- Giovanni Kronenberg
Artissima
Nov 1 – 3, 2019
Drawing Section
Booth Purple DS 18
Since the early stages of its development Giovanni Kronenberg’s work has been characterized by a tight relationship/reciprocity between sculpture – defined by a radically physical and formal approach – and drawing, which either anticipates or follows his sculpture’s tactile and ergonomic features. Throughout the years his works on paper have been subject to an evolution, first departing from pure black graphite these works have gradually transformed and opened up to color. This passage highlighted the peculiarities of these drawings: they are sinuous forms, suspended, free from any spatial connotation, whose surfaces are significantly enlivened by color. They are mysterious figures that suggest a light materiality inscribed to an abstract space.
Like Kronenberg’s sculptures, these images raise the curiosity of the viewer without revealing anything about their own identity. Some of them remind of natural structures in progressive ramification – such as crystals, precious stones or sea sponges, all objects that he has often used in his sculptures – which either extend in space or mass on themselves as cancers. The artist has recently started implementing a 22 carats leave, using it both as background and as a key element of the composition. By relying on different precious materials – like gold, silver and malachite – Kronenberg imagines his artworks as byzantine icons from the 15th and 16th century, sharing with them a timeless nature.
Giovanni Kronenberg, Senza titolo, 2019Colored pencils on black paper, 44x31,5 cm
Giovanni Kronenberg, Senza titolo, 2019Colored pencils on black paper, 44x31,5 cm
Giovanni Kronenberg, Senza titolo, 2019Colored pencils and gold foil on paper, 53x37,5 cm
Giovanni Kronenberg, Senza titolo, 2019Colored pencils on paper, 44x31,5 cm
Giovanni Kronenberg, Senza titolo, 2019Colored pencils and gold foil on paper, 38x28 cm
Giovanni Kronenberg, Senza titolo, 2019Colored pencils and gold foil on paper, 32,5x24,5 cm
Giovanni Kronenberg, Senza titolo, 2019Colored pencils and gold foil on paper, 32,5x24,5 cm
Giovanni Kronenberg, Senza Titolo, 2019Colored pencils and marker on paper, 32,5x24,5x3 cm
Giovanni Kronenberg, Senza titolo, 2019Colored pencils and gold foil on black paper, 31,5x22,5 cm
Giovanni Kronenberg, Senza titolo, 2019Colored pencils, gold foil and marker on paper, 32,5x24,5 cm
Giovanni Kronenberg, Senza Titolo, 2019Colored pencils and gold foil on paper, 32,5x24,5x3 cm
Giovanni Kronenberg, Senza Titolo, 2019Colored pencils and gold foil on paper, 32,5x24,5x3 cm
Giovanni Kronenberg, Senza Titolo, 2019Colored pencils and marker on paper, 32,5x24,5x3 cm
Giovanni Kronenberg, Senza titolo, 2019Colored pencils on paper, 32,5x24,5 cm
The work of Giovanni Kronenberg (Milan, 1974, lives and works in Milan) comprises essentially sculptures and drawings: unusual or rare objects and natural artifacts – like rocks and stones, minerals and precious crystals, horns, bones, furs, sea sponge and ostrich eggs – which the artist defines as “not worn out by gazes”. Often collectible objects, Kronenberg operates on them with minimal insertions and transformations that bring together distant times, often unreachable. Through actions like twisting, occluding, replacement, and superimposition – but also, on the contrary, using slight and temporary interventions – the artist crafts unexpected objects with an eccentric, magnetic, and at the same time disturbing presence. The creation of a “combinatorial grammar” is the operation at the core of his work: a language that effects the slow sedimentation of the evocative qualities inherent in objects, on their subsequent alteration, through forms of intrusion. This relation between objects and reality, mostly ambiguous and elusive, also represents a key to Kronenberg’s drawings. Here, the image, suspended in an abstract dimension, gives rise to a space without references that seems to translate the figure’s presence into a kind of epiphany or apparition.
Among his recent solo shows: Rizzuto Gallery (2023); z2o Sara Zanin, Rome (2016, 2019 and 2022); Renata Fabbri, Milan (2017 and 2020); Quartz Studio, Turin (2020); Galleria Fuoricampo, Siena/Brussels (2014); and Studio Guenzani, Milan (2006, 2007 and 2012). Recent group exhibitions include: Museo Civico Villa La Rinchiostra, Massa (2021); Museo Diocesano, Foligno (2021); z2o Sara Zanin, Rome (2020); Renata Fabbri, Milan (2020); Civic Medieval Museum, Bologna (2020); Basilica Palladiana, Vicenza (2013); MACRO – Museum of Contemporary Art of Rome (2012); The Polish Institute of Rome (2012); Nomas Foundation, Rome (2012); Fondazione Sandretto Re Rebaudengo, Turin (2011); Castello Colonna di Genazzano, Genazzano (2010); Peep-Hole, Milan (2009 and 2010); Museum of Contemporary Art, Lugano (2009); MAXXI – National Museum of XXI Century Arts, Rome (2007); Galleria Comunale d’Arte Contemporanea, Monfalcone (2008); Arte all’Arte X, San Gimignano (2005); Viafarini, Milan (2004 and 2005); and Fondazione Antonio Ratti, Como (2003).
The work of Giovanni Kronenberg (Milan, 1974, lives and works in Milan) comprises essentially sculptures and drawings: unusual or rare objects and natural artifacts – like rocks and stones, minerals and precious crystals, horns, bones, furs, sea sponge and ostrich eggs – which the artist defines as “not worn out by gazes”. Often collectible objects, Kronenberg operates on them with minimal insertions and transformations that bring together distant times, often unreachable. Through actions like twisting, occluding, replacement, and superimposition – but also, on the contrary, using slight and temporary interventions – the artist crafts unexpected objects with an eccentric, magnetic, and at the same time disturbing presence. The creation of a “combinatorial grammar” is the operation at the core of his work: a language that effects the slow sedimentation of the evocative qualities inherent in objects, on their subsequent alteration, through forms of intrusion. This relation between objects and reality, mostly ambiguous and elusive, also represents a key to Kronenberg’s drawings. Here, the image, suspended in an abstract dimension, gives rise to a space without references that seems to translate the figure’s presence into a kind of epiphany or apparition.
Among his recent solo shows: Rizzuto Gallery (2023); z2o Sara Zanin, Rome (2016, 2019 and 2022); Renata Fabbri, Milan (2017 and 2020); Quartz Studio, Turin (2020); Galleria Fuoricampo, Siena/Brussels (2014); and Studio Guenzani, Milan (2006, 2007 and 2012). Recent group exhibitions include: Museo Civico Villa La Rinchiostra, Massa (2021); Museo Diocesano, Foligno (2021); z2o Sara Zanin, Rome (2020); Renata Fabbri, Milan (2020); Civic Medieval Museum, Bologna (2020); Basilica Palladiana, Vicenza (2013); MACRO – Museum of Contemporary Art of Rome (2012); The Polish Institute of Rome (2012); Nomas Foundation, Rome (2012); Fondazione Sandretto Re Rebaudengo, Turin (2011); Castello Colonna di Genazzano, Genazzano (2010); Peep-Hole, Milan (2009 and 2010); Museum of Contemporary Art, Lugano (2009); MAXXI – National Museum of XXI Century Arts, Rome (2007); Galleria Comunale d’Arte Contemporanea, Monfalcone (2008); Arte all’Arte X, San Gimignano (2005); Viafarini, Milan (2004 and 2005); and Fondazione Antonio Ratti, Como (2003).
- Giovanni Kronenberg,
- Margherita Moscardini,
- Serena Vestrucci
Nov 5 – 7, 2021
Main Section
Corridor Dark Blue 9
- Giovanni Kronenberg
Curated by Vincenzo de Bellis and Alessandro Rabottini
- Giovanni Kronenberg
- Sophie Ko,
- Matthieu Haberard,
- Lulù Nuti
Nov 4-6, 2022
Main Section
Hall Red – Booth 11
