- Eliseo Mattiacci,
- Nunzio,
- Giovanni Termini
Scultura #1
Renata Fabbri arte contemporanea is pleased to announce the exhibition Scultura #1 Mattiacci Nunzio Termini that will inaugurate on November 23, marking the first show in a series of events devoted to establishing a dialogue between sculptors who use varying means of expression.
In the Milanese gallery, the works of the three artists – who have been personally engaged in all its initial, construction, and installation phases – dialogue though maintaining their individuality also with the public in a unique three-person conversation.
Eliseo Mattiacci (Cagli, PS – 1940), Nunzio (Cagnano Amiterno, AQ – 1954), and Giovanni Termini (Assoro, EN – 1972) have different backgrounds and conduct diverse research. Yet their way of making sculpture, their objectives and courses allow for moments of encounter where the sense of proceeding takes cue from the experiences of the others, and where exchange is availability and ability to interpret a thought, which is not limited to meeting but instead goes beyond, establishing a land, a place of possible overlapping, and, naturally, dialogue. And it is precisely this idea of sculpture – able to interact with the space by changing and enlivening it – that joins these three artists, whose works imbue the venue and become a part of it, erasing the distance between them and initiating a sort of alchemy that unites the work with its surroundings.
Each artist displays floor and wall sculptures, some of which were made specifically for the show. Eliseo Mattiacci presents an important work from the mid-1990s: Tempo globale and his “propeller” Dinamica Verticale from 2013, along with a map from the early 1980s from the series Dechirages. Instead, Nunzio displays three never-before-seen works: in addition to a map made for the show, the artist presents a large burned wooden column of intense black, plus a work with lead on wood that stands out for its silent opaqueness and soft materials. Instead, Giovanni Termini presents a cement sculpture from 2015 titled Tentativo di ripresa, and Stretta all’angolo, also from 2015, a work in steel and neon that expands across the gallery and which seems to lean and comply with the needs of the sculpture, which irreversibly transforms it and modifies its perception
Renata Fabbri arte contemporanea is pleased to announce the exhibition Scultura #1 Mattiacci Nunzio Termini that will inaugurate on November 23, marking the first show in a series of events devoted to establishing a dialogue between sculptors who use varying means of expression.
In the Milanese gallery, the works of the three artists – who have been personally engaged in all its initial, construction, and installation phases – dialogue though maintaining their individuality also with the public in a unique three-person conversation.
Eliseo Mattiacci (Cagli, PS – 1940), Nunzio (Cagnano Amiterno, AQ – 1954), and Giovanni Termini (Assoro, EN – 1972) have different backgrounds and conduct diverse research. Yet their way of making sculpture, their objectives and courses allow for moments of encounter where the sense of proceeding takes cue from the experiences of the others, and where exchange is availability and ability to interpret a thought, which is not limited to meeting but instead goes beyond, establishing a land, a place of possible overlapping, and, naturally, dialogue. And it is precisely this idea of sculpture – able to interact with the space by changing and enlivening it – that joins these three artists, whose works imbue the venue and become a part of it, erasing the distance between them and initiating a sort of alchemy that unites the work with its surroundings.
Each artist displays floor and wall sculptures, some of which were made specifically for the show. Eliseo Mattiacci presents an important work from the mid-1990s: Tempo globale and his “propeller” Dinamica Verticale from 2013, along with a map from the early 1980s from the series Dechirages. Instead, Nunzio displays three never-before-seen works: in addition to a map made for the show, the artist presents a large burned wooden column of intense black, plus a work with lead on wood that stands out for its silent opaqueness and soft materials. Instead, Giovanni Termini presents a cement sculpture from 2015 titled Tentativo di ripresa, and Stretta all’angolo, also from 2015, a work in steel and neon that expands across the gallery and which seems to lean and comply with the needs of the sculpture, which irreversibly transforms it and modifies its perception
Nunzio, Senza titolo, 2015Lead on wood, 120x120 cm
Eliseo Mattiacci, Dinamica Verticale, 2013Aluminum and antimony, 70x57x70 cm
Eliseo Mattiacci, Senza titolo, 2015Lead and mixed media on cardboard, 54,5x40,5 cm
Eliseo Mattiacci, Senza titolo, 2015Lead and mixed media on cardboard, 56x45,5 cm
Eliseo Mattiacci, Dechirage, 1982Mixed media on paper and plexiglass, 70,4x50 cm
Eliseo Mattiacci, Tempo Globale, 1994Iron, 261x120x120 cm
Giovanni Termini, Stretta all’angolo, 2015Galvanized iron, electric wire, white neon, 2 elements 300x5x2,5 cm, 295x5x2,5 cm, variable dimensions
Giovanni Termini, Tentativo di ripresa, 2015Wood, concrete, glass, tape, clamps, 220x113x3,5 cm
Nunzio, Senza titolo, 2015Burning on wood, 260x60x40 cm
Eliseo Mattiacci (Cagli, 1940 – Fossombrone, 2019) was an italian artist. He moved to Rome in 1964. In 1967 La Tartaruga gallery opened Mattiacci’s first solo exhibition, featuring “Tubo” (Tube), a 150 meters, yellow-coloured, nickel-plated iron tube that “changes the perception of the environment and encourages the public to modify it.” In those years, contemporary artists experienced the limit of conventional institutional spaces together with a strong need of unconventional contexts to express their languages, which drove to a greater freedom in action and forms of expression. In this scenario, the Roman gallery L’Attico-garage by Fabio Sargentini marked a turning point: Mattiacci in 1969 entered the gallery with a compressor that crushes a path made of pozzolana ash.
Along the years, the research of the artist strengthened around the relation with the specific site, both natural (as a quarry) and human-designed (as an archaeological site) environment; also, his work focused on visible and invisible physical energies – such as gravity force and the attraction generated by large magnets – fueled by a constant, ideal tension to remove weight from the heavy matter. The exhibition held at the archeological site of the Trajan’s Markets in Rome in 2001 has exemplified his established narrative.
Eliseo Mattiacci (Cagli, 1940 – Fossombrone, 2019) was an italian artist. He moved to Rome in 1964. In 1967 La Tartaruga gallery opened Mattiacci’s first solo exhibition, featuring “Tubo” (Tube), a 150 meters, yellow-coloured, nickel-plated iron tube that “changes the perception of the environment and encourages the public to modify it.” In those years, contemporary artists experienced the limit of conventional institutional spaces together with a strong need of unconventional contexts to express their languages, which drove to a greater freedom in action and forms of expression. In this scenario, the Roman gallery L’Attico-garage by Fabio Sargentini marked a turning point: Mattiacci in 1969 entered the gallery with a compressor that crushes a path made of pozzolana ash.
Along the years, the research of the artist strengthened around the relation with the specific site, both natural (as a quarry) and human-designed (as an archaeological site) environment; also, his work focused on visible and invisible physical energies – such as gravity force and the attraction generated by large magnets – fueled by a constant, ideal tension to remove weight from the heavy matter. The exhibition held at the archeological site of the Trajan’s Markets in Rome in 2001 has exemplified his established narrative.
Nunzio Di Stefano (Cagnano Amiterno, 1954) lives and works between Rome and Turin. He studied at the Academy of Fine Arts of Rome and he graduated in the course of Toti Scialoja. His first exhibition was at Galleria Spatia in Bolzano in 1981. In 1985 he exposed in Usa for the first time, at Annina Nosei gallery in New York. From that moment he attracted the interest of collectors and his works started being appreciated internationally. In 1986 at L’Attico in Rome he presented his first works made of wood and lead. Some of them were exposed at the XLII Venice Biennial, where he won the “Premio 2000” award as best young artist. Some of the most important national and international exhibitions are:, Nouvelle Biennale de Paris 1985; Centre National d’Art Contemporain, Nice, Castello Colonna in Genazzano, Galleria Comunale in Bologna;, Aspekte der Italienischen Kunst, 1986; XI Quadriennale in Rome 1996; VI Sydney Biennal 1989; Los Nuevos Romanos, Santiago de Compostela and Madrid; Prospekt ‘89, Frankfurt; Museum Moderner Kunst Stiftung Ludwig in Wien, 1991; III Istanbul Biennale 1992.
In 1994 he exposed in Kodama Gallery in Osaka, Japan, with a solo show. In 1997 Nunzio exposed for the first time his bronze works at the Galerie Alice Pauli in Lausanne. In 2005 he had a solo show at Galleria dello Scudo in Verona, curated by Lea Vergine, where he presented a series of installations in combusted wood that created alienating spaces. He exposed at MACRO, Rome; Museum of Contemporary Art, Belgrado; Museum Biedermann in Donaueschingen, Germany; Museo Riso in Palermo; Forte di Belvedere and Palazzo Marino Marini in Florence; Galleria Casamadre in Naples. In 2019 he was invited by Anna-Maria Ehrmann-Schindlbeck at the Galerie der Stadt in Tuttlingen (Germany) for a solo show.
Nunzio Di Stefano (Cagnano Amiterno, 1954) lives and works between Rome and Turin. He studied at the Academy of Fine Arts of Rome and he graduated in the course of Toti Scialoja. His first exhibition was at Galleria Spatia in Bolzano in 1981. In 1985 he exposed in Usa for the first time, at Annina Nosei gallery in New York. From that moment he attracted the interest of collectors and his works started being appreciated internationally. In 1986 at L’Attico in Rome he presented his first works made of wood and lead. Some of them were exposed at the XLII Venice Biennial, where he won the “Premio 2000” award as best young artist. Some of the most important national and international exhibitions are:, Nouvelle Biennale de Paris 1985; Centre National d’Art Contemporain, Nice, Castello Colonna in Genazzano, Galleria Comunale in Bologna;, Aspekte der Italienischen Kunst, 1986; XI Quadriennale in Rome 1996; VI Sydney Biennal 1989; Los Nuevos Romanos, Santiago de Compostela and Madrid; Prospekt ‘89, Frankfurt; Museum Moderner Kunst Stiftung Ludwig in Wien, 1991; III Istanbul Biennale 1992.
In 1994 he exposed in Kodama Gallery in Osaka, Japan, with a solo show. In 1997 Nunzio exposed for the first time his bronze works at the Galerie Alice Pauli in Lausanne. In 2005 he had a solo show at Galleria dello Scudo in Verona, curated by Lea Vergine, where he presented a series of installations in combusted wood that created alienating spaces. He exposed at MACRO, Rome; Museum of Contemporary Art, Belgrado; Museum Biedermann in Donaueschingen, Germany; Museo Riso in Palermo; Forte di Belvedere and Palazzo Marino Marini in Florence; Galleria Casamadre in Naples. In 2019 he was invited by Anna-Maria Ehrmann-Schindlbeck at the Galerie der Stadt in Tuttlingen (Germany) for a solo show.
Giovanni Termini (Assoro, 1972) is among the most promising Italian sculptors of his generation. He has drawn the attention of both art critics and the audience due to his interventions aimed at altering and invading the exhibition space, which bends to the artist’s will and becomes one with his work. One notable example is the large reinforced framework made of materials usually employed in the construction industry, presented between 2013 and 2014 at La Pescheria Visual Art Centre in Pesaro.
Giovanni Termini (Assoro, 1972) is among the most promising Italian sculptors of his generation. He has drawn the attention of both art critics and the audience due to his interventions aimed at altering and invading the exhibition space, which bends to the artist’s will and becomes one with his work. One notable example is the large reinforced framework made of materials usually employed in the construction industry, presented between 2013 and 2014 at La Pescheria Visual Art Centre in Pesaro.
- Giovanni Termini
- Ana Cardoso,
- Athanasios Argianas
Apr 14-16, 2023
VIP Preview Apr 13th
Established
Pav.3 – Booth 7
- Serena Vestrucci
Palazzo Merulana, Rome
Mar 25 – May 21, 2023
Curated by Joanna De Vos and Melania Rossi
- Ana Cardoso
MAAT – Museum of Art, Architecture and Technology
Mar 29 – Sep 11, 2023
Curated by João Pinharanda
- Serena Vestrucci
PRIMO PIANO Palazzo Grillo
Mar 4 – Apr 8, 2023
Curated by Pierre Dupont with Anna Daneri
