corrado Costa, which was performed in 1986 at the Teatro dell’Orologio in Reggio Emilia. He also arranged the music for the video “The Seven Mattresses of New York” by Giuseppe Desiato and directed Desiato’s film “The Bride of Stromboli.” Also in 1986, the owner of the Studio Oggetto of Caserta and Milan, Massimo De Simone, asked him to present his work in various international exhibitions including, “ART LONDON” in London e “ARCO MADRID” in Spain. In 1987 his work attracted the attention of various curators and cultural critics such as Mercè Alsina Jodar, the director of the gallery ATUAL of Barcelona, where De Luca presented a project entitled “Controbando” under the curation of Louis Francisco Perez. He was invited to present a new private project at the Pascal Lucas gallery in Valencia and to take part in various collective shows in other galleries such as “Fuochi d’Italia” at the Ferran gallery of Palma de Majorca and the exhibit “Cave Canem” at the gallery La Maquina Espaniola of Madrid. Thus he gained the attention of the young, militant, international critics, including the Italian circle, who were full of praise for his work: Gloria Picazo in the magazine Cimal Internacional (Valencia), Concha in the magazine Lapis di (Madrid), Maria Teresa Blanch in an interview for Juliet (Italy), the cover of SEGNO (Italy), Enzo Batta

    Detailed Description : Santolo De Luca was born in Naples on July 10, 1960. He started studying art in the mid-1970s with the advent of the liberalization of ether and thus the birth of the first private networks. He became a member at a very young age of the Associazione Italiana D. J. Professionisti, which had just been formed with Renzo Arbore in charge of the performance and communication sector. That experience, combined with his artistic studies, lasted a decade, accompanied by frequent attendance at aesthetic events in various Italian cities. De Luca’s interest in visual communication took precedence, however, and urged him toward increased contact with the international art system. In 1985, during his first visit to ART BASEL in Basel, the Swiss police arrested him because they found several cans of luminescent spray paint on his person and thus suspected and accused him of being one of the many graffiti artists, who, in those years, were “staining” the walls of subway stations across the world.

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  • Lucio Fontana  (+)

    Biography : Lucio Fontana, was a key figure of the 1950s Avant-garde; he was born in Rosario di Santa Fè, Argentina and his parents had Italian origin. Fontana began his artistic training practising in his father’s studio as sculptor and studying at the same time at Carlo Cattaneo Institute of Milan, where he completed his engineering studies. In 1924 he developed his interest on human figures and abstract shapes. In 1934 together with Fausto Melotti, Atanasio Soldati, Mauro Reggiani he joined the Paris artists group “Abstraction-Création”. Between 1935 and 1939 he devoted his time and energy to ceramic sculptures, working intensely at Albissola, on the Ligurian coast, at his friend Giuseppe Mazzotti’s studio. In 1946 the term Concetto Spaziale appeared for the first time in the titles of a group of drawings by the artist, a term that was to accompany a large part of his output after this date. Back to Milan, he signed the Manifesto dello Spazialismo with a group of young artists, according which the picture should “come out of its frame, the sculpture out of its glass case”, while in 1949 he started the “Buchi” series. In 1958 he came to create the famous “Tagli” series while numerous exhibitions were set in Italy and abroad. Lucio Fontana that belongs to the most important and most influential Italian artists, dies in Italy near Varese in 1968.

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  • Damien Hirst  (+)

    Biography : A British Conceptual artist known for his controversial take on beauty and found-art objects. Hirst was part of the Young British Artists movement that rose to prominence in the early 1990s. As a student at Goldsmiths College in London, his work caught the eye of the collector and gallerist Charles Saatchi, who became an early patron. He went on to win the Turner Prize in 1995. In 2012, he showed what went on to be one of his most controversial work in decades, the installation In and Out of Love, which consisted of two white windowless rooms in which over 9,000 butterflies flitted around and died. The artist lives and works in London, United Kingdom. His works are held in the collections of the Tate Gallery in London, the Hirshhorn Museum and Sculpture Garden in Washington, D.C., and the Rubell Family Collection in Miami.

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  • Robert Motherwell  (+)

    Biography : Robert Motherwell was an American artist and seminal Abstract Expressionist painter. Influenced by the automatic writing and drawing prescribed by the Surrealists, Motherwell’s practice was characterized by an intuitive approach to painting. He is perhaps best known for his iconic Elegy to the Spanish Republic series, which consists of 150 variants of black forms on white backgrounds. “Painting is a medium in which the mind can actualize itself; it is a medium of thought,” he once reflected. “Thus painting, like music, tends to become its own content.” Born on January 24, 1915 in Aberdeen, WA, he moved to New York to study at Columbia University with the art historian Meyer Schapiro. It was Schapiro encouragement that initially led Motherwell to start making paintings. During the early 1940s, he entered a milieu of young artists that included William Baziotes, Jackson Pollock, and Willem de Kooning. Motherwell later taught Cy Twombly and Robert Rauschenberg at the famed Black Mountain College. After returning to New York, he met the painter Helen Frankenthaler in 1957, whom he married three years later. During their 13 year marriage, the two artists’ mutual interest in the poetry of abstraction fueled one another’s work. Motherwell died on July 16, 1991 in Cape Cod, MA. Today, his works are held in the collections of the Art Institute of Chicago, the National Gallery of Art in Washington, D.C., The Museum of Modern Art in New York, and the Tate Modern in London, among others.

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  • Veronica Picelli  (+)

    Biography : Combinations and stratifications of digital and analogue techniques including acrylic painting, screen printing, calligraphy, computer graphic and drawing. The Gothic imagery is intentionally inspired by the gothic and medieval engravings, to a philosophical approach to the conflicts of the human existence and the popular imagination of ritual experience. From the case, interpretable figures emerge involuntarily, unpredictable forms, evocative that through the layers are transformed again and take on new meanings from time to time. The ritual and the method consistently describe these forms. Randomness however, is not lost in the recreation of that casual gesture on the beginning but then sought after. Instead it becomes the spontaneous fruit of a serious research work on shapes and colors. The light shows things, instead the shadows transform them, so that through the manifestation of the shadows there is a loss of physicality in what we observe. In the light everything is very immediate. In darkness instead, there is an awareness of the space that a person occupies. In the dark we make ourselves available by waiting for the eye to get used to seeing.

    Exhibition : Personal and group shows since 2007 at: La Triennale di Milano, Galleria d’Arte Moderna Aroldo Bonzagni (Cento -FE-), Museo della Permanente (Milano), Museo degli Strumenti Musicali (Roma), Galleria Fidia Arte Moderna (Roma), Villa Chiarelli (Renazzo -FE-), Fondazione Metropolitan (Milano), Imbiancheria del Vajro (Chieri -TO-), Galleria Spazia (Bolo-gna), Galleria Seno (Milano), Museo della Permanente (Milano), Palazzo Poncarali (Brescia), Galleria San Federico (To-rino), Palazzo Nagliati (Ferrara), Palazzo Sacrati (Reggio Emilia), Teatro del Verme (Milano), Lanificio di Collegno (Milano), Acquario Civico (Milano), Lanificio 159 (Roma), Villa delle Rose (Bologna), Museo Pecci (Prato), Museo Madre (Napoli), Palazzo Spinola (Rocchetta Ligure).

    Detailed Description : Born in 1981 in Desio (MB), where she also lives and works. She studied at Brera Academy in Milan.

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  • Andy Warhol  (+)

    Biography : Warhol was a successful magazine and ad illustrator who became a leading artist of the 1960s Pop art movements. He ventured into a wide variety of art forms, including performance art, filmmaking, video installations and writing, and controversially blurred the lines between fine art and mainstream aesthetics. Graduated from college with his Bachelor of Fine Arts degree in 1949, Warhol moved to New York City to pursue a career as a commercial artist. He won frequent awards for his uniquely whimsical style, using his own blotted line technique and rubber stamps to create his drawings. He also painted celebrity portraits in vivid and garish colors; his most famous subjects include Marilyn Monroe, Elizabeth Taylor, Mick Jagger and Mao. As these portraits gained fame and notoriety, Warhol began to receive hundreds of commissions for portraits from socialites and celebrities.

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Other Represented Artists

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