Entr~Acte
Renata Fabbri is pleased to announce the collective exhibition Entr~Acte, conceived as a special project added to the gallery’s official program, which selects and gathers a series of pictorial and sculptural approaches of young figures in the Italian contemporary art scene. The title, which in English literally means “interval”, is a tribute to the short-film Entr’acte (1924) by the French director René Clair. It is among one of the most significant avant-garde cinema works of the 1920s and the manifesto par excellence of the Dadaism cinema.
Originally created to be projected as an interval between the two parts of the Swedish ballet Relâche by Francis Picabia – with music by Erik Satie and put on stage for the Théâtre des Champs Élysées of Paris by Jean Börlin’s Ballets Suédois dance company – Entr’acte is an absurd and extravagant ballet of grotesque characters and situations. The ever-changing images, together with the playful and experimental editing, aim at stimulating and encouraging the free association of ideas and aesthetic sensations. When faced with eight scenes with no logic continuity, the spectators find themselves projected into an open-eyed dream, into a real conceptual non-sense where the irrationality of the situations and the behavior of the characters themselves – who are overcome by a kind of acred and dissociating humor – re-enact the spirit of the Dada evenings, featuring improvisation and chance.
Starting from this cinematographic avant-garde example, the collective show Entr~Acte brings together and creates a dialogue between eleven artistic practices, which not being connected by any particular narrative or formal intentions, stimulate an expressive vitality that allows each of them to associate, dissociate, get together, come apart and come back together again freely. The opportunity for dialogue which arises within such an extensive and multifaceted scenario, enriched by experiences and subjective views, highlights how variable the perception of one same concept or moment could be. Just like the irrational sequences of the short-film Entr’acte, the individuals become spokespeople of their own identity and their own inventory of thoughts, able to revolutionize the logic of everyday life, questioning the perception of reality and providing new perspectives.
Set up in the exhibition spaces of the Renata Fabbri gallery, it is therefore a choreography, unconscious and distorted, in which each work conveys the spectators into an ever differing dimension and inviting them to feed of new images and stories. The gathering of the works – which have mainly been conceived specially for this exhibition and in dialogue with the spaces – confirms the gallery’s desire to support the many languages of contemporary art, opening up to the interchange with young artists and presenting itself as a place for experimentation and observation of the contemporary needs.
Renata Fabbri is pleased to announce the collective exhibition Entr~Acte, conceived as a special project added to the gallery’s official program, which selects and gathers a series of pictorial and sculptural approaches of young figures in the Italian contemporary art scene. The title, which in English literally means “interval”, is a tribute to the short-film Entr’acte (1924) by the French director René Clair. It is among one of the most significant avant-garde cinema works of the 1920s and the manifesto par excellence of the Dadaism cinema.
Originally created to be projected as an interval between the two parts of the Swedish ballet Relâche by Francis Picabia – with music by Erik Satie and put on stage for the Théâtre des Champs Élysées of Paris by Jean Börlin’s Ballets Suédois dance company – Entr’acte is an absurd and extravagant ballet of grotesque characters and situations. The ever-changing images, together with the playful and experimental editing, aim at stimulating and encouraging the free association of ideas and aesthetic sensations. When faced with eight scenes with no logic continuity, the spectators find themselves projected into an open-eyed dream, into a real conceptual non-sense where the irrationality of the situations and the behavior of the characters themselves – who are overcome by a kind of acred and dissociating humor – re-enact the spirit of the Dada evenings, featuring improvisation and chance.
Starting from this cinematographic avant-garde example, the collective show Entr~Acte brings together and creates a dialogue between eleven artistic practices, which not being connected by any particular narrative or formal intentions, stimulate an expressive vitality that allows each of them to associate, dissociate, get together, come apart and come back together again freely. The opportunity for dialogue which arises within such an extensive and multifaceted scenario, enriched by experiences and subjective views, highlights how variable the perception of one same concept or moment could be. Just like the irrational sequences of the short-film Entr’acte, the individuals become spokespeople of their own identity and their own inventory of thoughts, able to revolutionize the logic of everyday life, questioning the perception of reality and providing new perspectives.
Set up in the exhibition spaces of the Renata Fabbri gallery, it is therefore a choreography, unconscious and distorted, in which each work conveys the spectators into an ever differing dimension and inviting them to feed of new images and stories. The gathering of the works – which have mainly been conceived specially for this exhibition and in dialogue with the spaces – confirms the gallery’s desire to support the many languages of contemporary art, opening up to the interchange with young artists and presenting itself as a place for experimentation and observation of the contemporary needs.
Adelisa Selimbašić, Le Bagnanti, 2021Oil on canvas, 273x304 cm
Ambra Castagnetti, BALALAIKA, 2021Ceramic, metallic glaze, 20x20x100 cm
Giacomo Montanelli, Il mondo è sempre lo stesso, 2020Acrylic on canvas, 35x20 cm
Andrea Martinucci, Turbomondi (tentativo di presa), 2020Acrylic, graphite and powder on projection canvas, 42,5x30,5 cm
Francesco Maluta, Non chi comincia ma quel che persevera, 2021Oil on canvas, 200x180 cm
Jimmy Milani, For us to be one, 2021Dyptich, acrylic on canvas, 23x30 cm (each)
Francesco Pacelli, I wonder who you were when you weren’t there, 2019Epoxy resine, polyurethane resin, cellulose, ceramic, acrylics, spray, flexible LED light, 88x65x53 cm
Ottavia Plazza, Ferguson nel quadro, 2021Oil on canvas, 180x130 cm
Ottavia Plazza, Origame, 2020Oil on pastel on paper, 40x50 cm
Federico Cantale, Secondo tentativo di immersione o la piscina, 2021Lacquered wood, mdf, 40x100x115 cm, detail
Federico Cantale, Secondo tentativo di immersione o la piscina, 2021Lacquered wood, mdf, 40x100x115 cm, detail
Andrea Martinucci, Turbomondi (balletto su Sonata n. 6 Vivace), 2020Acrylic, graphite and powder on projection canvas, 161,5x83,5 cm
Ludovica Anversa, Kiki’s kiss (I) e (II), 2021Oil on linen, 30x35 cm
Giacomo Montanelli, Ennesima occasione sprecata, 2021Acrylic on canvas, 35x20 cm
Ludovico Orombelli, Piumino, 2021Detached tempera on pattina linen cloth, 150x200 cm
Adelisa Selimbašić (Karlsruhe, 1996) lives and works in Milan. She is an Italian-Bosnian artist, graduated from the Academy of Fine Arts in Venice. Adelisa chooses the medium of painting to explore and tell the politics and practices of cultural relativism through the attitudes of the body. In his pictorial grammar, starting from a political dimension of intimacy, anatomies become other expedients towards a multifaceted, multidimensional and never absolute imaginary. Adelisa Selimbašic, with a sculptural and photographic eye, uses the surface of the canvas as a material plane of research to investigate the potential act of vision through color. Her urgency is to consider figuration as a tool to alienate the figurative image from denotative logic, questioning the classical rules of pictorial and photographic composition through the reinterpretation of the reality. (Text by Giulia Pontoriero)
Solo exhibitions: Sara Lo Russo, Spazio Adiacenze, Bologna (2022); IPER- CUBO gallery, STATE OF, Milan (2021);
Group exhibitions: ArchiViVitali, Bellano (2022); Break-in. Temporal displacement, The Address gallery, Brescia (2022); Renata Fabbri, Milan (2021).
Adelisa Selimbašić (Karlsruhe, 1996) lives and works in Milan. She is an Italian-Bosnian artist, graduated from the Academy of Fine Arts in Venice. Adelisa chooses the medium of painting to explore and tell the politics and practices of cultural relativism through the attitudes of the body. In his pictorial grammar, starting from a political dimension of intimacy, anatomies become other expedients towards a multifaceted, multidimensional and never absolute imaginary. Adelisa Selimbašic, with a sculptural and photographic eye, uses the surface of the canvas as a material plane of research to investigate the potential act of vision through color. Her urgency is to consider figuration as a tool to alienate the figurative image from denotative logic, questioning the classical rules of pictorial and photographic composition through the reinterpretation of the reality. (Text by Giulia Pontoriero)
Solo exhibitions: Sara Lo Russo, Spazio Adiacenze, Bologna (2022); IPER- CUBO gallery, STATE OF, Milan (2021);
Group exhibitions: ArchiViVitali, Bellano (2022); Break-in. Temporal displacement, The Address gallery, Brescia (2022); Renata Fabbri, Milan (2021).
Andrea Martinucci (Rome, 1991) is a visual artist who lives and works between Milan and Rome. He works across painting, writing and moving images. His artistic process takes place through assemblages and overlaps across diversified contents. By composing images through modification, fragmentation and hybridisation, the artist elaborates metaphorical nonlinear narratives. His works employ humor, absurdity and poetry to explore themes such as memory loss (whether real or surrogate), experiences and sublimation processes, in order to hypothesize other consciences. His observation of reality translates into the rethinking of everyday objects emptied of their daily value, as ruins expelled from a society speeding towards its own collapse. He then processes these unconscious contents that are able to welcome the mysterious reminiscences to Unknown Universes, ultimately letting viewers decipher the resulting multitude of symbols for themselves.
His work has been exhibited in institutional and experimental spaces such as Institut Français – Palazzo delle Stelline (Milan IT, 2016); IIC Los Angeles (Los Angeles USA, 2022); Mattatoio (Rome IT, 2016); Palazzo Reale (Milan IT, 2019); Tang Contemporary Art (Hong Kong CN, 2020); FuturDome (Milan IT, 2017); Palazzo delle Esposizioni (Rome IT, 2012); IUNO (Rome IT, 2022); VUNU Gallery (Kosice SK, 2020); ZETA Contemporary Art Center (Tirana AL, 2021); Museum of Contemporary Art of Villa Croce (Genoa IT, 2012); Museum of Art and Archaeology of Maremma (Grosseto IT, 2017); Fondazione Pastificio Cerere (Rome IT, 2012) and In De Ruimte Space (Gent BE, 2019).
In 2020 he was among the winners of Cantica21. Italian Contemporary Art Everywhere (supported by Directorate General for Contemporary Creativity by the Italian Ministry of Culture and by the Italian Ministry of Foreign Affairs), with Turbomondi (Melodia), a video installation destined for the Public Collection of Istituto Centrale per la Grafica, Rome, IT. He took part in several projects, among which: Tonight we are young – New Italian Art, Triennale (Milan IT, 2022); Fenomeno Pasquarosa, La Fondazione – Nicola Del Roscio Foundation (Rome IT, 2020); MANIFesta – Iniziative di II, MACRO – Museum of Contemporary Art of Rome (Rome IT, 2021), Rereading the Archive, ICA Foundation (Milan, IT 2022) and SPRINT, O’ Space (Milan IT, 2017).
Andrea Martinucci (Rome, 1991) is a visual artist who lives and works between Milan and Rome. He works across painting, writing and moving images. His artistic process takes place through assemblages and overlaps across diversified contents. By composing images through modification, fragmentation and hybridisation, the artist elaborates metaphorical nonlinear narratives. His works employ humor, absurdity and poetry to explore themes such as memory loss (whether real or surrogate), experiences and sublimation processes, in order to hypothesize other consciences. His observation of reality translates into the rethinking of everyday objects emptied of their daily value, as ruins expelled from a society speeding towards its own collapse. He then processes these unconscious contents that are able to welcome the mysterious reminiscences to Unknown Universes, ultimately letting viewers decipher the resulting multitude of symbols for themselves.
His work has been exhibited in institutional and experimental spaces such as Institut Français – Palazzo delle Stelline (Milan IT, 2016); IIC Los Angeles (Los Angeles USA, 2022); Mattatoio (Rome IT, 2016); Palazzo Reale (Milan IT, 2019); Tang Contemporary Art (Hong Kong CN, 2020); FuturDome (Milan IT, 2017); Palazzo delle Esposizioni (Rome IT, 2012); IUNO (Rome IT, 2022); VUNU Gallery (Kosice SK, 2020); ZETA Contemporary Art Center (Tirana AL, 2021); Museum of Contemporary Art of Villa Croce (Genoa IT, 2012); Museum of Art and Archaeology of Maremma (Grosseto IT, 2017); Fondazione Pastificio Cerere (Rome IT, 2012) and In De Ruimte Space (Gent BE, 2019).
In 2020 he was among the winners of Cantica21. Italian Contemporary Art Everywhere (supported by Directorate General for Contemporary Creativity by the Italian Ministry of Culture and by the Italian Ministry of Foreign Affairs), with Turbomondi (Melodia), a video installation destined for the Public Collection of Istituto Centrale per la Grafica, Rome, IT. He took part in several projects, among which: Tonight we are young – New Italian Art, Triennale (Milan IT, 2022); Fenomeno Pasquarosa, La Fondazione – Nicola Del Roscio Foundation (Rome IT, 2020); MANIFesta – Iniziative di II, MACRO – Museum of Contemporary Art of Rome (Rome IT, 2021), Rereading the Archive, ICA Foundation (Milan, IT 2022) and SPRINT, O’ Space (Milan IT, 2017).
Giacomo Montanelli (San Miniato, 1996) lives and works between Milan and San Miniato. His works display the narrative and design interweaving of the forms and readings that accompany visual cultures and their history. He juggles with our perception. Primary, allusive, encrypted shapes and symbols in necessary colors are the result of a studied planning. He wants the focus to be on the language of the images themselves, how shapes and colors influence each other and work together to produce thoughts and narratives. The subjects of Montanelli’s works often evoke the tension of the relationship between individual and community, referring to the traces they leave in the world, with critical and individual consciousness.
He graduated in painting at the Academy of Fine Arts of Brera. His work has been exhibited in some galleries and institutions including: Keteleer Gallery, Antwerp; Fondazione ICA, Milan; Ordet, Milan; Fondazione Pini, Milan; Studiolo Project, Milan; Renata Fabbri, Milan; Cardi Gallery, Milan; Villa Vertua Masolo, Nova Milanese; Toast Project Space Manifattura Tabacchi, Florence. He has participated in residencies including: Cantieri Aperti, Massa; Simposio di Pittura at Fondazione Lac o Le Mon, Lecce; Residenza La Fornace. He participated in the classroom workshop with Emanuele Coccia and Luca Trevisani. His works are published in Nero Magazine, Flash Art, ATP Diary, Exibart.
Giacomo Montanelli (San Miniato, 1996) lives and works between Milan and San Miniato. His works display the narrative and design interweaving of the forms and readings that accompany visual cultures and their history. He juggles with our perception. Primary, allusive, encrypted shapes and symbols in necessary colors are the result of a studied planning. He wants the focus to be on the language of the images themselves, how shapes and colors influence each other and work together to produce thoughts and narratives. The subjects of Montanelli’s works often evoke the tension of the relationship between individual and community, referring to the traces they leave in the world, with critical and individual consciousness.
He graduated in painting at the Academy of Fine Arts of Brera. His work has been exhibited in some galleries and institutions including: Keteleer Gallery, Antwerp; Fondazione ICA, Milan; Ordet, Milan; Fondazione Pini, Milan; Studiolo Project, Milan; Renata Fabbri, Milan; Cardi Gallery, Milan; Villa Vertua Masolo, Nova Milanese; Toast Project Space Manifattura Tabacchi, Florence. He has participated in residencies including: Cantieri Aperti, Massa; Simposio di Pittura at Fondazione Lac o Le Mon, Lecce; Residenza La Fornace. He participated in the classroom workshop with Emanuele Coccia and Luca Trevisani. His works are published in Nero Magazine, Flash Art, ATP Diary, Exibart.
Ottavia Plazza (Alessandria, 1992) studied Paint at the Albertine Academy of fine arts in Turin where she lives and works. In 2015, she founded Spaziobuonasera project- space together with a group of artists, and this lets her organize personal and collective exhibitions. The project ended in 2019. Her work is characterized by the study of color and the thought of redesigning the space trough architecture. She draws inspiration from the rooms of her own home, modifying the lines, creating places with impossible perspectives. Through her work Plazza tries to recreate a familiar space, including elements that have nothing to do with painting. Her goal is to dive into the canvas and let the public dive into them and this is the reason why she utilizes really big canvas. The artists creates an imaginary place using everyday objects in strange and awkward spaces, a place between reality and fiction.
Among her solo exhibitions: Che il mondo intero sia di polvere rossa, Spaziobuonasera curated by Spaziobuonasera and Lisa Andreani (Torino, 2019), Interno viola, Bitcorp for art (Milano, 2019), curated by Greta Scarpa. In the same year the artist took part in different bi-personal and group exhibitions as: Una stanza tutta per sé, Edicola Radetzky (Milano, 2019), curated by Lisa Andreani; Sabaudade, Las Palmas (Lisbon, 2019) curated by Spaziobuonasera e Las Palmas project; Hic sunt Leones, Cicaleto House Concert (Arezzo, 2019), curated by Carla Chiarchiaro; Pelle d’oca, Villa Vertua Musolo (Milano, IT), curated by Lisa Andreani and Simona Squadrito; Projectroom FSRR, Fondazione Sandretto Re Rebaudengo with Fondazione IEO-CCM.
In 2021 she took part at the following group exhibitions: ENTR~ACTE, Renata Fabbri (Milano,IT), curated by Chiara Alice Guidi e Sei pittori, Casa Museo Felice Casorati Pavarolo (Torino, IT), curated by Société Interludio. In 2018 she took part at the workshop Q-Rated at Quadriennale di Roma and in 2019 she was finalist of the graphic project for Vinitaly, Artissima e Regione Piemonte, Verona.
Ottavia Plazza (Alessandria, 1992) studied Paint at the Albertine Academy of fine arts in Turin where she lives and works. In 2015, she founded Spaziobuonasera project- space together with a group of artists, and this lets her organize personal and collective exhibitions. The project ended in 2019. Her work is characterized by the study of color and the thought of redesigning the space trough architecture. She draws inspiration from the rooms of her own home, modifying the lines, creating places with impossible perspectives. Through her work Plazza tries to recreate a familiar space, including elements that have nothing to do with painting. Her goal is to dive into the canvas and let the public dive into them and this is the reason why she utilizes really big canvas. The artists creates an imaginary place using everyday objects in strange and awkward spaces, a place between reality and fiction.
Among her solo exhibitions: Che il mondo intero sia di polvere rossa, Spaziobuonasera curated by Spaziobuonasera and Lisa Andreani (Torino, 2019), Interno viola, Bitcorp for art (Milano, 2019), curated by Greta Scarpa. In the same year the artist took part in different bi-personal and group exhibitions as: Una stanza tutta per sé, Edicola Radetzky (Milano, 2019), curated by Lisa Andreani; Sabaudade, Las Palmas (Lisbon, 2019) curated by Spaziobuonasera e Las Palmas project; Hic sunt Leones, Cicaleto House Concert (Arezzo, 2019), curated by Carla Chiarchiaro; Pelle d’oca, Villa Vertua Musolo (Milano, IT), curated by Lisa Andreani and Simona Squadrito; Projectroom FSRR, Fondazione Sandretto Re Rebaudengo with Fondazione IEO-CCM.
In 2021 she took part at the following group exhibitions: ENTR~ACTE, Renata Fabbri (Milano,IT), curated by Chiara Alice Guidi e Sei pittori, Casa Museo Felice Casorati Pavarolo (Torino, IT), curated by Société Interludio. In 2018 she took part at the workshop Q-Rated at Quadriennale di Roma and in 2019 she was finalist of the graphic project for Vinitaly, Artissima e Regione Piemonte, Verona.
Ambra Castagnetti was born in 1993 in Genova and she now lives and works in Milan. She is a visual artist that works with sculpture, video, and installation. After the bachelor’s degree in Anthropology, she graduated in Visual Arts at NABA (Milan) with a short film curated by Adrian Paci.
In her work, Castagnetti attempts to dispel and release the feelings of disquiet that arise from dealing with everyday life. Focused on natural, feminine, and animal forms, the artist redraws her feelings towards reality: the body and the mind, and the relationship between the two, become central elements. Ceramic and metal shield a soft, fragile material that would otherwise be destined to dissipate and is unrecognizable in their reflection.
Selected recent shows and projects: La Biennale di Venezia, Venice (2022), Renata Fabbri, Milan (2021), Francesca Minini (2022), Manifattura Tabacchi, Florence (2021), Eastcontemporary, Entrevaux (2021), Rolando Anselmi Galerie, Rome (2021), Palazzo Monti, Brescia (2021), Mana Contemporary, New York (2020), Art Drive In, Brescia (2020), Casa Testori, Milan (2019), Villa Necchi, Milano (2019). In 2020 she joined the residency programmes in Palazzo Monti, Brescia and Manifattura Tabacchi, Florence.
“Through different mediums such as sculpture, painting, installation, and video, Ambra Castagnetti explores the complex relations between the body and physical and political environment, through a political glance never lacking an implicit dimension of criticism. The evocative power of the images helps to penetrate the complex relation between poetic and political, between reality and fiction, creating a fluid imaginary. The attraction for the body always comes with a wider attraction for the living, where the animal, the mountain, water, desert, earth and sky are called to participate in a unitary narration full of intimacy”.
Adrian Paci
Ambra Castagnetti was born in 1993 in Genova and she now lives and works in Milan. She is a visual artist that works with sculpture, video, and installation. After the bachelor’s degree in Anthropology, she graduated in Visual Arts at NABA (Milan) with a short film curated by Adrian Paci.
In her work, Castagnetti attempts to dispel and release the feelings of disquiet that arise from dealing with everyday life. Focused on natural, feminine, and animal forms, the artist redraws her feelings towards reality: the body and the mind, and the relationship between the two, become central elements. Ceramic and metal shield a soft, fragile material that would otherwise be destined to dissipate and is unrecognizable in their reflection.
Selected recent shows and projects: La Biennale di Venezia, Venice (2022), Renata Fabbri, Milan (2021), Francesca Minini (2022), Manifattura Tabacchi, Florence (2021), Eastcontemporary, Entrevaux (2021), Rolando Anselmi Galerie, Rome (2021), Palazzo Monti, Brescia (2021), Mana Contemporary, New York (2020), Art Drive In, Brescia (2020), Casa Testori, Milan (2019), Villa Necchi, Milano (2019). In 2020 she joined the residency programmes in Palazzo Monti, Brescia and Manifattura Tabacchi, Florence.
“Through different mediums such as sculpture, painting, installation, and video, Ambra Castagnetti explores the complex relations between the body and physical and political environment, through a political glance never lacking an implicit dimension of criticism. The evocative power of the images helps to penetrate the complex relation between poetic and political, between reality and fiction, creating a fluid imaginary. The attraction for the body always comes with a wider attraction for the living, where the animal, the mountain, water, desert, earth and sky are called to participate in a unitary narration full of intimacy”.
Adrian Paci
Ludovico Orombelli (Como, 1996) lives and works in Milan. After practicing mural painting with his father at a young age, he began a personal research on creative processes which combine ancient techniques with the objects and images defining our existence today. The use of materials referring to traditions of trompe l’oeil and relief printing gives rise to tactile paintings that question the nature of representation and misrepresentation. The final works awake dormant perceptions and unhinge the habitual cognition of today’s visual landscape.
Orombelli gained a BA (hons) in Fine Art at Arts University Bournemouth, UK, 2019. He takes part to artist residencies at Dolomiti Contemporanee, Borca di Cadore, Italy and VIR Viafarini-in-residence, Milan, Italy. Recent collective exhibitions include Spaces, an open intimacy, Tagli, ArtNoble Gallery, Milan, Italy, 2022; Break-in. Temporal Displacement, The Address Gallery, Brescia, Italy, 2022; Entre-Acte, Renata Fabbri Contemporary Art, Milan, Italy, 2021 and Italian Twist, Gallerie delle Prigioni, Treviso, Italy, 2021. He was invited to art talks such as Fuoco Incrociato #1 Stefano Arienti- Ludovico Orombelli a cura di Giulio Verago, Viafarini, Milan, Italy and Painting Now, la pittura emergente in Italia a cura di Carlo Sala, Fondazione Imago Mundi, Treviso, Italy.
Ludovico Orombelli (Como, 1996) lives and works in Milan. After practicing mural painting with his father at a young age, he began a personal research on creative processes which combine ancient techniques with the objects and images defining our existence today. The use of materials referring to traditions of trompe l’oeil and relief printing gives rise to tactile paintings that question the nature of representation and misrepresentation. The final works awake dormant perceptions and unhinge the habitual cognition of today’s visual landscape.
Orombelli gained a BA (hons) in Fine Art at Arts University Bournemouth, UK, 2019. He takes part to artist residencies at Dolomiti Contemporanee, Borca di Cadore, Italy and VIR Viafarini-in-residence, Milan, Italy. Recent collective exhibitions include Spaces, an open intimacy, Tagli, ArtNoble Gallery, Milan, Italy, 2022; Break-in. Temporal Displacement, The Address Gallery, Brescia, Italy, 2022; Entre-Acte, Renata Fabbri Contemporary Art, Milan, Italy, 2021 and Italian Twist, Gallerie delle Prigioni, Treviso, Italy, 2021. He was invited to art talks such as Fuoco Incrociato #1 Stefano Arienti- Ludovico Orombelli a cura di Giulio Verago, Viafarini, Milan, Italy and Painting Now, la pittura emergente in Italia a cura di Carlo Sala, Fondazione Imago Mundi, Treviso, Italy.
Francesco Maluta (Lovere, 1983) lives and works in Milan. He graduated from the Academy of Fine Arts in Venice. Francesco Maluta’s fabulous bestiary throws us with irony in the tragedy of childhood, between the epic majesty of indomitable wild beasts and the reassuring and yet goofing domesticity of stuffed animals.The oil paintings, whether they are great epic narratives or small scenes, are marked by a range of colours between the acid tones of yellow–green and deep–brown–purple cleverly intertwined to show an apocalyptic vision of the world, crossed by sparks of hope.
Often the titles of the works reveal the mocking character of the artist, which leaves us waiting for an unexpected ending, whether redeeming or catastrophic, it is not known. But freed from any metaphysical transcendence, Francesco Maluta’s playful world makes us think of the bestial banality of the human affairs.
Barbara Garatti
He has exhibited his work in solo exhibitions at Casa Capra, Schio (2019), the Fonderia Artistica Battaglia of Milan (2018), TRA Treviso Ricerca Arte (2018) and Orto Botanico of Siena (2018). Collective exhibitions include: Museo d’Arte Moderna Ugo Carà of Muggia (1996–2019, 2019), Museo Santa Maria of Scala di Siena (2018), Galleria Monitor of Rome (Torre Maluttona – Mercato Babelico, 2018), Collezione Zoologia of Comerio (2017), Dimora Artica in Milan (2016), the Fondazione Bevilacqua La Masa in Venice (99ma Collettiva Giovani Artisti, 2015). In 2017 Maluta was the finalist of Premio Fondazione Francesco Fabbri and the winner of Premio TRA Treviso Ricerca Arte; in 2018 was finalist of Premio Combat and in 2019 he was among the winners of Premio YICCA International Contest of Contemporary Art. He has participated in numerous residencies and workshops including: Grand Tour en Italie, San Gimignano (2019); VIR Viafarini–in–residence, Milan (2017); Madeinfinlandia, Pergine Valdarno (2015); Penthouse Art Space Residency, Bruxelles (2015).
Francesco Maluta (Lovere, 1983) lives and works in Milan. He graduated from the Academy of Fine Arts in Venice. Francesco Maluta’s fabulous bestiary throws us with irony in the tragedy of childhood, between the epic majesty of indomitable wild beasts and the reassuring and yet goofing domesticity of stuffed animals.The oil paintings, whether they are great epic narratives or small scenes, are marked by a range of colours between the acid tones of yellow–green and deep–brown–purple cleverly intertwined to show an apocalyptic vision of the world, crossed by sparks of hope.
Often the titles of the works reveal the mocking character of the artist, which leaves us waiting for an unexpected ending, whether redeeming or catastrophic, it is not known. But freed from any metaphysical transcendence, Francesco Maluta’s playful world makes us think of the bestial banality of the human affairs.
Barbara Garatti
He has exhibited his work in solo exhibitions at Casa Capra, Schio (2019), the Fonderia Artistica Battaglia of Milan (2018), TRA Treviso Ricerca Arte (2018) and Orto Botanico of Siena (2018). Collective exhibitions include: Museo d’Arte Moderna Ugo Carà of Muggia (1996–2019, 2019), Museo Santa Maria of Scala di Siena (2018), Galleria Monitor of Rome (Torre Maluttona – Mercato Babelico, 2018), Collezione Zoologia of Comerio (2017), Dimora Artica in Milan (2016), the Fondazione Bevilacqua La Masa in Venice (99ma Collettiva Giovani Artisti, 2015). In 2017 Maluta was the finalist of Premio Fondazione Francesco Fabbri and the winner of Premio TRA Treviso Ricerca Arte; in 2018 was finalist of Premio Combat and in 2019 he was among the winners of Premio YICCA International Contest of Contemporary Art. He has participated in numerous residencies and workshops including: Grand Tour en Italie, San Gimignano (2019); VIR Viafarini–in–residence, Milan (2017); Madeinfinlandia, Pergine Valdarno (2015); Penthouse Art Space Residency, Bruxelles (2015).
- Andrea Martinucci
- Bea Bonafini,
- Andrea Martinucci,
- Serena Vestrucci
Oct 14 – 16, 2022
Main Section
Pav. 12 – Booth H7
- T-Yong Chung,
- Andrea Martinucci,
- Florian Roithmayr
Oct 11-13, 2019
Pav. 12 – Booth SC7
- Rebecca Ackroyd,
- Sophie Ko,
- Andrea Martinucci
Oct 13-15, 2018
Pav. 12 – Booth SC7
Renata Fabbri is delighted to announce that the artist has been chosen to create a project for the Croatian pavilion at the Sixtieth Venice Biennale, to take place April 20 to November 24, 2024.
