- Giovanni Termini
Pregressa
Renata Fabbri arte contemporanea is pleased to announce Pregressa, a solo exhibition by Italian artist Giovanni Termini.
Pregressa should be considered not so much a traditional exhibition experience, rather a sort of exhibition based on the preparation for an exhibition. In doing so, the artist intends to suggest to the audience a sort of work-in-progress, and thereby put several things into question…
Since the beginning, Termini has been building (rather than “sculpting”) his work using material that is previously “contextualized”, in order to challenge the exhibition space and how one usually experiences an art exhibition in a particular gallery space. By manipulating the relationship between objects and their context, the artist is seeking to empty the container (gallery) of its usual content (artwork) and put into question our fetishism of the artifact.
After studying the architectural layout of the gallery, Termini reflected upon the peculiarity of this particular exhibition space, which in the case of Renata Fabbri arte contemporanea, develops vertically rather than horizontally. Consequently, he decided to lower to eye-level that which is usually placed overhead, and in so doing, obstructing that which is usually seen. In this two-fold artistic operation, the viewer is invited to consider a typical exhibition’s installation, or set-up.
The show, divided into two main parts, has been conceived as both unitary and complimentary despite its confrontational stature. In the first room we experience a situation of suspension. As he has done before, Giovanni Termini insists on giving visibility to the work–in-progress, which provokes the viewer to question one’s expectations of both “artwork” as well as “what is a finished artwork”. Specifically, the track lighting has been removed from the ceiling and presented on metal supports. By separating the object from its inherent function of lighting the gallery, the artist compels the viewer to pay more attention to the individual elements which are usually employed to present artwork in a gallery.
As opposed to the emphasis on the track lighting in the first room, the second space’s walls have been completely obscured by panels used on construction sites. By masking the walls, the paneling interferes with how the viewer would normally regard the exhibition space.
The exhibition, Pregressa is not a protest against the traditional art system. Rather, Giovanni Termini explores analytically the contexts in which we exhibit and experience art; and more precisely, the role and identity of the art gallery. With this project, Termini sets for himself the goal of unveiling and, at the same time, subverting the genesis of an art exhibition.
Renata Fabbri arte contemporanea is pleased to announce Pregressa, a solo exhibition by Italian artist Giovanni Termini.
Pregressa should be considered not so much a traditional exhibition experience, rather a sort of exhibition based on the preparation for an exhibition. In doing so, the artist intends to suggest to the audience a sort of work-in-progress, and thereby put several things into question…
Since the beginning, Termini has been building (rather than “sculpting”) his work using material that is previously “contextualized”, in order to challenge the exhibition space and how one usually experiences an art exhibition in a particular gallery space. By manipulating the relationship between objects and their context, the artist is seeking to empty the container (gallery) of its usual content (artwork) and put into question our fetishism of the artifact.
After studying the architectural layout of the gallery, Termini reflected upon the peculiarity of this particular exhibition space, which in the case of Renata Fabbri arte contemporanea, develops vertically rather than horizontally. Consequently, he decided to lower to eye-level that which is usually placed overhead, and in so doing, obstructing that which is usually seen. In this two-fold artistic operation, the viewer is invited to consider a typical exhibition’s installation, or set-up.
The show, divided into two main parts, has been conceived as both unitary and complimentary despite its confrontational stature. In the first room we experience a situation of suspension. As he has done before, Giovanni Termini insists on giving visibility to the work–in-progress, which provokes the viewer to question one’s expectations of both “artwork” as well as “what is a finished artwork”. Specifically, the track lighting has been removed from the ceiling and presented on metal supports. By separating the object from its inherent function of lighting the gallery, the artist compels the viewer to pay more attention to the individual elements which are usually employed to present artwork in a gallery.
As opposed to the emphasis on the track lighting in the first room, the second space’s walls have been completely obscured by panels used on construction sites. By masking the walls, the paneling interferes with how the viewer would normally regard the exhibition space.
The exhibition, Pregressa is not a protest against the traditional art system. Rather, Giovanni Termini explores analytically the contexts in which we exhibit and experience art; and more precisely, the role and identity of the art gallery. With this project, Termini sets for himself the goal of unveiling and, at the same time, subverting the genesis of an art exhibition.
- Giovanni Termini, Delimitata, 2016OSB, variable dimensions
- Giovanni Termini, Pregressa, 2016Neon lighting system facedown and galvanised iron trestles, 465x330x45 cm
- Giovanni Termini, Riversa, 20167 beach umbrellas, 25x240x140 cm
- Giovanni Termini, Superficie praticabile, 2016Digital print, oil bar, 46×34 cm
- Giovanni Termini, Superficie praticabile, 2016Digital print, oil bar, 46×34 cm
- Giovanni Termini, Pregressa, 2016Neon lighting system facedown and galvanised iron trestles, 465x330x45 cm
- Giovanni Termini, Girogiromondo, 2014Nichel, bicycle chain, 62 cm ø

- Eliseo Mattiacci,
- Nunzio,
- Giovanni Termini

- Gaia De Megni

- Bea Bonafini
MAXXI L’AQUILA
December 3, 2023 – March 3, 2024
Curated by Bartolomeo Pietromarchi with Chiara Bertini and Fanny Borel

- Sophie Ko
Villa Pacchiani, Santa Croce sull’Arno (PI)
December 2-17, 2023
Opening December 2, 2023 from 5pm
Curated by Ilaria Mariotti

- Sophie Ko,
- Serena Vestrucci
Studio la Città, Verona
Opening November 25, 2023 from 11am
Curated by Stanislao Vialardi

- Matthieu Haberard
Musée Les Abattoirs, Toulouse
December 8, 2023 – April 28, 2024
With the support of Les Amis des Abattoirs