ANGELA CAPUTI Giuggiù Indossare il colore
12.12.2020 - 06.02.2021 and 20.02-02.04.2021
Il coraggio della pittura
June 17 – October 16, 2024
Opening June 15, 2024 at 11am
The title of Paolo Patelli‘s exhibition is borrowed from a review that Gian Piero Vincenzo dedicated to him in 1989. In those years Patelli was forsomely painting large works starting from the size 100 x 70: a mixed media on paper where there is no lack of collage or some gash, all framed in a thin white or black frame with glass or Plexiglass. From the multiplication of that size, works up to 4 meters were initiated. An artist of great experience, characterized by irrepressible research and continuous experimentation that distinguished different periods of his artistic production. But it was in the late 1980s that precisely “painting painting” took over, and he himself says:
I paint the concept of painting, I paint the act of painting, I’ve been painting the same painting for 30 years (and a little more), I paint how I write, I paint how Lester Young played sax (less well), I paint to destroy the space of painting, I paint to create my own, I paint because I’m cheerful, I paint because I’m sad, I paint so I won’t die (like everyone else), I paint because I love life. I don’t know what people will make of my painting or anyone else’s.
The exhibition presents precisely his most productive period when his works seduced the general public at Italian and international fairs. The works range from 1988 to 1991 with the aim of re-presenting today a way of being painting that is still relevant: physical, material, colourful, acted out.
Arazzi
June 17 – October 16, 2024
Opening June 15, 2024 at 11am
Anna Galtarossa returns to Studio la Città on Saturday, June 15th with an all-new exhibition. The artist enters with her tapestries in a solo show that should answer the question What is painting? Therefore, it is interesting to understand the process that prompted the artist – of inexhaustible creativity and animated by an intense and multifaceted activity of research and careful study of materials, mostly textiles – to produce tapestries as if they were paintings: is thread both color and canvas at the same time? She, who identifies herself in the role of sculptor, offers a lateral point of view for these works, which do not seem to accept too rigid cataloguing and she also leaves the way open for a form of painting. This is how the artist presents her most recent work:
At a certain age historical revisionism becomes inevitable and mythologizing one’s past is a formative activity. The tapestries are a hagiographic exercise that portrays my sculptures and installations of the past by transferring them to a legendary dimension. I am constructing a retrospective woven from wool. Like the tapestries of the past that told the exploits of heroes and kings, I tell the stories and settings of my monsters, spirits, and the characters that populate my installations. Now as then, the narrative elements do not always correspond to the truth, sometimes places and times are mixed in a continuous meditation on memory and perceptions. New paths, forms and stories are already emerging from this linguistic transfer. I hope that, like weaving, they will help us strengthen our relationship with the land and our ancestors.
Una tela viva
L’invenzione del Quadro Mediale
June 17 – October 16, 2024
Opening June 15, 2024 at 11am
Davide Maria Coltro project invites the public to explore new painting dimensions by offering an experience that goes beyond the rigid categories of static work or video art. Coltro’s work is a meditation about the essence and boundaries of painting itself. Looking at his work one enters a peculiar and disorienting dimension by dealing with a work that is never the same that induces contemplation and that the artist calls Medial Painting. A distinctive feature of the work is that it can be accessed remotely, embodying the concept of the “open work” theorised by Umberto Eco. The electronic canvas becomes a territory of relationship immersed in the becoming, allowing for different levels of interaction between the public and the artist himself, who operates beyond the confines of his Atelier, potentially in any place where a Quadro Mediale is connected to him. This concept is the result of a long research and experimentation that Davide Maria Coltro had already started in the late 1990s and is therefore deeply rooted in his experience. In Medial Painting, the artist treats digital media and technology in the same way as canvas and paintbrushes, and points out:
I combine the principles of traditional painting with digital media, creating works that can be continuously updated and changed. I use digital screens as living canvases where electronic painting, composed of bits and pixels is formed, transformed and lives in constant evolution. This technique provides a dynamism that challenges the boundaries of traditional art by expanding the lexicon of painting and transforming the way artists conceive and realise their works.
