Cardi Gallery

Stand:   443

Italian modern and Post-War contemporary art

London Venue
22 Grafton Street
London, W1S 4EX
United Kingdom
T  +44 02034099633
Corso di Porta Nuova 38
20121 Milan
T  +39 02 454 78 189

Gallery Information

  • Paola Zannini
  • Elena Bodecchi
  • Edoardo Osculati Contact person

Cardi gallery specializes in Italian modern and post-war contemporary art. In April 1972, Renato
Cardi founded the gallery to pursue his passion for promoting and collecting contemporary
Italian artists. Today we continue to use the gallery as a platform to shape the arts and
culture landscape in Milan and throughout Italy. Cardi gallery has cultivated and helped
build the careers of many Italian artists. In the early 1970s, Renato Cardi began collecting
the work of under-recognized artists such as Lucio Fontana, Piero Manzoni and Michelangelo
Pistoletto and started to build a distinguished collection of works from the Arte Povera
movement. Through the support of these artists and by presenting their work at Galleria Cardi,
both the gallery and Renato gained a reputation for being a critical steward and launching
some of their careers. The gallery has been active for more than 35 years and has recently open a venue in London. Each year Cardi gallery produces at least four exhibitions in each venue accompanied by a catalogue and participates in several international art fairs. The seasonal shows and involvement in art fairs highlight the gallery’s comprehensive holdings of Italian modern and post-war contemporary works from the artists such as Alighiero Boetti, Alberto Burri, Pier Paolo Calzolari, Enrico Castellani, Luciano Fabro, Lucio Fontana, Piero Manzoni, Mario Merz, Jannis Kounellis and Michelangelo Pistoletto, but also the focus of the gallery on Minimalism and Zero Group artists. Cardi gallery’s expertise in Italian modern, post-war contemporary art, and more specifically in Arte Povera, Minimalism and Zero Group, has helped shape significant private European and American collections. The gallery regularly lends from its robust holdings to major museums around the world.

Artists Exhibited at the fair:

  • Giovanni Anselmo

    Giovanni Anselmo

    Biography : Giovanni Anselmo ( Borgoforte D’Ivrea, Italy, 1934 ) lives and woks in Turin and Stromboli. From 1954 to 1964 he devoted himself to painting, but in 1965 he turned to the creation of objects inspired by observation of natural events and energies, which he exhibited in 1967 at the Galleria Sperone in Turin. In 1968 he joined the Arte Povera movement, embodying actions or ideas through combinations of contrasting and opposed materials, whose weight, gravity and vigour he explored. In 1972 he turned to words and their immateriality to explore the relationship between abstract categories of thought, such as general and particular, finite and infinite, culture and nature, the passing of historical time and the hypothesis of the eternity of universal physical laws, the routine of experience and the abstraction of philosophical principles. He took part in Documenta 5 and 7, organized at Kassel in 1972 and in 1982. In 1990 he was awarded the Leone d’Oro for painting at the 44th Venice Biennale. His striving for a universal energy and an idea of infinity led the artist to represent actions of approach and communication between different realities in sculptures which express a compressed force, blocked at a moment of balance. The Museo d'Arte Moderna in Bologna (MamBo) held in 2006 a wide-ranging anthological exhibition conceived by the artist as a total work.
  • Domenico Bianchi

    Domenico Bianchi

    Biography : Born in Sgurgola in the Roman countryside in 1955, Domenico Bianchi emerged in the early 1980s as one of the most interesting artists then returning to pictorial language as a tradition worth revitalizing after years of radical experimentation in the art world. Bianchi starts off from premises different from those of his contemporaries in the Transavanguardia movement; his paintings do not recuperate the figure but rather represent an expressive balance between the use of icons and textbook abstraction.
  • Alighieri Boetti

    Alighieri Boetti

    Biography : Alighiero Boetti (Turin, Italy, 1940 – Rome, 1994 ) was a Conceptual artist, often associated with the Arte Povera movement and best known for his series of embroidered maps. Although not formally trained in art, Boetti was preoccupied with the theory of creativity from an early age. Traveling to Afghanistan at the beginning of the 1970s, he was introduced to the traditional craft of embroidery, which marked a turning point in the artist's career. His fundamental concern with the relationship between "order" and "disorder" is manifest in his grid structures, derived from the "magical squares," that feature sayings and aphorisms that stem from cultural, philosophical, mathematical and linguistic contexts. From 1987 until his death, Boetti was completely absorbed in the creation of his largest and most complex tapestry, Tutto, which was created to represent the cultural diversity of the world. Although he died in 1994 before its completion, Boetti’s work continues to be written about and studied as an important paradigm of the newly international approach of contemporary artists.
  • Agostino Bonalumi

    Agostino Bonalumi

    Biography : Agostino Bonalumi ( Vimercate, Italy, 1935 – 2013) he was a self-taught painter who took up art after abandoning his formal studies of technical and mechanic design. In 1956 he had his first solo exhibition at the Galleria Totti in Milan. While visiting the studio of painter Enrico Baj, he met Piero Manzoni and Enrico Castellani, with whom he exhibited in Rome, Lausanne, and Milan in 1958. The following year, he founded the journal Azimuth with Castellani and began to frequent Lucio Fontana’s studio, which led him to investigate issues of space and to produce his first estroflessione. In the 1960s he turned to environmental objects, or work in which the viewer could actively take part. His most important pieces of this type are Blu abitabile (1967), Grande ambiente bianco e nero (1968), and Ambiente pittura dal giallo al bianco e dal bianco al giallo (1979). He participated in the Venice Biennale several times, first in 1966, then in1970 with a room to himself, and again in 1986. In 1980 the Palazzo Tè in Mantova mounted a major retrospective of his work, and the following year, Bonalumi joined artists Dorazio, Rotella, and Santomaso in the group show Italian Art: Four Contemporary Directions at the Museum of Art in Fort Lauderdale, Florida.
He was awarded the Presidente della Repubblica Prize in 2002, and on this occasion the Accademia Nazionale di S. Luca presented a retrospective of his work at the Palazzo Carpegna, Rome. The same year he took part in the exhibition Themes and Variations at the Peggy Guggenheim Collection in Venice. In 2003 an exhibition of his work took place at the Civica Galleria d’Arte Moderna in Gallarate, and he took part in the show Futuro Italiano at the European Parliament in Brussels during the Italian presidency of the European Union. Most recently, in 2003-04, a solo exhibition of the artist’s work was held at the Institut Mathildenhöe, Darmstadt.
  • Alberto Burri

    Alberto Burri

    Biography : Alberto Burri ( Città di Castello, Italy, 1915 – Nice, France, 1995 ) was an Italian abstract painter. During the II World War served in Africa as a military doctor. Taken prisoner in 1943, was sent to a camp in Texas where he began to paint. On return to Italy in 1945, decided to become a painter and moved to Rome. His first one-man exhibition was there at the Galleria La Margherita in 1947. Like many Italian artists of his generation, Burri soon turned to abstraction becoming a proponent of Art Informel. Around 1949-50 he experimented with various unorthodox materials, fabricating tactile collages with pumice, tar, and burlap as in his sacchi (sacks). At this time he also commenced the muffe (molds) and the gobbo (hunchback) paintings; the latter were humped canvases that broke with the traditional two-dimensional plane. This preoccupation with the ambiguity of the pictorial surface and with non-art materials led Burri to help form the group Origine in opposition to the increasingly decorative nature of abstraction. In 1953-54, Burri garnered attention in the United States when his work was included in the group exhibition Younger European Painters: A Selection at the Guggenheim Museum and was shown as well at the Frumkin Gallery, Chicago, and Stable Gallery, New York. In the mid-1950s Burri began burning his materials, a technique he termed combustione (combustion). These charred wood and burlap works were first exhibited in 1957 at the Galleria dell’Obelisco, Rome. In 1958 his welded iron sheets were shown at the Galleria Blu, Milan, and in 1960 at Martha Jackson Gallery, New York, the latter show including Grande Ferro M-4 (1959). Persevering with the combustion technique, Burri started to burn plastic in the early 1960s and exhibited these works at the Marlborough Galleria d’arte in Rome (1962). In the early 1970s he embarked on his cracked paintings, creviced earthlike surfaces that play with notions of trompe l’oeil. In 1979 Burri turned to another Other Dealers:
    Also exhibited by:
  • Pier Paolo Calzolari

    Pier Paolo Calzolari

    Biography : Pier Paolo Calzolari ( Bologna, Italy, 1943 ) formed in Bologna where he held his first solo exhibition in 1965 at the study room Bentivoglio, from the next year he abandons traditional painting techniques; in 1967 always at the Bentivoglio presents the performance entitled the filter and welcome to the angel with a reference in the Pino Pascali's artwork. Soon he becomes one of the protagonists of the Arte Povera. Among the materials most commonly used by Calzolari there are ice margarine, melted lead, the neon lettering, metallic materials, organic and natural, smooth, with a preference for relations involving the concept of transformation and adding physical objects as sound temporal experience. He was present at the Venice Biennale in 1978, 1980 and 1990. In 1992 at Documenta IX in Kassel. In the 1980s, back to traditional paintings with abstractions of metaphysical and existential matrix, which previously featured alongside goods type sizes. In 1994 the retrospective is recognised as the National Gallery of Jeu de Paume in Paris and at the Castello di Rivoli in Turin. The artist lives and works in Fossombrone, Pesaro.
  • Enrico Castellani

    Enrico Castellani

    Biography : Enrico Castellani ( Castelmassa, Italy, 1930 ) studied painting and sculpture at the Académie des Beaux-Arts and architecture at the École Nationale Supérieure in Belgium until 1956. In 1957 Enrico Castellani returned to Italy, where he became acquainted with Italian avant-garde artists Piero Manzoni, Lucio Fontana, Vincenzo Agnetti and Agostino Bonalumi in Milan and came into contact with Yves Klein and the group of German artists known as Zero. In 1958 Enrico Castellani joined the Movimento Arte Nucleare group to which Manzoni, Fontana, Picabia and Bonalumi also belonged. Castellani and Manzoni forged firm ties of friendship. In December 1959 the two artists opened Galleria Azimut in Milan. That same December also saw the launch of their journal, Azimuth. The aims of the Azimut artists were to ensure that art did not imitate; a work was to be entirely self-referential and possess reality and authenticity in its own right. Light and shade, space and structure should be contained in the work itself and not be elicited in viewers by means of sensory deception.

In 1959 Castellani showed his Superficie Nera works for the first time. To make them, he worked over his canvases with a nail gun to produce a relief surface that induced light and shade effects through alternating depressions and raised areas. Castellani left the canvases monochrome, usually white. In the 1970s and 1980s, Enrico Castellani also used other materials, including aluminum. A large number of exhibitions continue to attest to Enrico Castellani's status in the international art world. In 1964 Enrico Castellan's works were shown at the Venice Biennale in a separate room. In 1968 he took part in Documenta 4. Lives and works in Cellano, near Viterbo. Artist's Objects: Other Dealers:
    Also exhibited by:
    Tornabuoni Art
  • Gino De Dominicis

    Gino De Dominicis

  • Lucio Fontana

    Lucio Fontana

    Biography : Lucio Fontana ( Rosario, Argentina, 1899 – Cornabbio, Italy, 1968 ) was an Italian painter, sculptor and ceramist, the founder of the Spazialismo movement. Lived in Italy 1905-22, then again in Rosario de Santa Fé, where he opened a sculpture studio. Returned to Italy in 1928, settling in Milan and studying sculpture at the Brera Academy 1928-30. First one-man exhibition at the Galleria del Milione, Milan, 1930. Began to make abstract sculptures and ceramics and became with Licini, Melotti and others a leading figure in the Italian abstract movement. Joined the group Abstraction-Création 1935. Spent 1939-47 in the Argentine, working part of the time in a figurative style, but in 1946 helped to found the avant-garde Altainira Academy at Buenos Aires, his ideas about the need for new art to express the modern world as revealed by science leading to the publication of the Manifiesto Blanco. Returned to Milan in 1947 and shortly afterwards issued the first Manifesto Spaziale. The Spazialismo movement founded by him was joined by Capogrossi, Crippa, Dova, Peverelli and other young artists. Made abstract paintings with Baroque arabesques of punched holes or fragments of coloured glass, and later with vertical cuts; spent the summers at Albisola Marina making ceramics. Carried out various decorative projects for buildings, including ceilings using neon. Two years later he realized the projects Ambiente nero and the first Ambiente spaziale in the Galleria del Naviglio: objects painted with fluorescent colors in a darkened room are illuminated by an ultraviolet light. He composed the second manifesto of the Spazialismo the same year, followed by the third in 1950 and the fourth in 1951. 
He executed the first perforated canvasses in 1949, they all carry the title Concetto spaziale (Spatial Concept). This Concetto spaziale can be divided into broad categories: the Buchi (holes), began in 1949, and the Tagli (slashes), which he instituted in the mid-1950s. The series o Artist's Objects: Other Dealers:
    Also exhibited by:
    Ben Brown Fine Arts
  • Donald Judd

    Donald Judd

    Biography : One of the most significant artists of the twentieth century, the radical ideas and work of Donald Judd continue to provoke and influence the fields of art, architecture, and design. Born Donald Clarence Judd on June 3, 1928 in Excelsior Springs, Missouri, he served in the United States Army from June 1946 until November 1947, then attended the College of William and Mary, Williamsburg, Virginia; and Columbia University, New York, where he received a B.S. in Philosophy, cum laude, in 1953. Studying at the Art Student’s League in New York, Judd began his artistic career as a painter, and transitioned to three-dimensional work in the early 1960s. During this time, Judd worked as a critic for ARTnews, Arts Magazine, and Art International; his subsequent theoretical writings on art and exhibition practices would prove to be an important aspect of his legacy. Judd married choreographer Julie Finch in 1964 (later divorced) and had two children, son Flavin Starbuck Judd, in 1968, and daughter Rainer Yingling Judd, in 1970. Judd purchased 101 Spring Street in 1968, a five-story cast-iron building designed by Nicholas Whyte in New York. At Spring Street, Judd first began the permanent installation of his work as well as works of his contemporaries, a process he would continue throughout his life in both New York and Texas. Judd began to purchase properties in Marfa, Texas in 1973 where he would continue installing his work and the work of others on a permanent basis until his death in 1994. These Judd Foundation spaces, including studios, library, living quarters, and ranches, reflect the diversity of his life’s work. In parallel, Judd founded The Chinati Foundation/La Fundación Chinati in 1986 specifically for the permanent installation of large-scale works by Judd and his contemporaries. For almost four decades, Judd exhibited regularly throughout the United States, Europe, and Asia. Major exhibitions of his work include the Whitney Museum of American Art, New York
  • Jannis Kounellis

    Jannis Kounellis

    Biography : Jannis Kounellis ( Piraeus, Greece, 1936 ) painter, performance artist and sculptor. He studied in art college in Athens until 1956 and then he moved to Rome and enrolled in the Accademia di Belle Arti. While still a student he had his first solo show, titled L’alfabeto di Kounellis, at the Galleria la Tartaruga, Rome, in 1960. Influenced by Alberto Burri as well as Lucio Fontana, Kounellis was looking to push painting into new territory. He was inspired by the work of Jackson Pollock and Franz Kline, and by the earlier abstractions of Kazimir Malevich and Piet Mondrian. Kounellis’s painting would gradually become sculptural and by 1963 the artist was using found elements in his paintings. Kounellis began to use live animals in his art during the late 1960s. From 1958 to 1960 he produced Alphabets, expanses of colour with letters, numbers, typographical symbols and road markings superimposed. Such works clearly demonstrated his aim of transcending the poetics of Art Informel and pursuing a line of study characterised by contradictory concerns with, on the one hand, the symbols of mass urban and industrial civilization, and on the other, primitive, fundamental, individual values. These were frequently expressed by the artist's physical participation from 1960 in his own exhibitions at La Tartaruga, thus transforming them into performances. From 1967 he became associated with Arte Povera, and his work was characterised by the juxtaposition of objects, materials and actions that were both physically and culturally antithetical to one another. These included raw materials such as stone, cotton, wool and coal, and objets trouvés such as bed-frames, doors and, since 1969, shelves. He also used fire, soot and smoke in his installations and in 1969 brought live horses into the Galleria L'Attico in Rome, stressing the fragmentation of modern society by also introducing elements of traditional culture. His experimentation with unorthodox combinations of materials contin Artist's Objects:
    Also represented by:
    Tornabuoni Art
  • Sol LeWitt

    Sol LeWitt

    Biography : LeWitt was born in Hartford, Connecticut to a family of Jewish immigrants from Russia. His mother took him to art classes at the Wadsworth Atheneum in Hartford. After receiving a BFA from Syracuse University in 1949, LeWitt traveled to Europe where he was exposed to Old Master paintings. Shortly thereafter, he served in the Korean War, first in California, then Japan, and finally Korea. LeWitt moved to New York City in 1953 and set up a studio on the Lower East Side, in the old Ashkenazi Jewish settlement on Hester Street. During this time he studied at the School of Visual Arts while also pursuing his interest in design at Seventeen magazine, where he did paste-ups, mechanicals, and photostats. In 1955, he was a graphic designer in the office of architect I.M. Pei for a year. Around that time, LeWitt also discovered the work of the late 19th-century photographer Eadweard Muybridge, whose studies in sequence and locomotion were an early influence. These experiences, combined with an entry-level job as a night receptionist and clerk he took in 1960 at the Museum of Modern Art (MoMA) in New York, would influence LeWitt's later work. At MoMA, LeWitt’s co-workers included fellow artists Robert Ryman, Dan Flavin, Gene Beery, and Robert Mangold, and the future art critic and writer, Lucy Lippard who worked as a page in the library. Curator Dorothy Canning Miller's now famous 1960 “Sixteen Americans” exhibition with work by Jasper Johns, Robert Rauschenberg, and Frank Stella created a swell of excitement and discussion among the community of artists with whom LeWitt associated. LeWitt also became friends with Hanne Darboven, Eva Hesse, and Robert Smithson. LeWitt taught at several New York schools, including New York University and the School of Visual Arts, during the late 1960s. In 1980, LeWitt left New York for Spoleto, Italy. After returning to the United States in the late 1980s, LeWitt made Chester, Connecticut, his primary residence.He died at age 78 in New
  • Heinz Mack

    Heinz Mack

    Biography : Heinz Mack was born in 1931 in a small German village. Between 1950 and 1956 he studied at the Kunstakademie Düsseldorf. In 1957 together with Otto Piene he started a series of what were called Abendausstellungen (evening exhibitions) at their studio in Düsseldorf. This series was the initial event for the formation of the group ZERO (with Mack, Piene and Günther Uecker as its nucleus) and the international ZERO movement. Among the participants of the ZERO movement were Yves Klein, Lucio Fontana, Piero Manzoni and Jean Tinguely.[1] In the early 1960s, Mack worked, with Gotthard Graubner, as an art teacher at the Lessing Gymnasium, Düsseldorf.[2][3] In 1964 Mack, Piene and Uecker arranged the "ZERO Lichtraum (Hommage á Lucio Fontana)" at the 1964 documenta in Kassel. From 1964 to 1966 Mack lived and worked in New York where the Howard Wise Gallery presented a solo exhibition in 1966. Although known for his minimalist outdoor sculptures, Mack also produced smaller works, both static and kinetic. Light Dynamo #2' from 1966, in the collection of the Honolulu Museum of Art, is an example of his rotating disc kinetic sculptures. Since 1991, he has been producing brightly colored, abstract, paintings in acrylic.[4] 1970 Mack was invited as visiting professor to Osaka, Japan. In the same year he represented Germany at the 1970 Venice Biennale (together with Günther Uecker, Georg Karl Pfahler and Thomas Lenk). For the 1972 Summer Olympics in Munich he created an illuminated "Wasserwolke" (Water cloud). In 1972 he was asked to create a 230 ft tall sculpture for the United Nations headquarters in New York (not realized). Other Dealers:
    Also exhibited by:
    Ben Brown Fine Arts
  • Piero Manzoni

    Piero Manzoni

    Biography : Piero Manzoni ( Soncino, Italy, 1933 – Milan, 1963 ) was an Italian artist known chiefly for his white monochrome paintings and as a precursor of Conceptual art. Partly under the influence of Yves Klein and Burri starts in 1957 to make textured white paintings which he called Achromes. First one-man exhibition in the foyer of the Teatro delle Maschere, Milan, 1957. He has a close contact with the Gruppo Nucleare, particularly with Baj, 1957-59, then with Castellani and Agnetti. After a short informal period with mixture with oil and tar, he makes his first Achromes in 1957: white, structured canvasses that he immerses with glue and kaolin. He continues to make the Achromes over the following years, in 1960 he integrates felt, cotton and also polystyrene, in 1961 wool and rabbit fur and in 1962 even loafs of bread and rocks. He starts his artistic co-operation with Enrico Castellani and Agostino Bonalumi the same year. They found the Galleria Azimut, run by Manzoni and Castellani and publish the avant-garde magazine "Azimuth".
In 1960 Piero Manzoni organizes an exhibition of "Edible Sculptures", signing eggs with his thumbprint giving them away to the visitors for consumption. He makes the "Living sculptures" in 1961 - nude models or also artist colleagues who he also signs and declares them as sculptures. The most provoking work is a work with 90 tins of Merde d'artista.
The artist is in close connection with the circle of Nouveau Réalistes around Yves Klein, but also with the Fluxus movement. He is in touch with the German Zero group, in Italy he has strong influence on the Arte Povera. He dies in Milan in 1963 at the age oh twenty-nine.

    Also represented by:
    Tornabuoni Art
  • Fausto Melotti

    Fausto Melotti

    Biography : Fausto Melotti ( Rovereto, Italy, 1901 – Milan, 1986 ) was an Italian artist. He graduated in electro-technical Engineering in 1924. During this period he studied the piano and took up studies of sculpture in Turin under the sculptor Pietro Canonica. In 1928 he enrolled at the Accademia di Brera in Milan, where he was the pupil of Adolfo Wildt with Lucio Fontana, with whom he formed a long friendship. In 1932 he agreed to give a course in modern plastic arts at the Scuola artigianale in Cantù. In 1935 Melotti joined Abstraction-Création, the movement founded in Paris in 1931 by Van Doesburg, Seuphor, Vantogerloo with the aim of championing the work of non-figurative artists. Also in 1935, Melotti was among the Milanese artists who exhibited at the first group show of abstract art in the studio of Casorati and Paolucci in Turin, and held a solo show in the Galleria del Milione in Milan of sculpture of rigorously contrapuntal inspiration. This first exhibition brought him no critical or public success in Italy but received attention in France thanks to Léonce Rosenberg, and in Switzerland where, in 1937, he won the La Sarraz Prize. For the 6th Triennale of Milan in the same year he created a key work for the Sala della Coerenza designed by the B.B.P.R. studio. Between 1941 and 1943 he lived in Rome where he participated in the Figini and Pollini project for the Palazzo delle Forze Armate and, in the meantime, produced drawings, paintings and poems that were together published as Il Triste Minotauro by Giovanni Schweiller in 1944. He turned his attention to ceramics after the war and his refined technique and high quality won him the Grand Prix at the 1951 Triennale, and later gold medals in Prague and Munich. A strong professional and personal relationship was created in this period with Gio Ponti, with whom he worked on two large projects for the Villa Planchart in Caracas (1956) and the Villa Nemazee in Teheran (1960). In 1979 a solo anthological exhibition wa
  • Mario Merz

    Mario Merz

    Biography : Mario Merz ( Milan, Italy, 1925 – Turin, 2003 ) he grew up in Turin and attended medical school for two years at the Università degli Studi di Torino. During World War II he joined the anti-Fascist group Giustizia e Libertà and was arrested in 1945 and confined to jail, where he drew incessantly on whatever material he could find. In 1950 he began to paint with oil on canvas. His first solo exhibition, held at Galleria La Bussola, Turin, in 1954, included paintings whose organic imagery Merz considered representative of ecological systems. By 1966 he began to pierce canvases and objects, such as bottles, umbrellas, and raincoats with neon tubes, altering the materials by symbolically infusing them with energy.

In 1967 he embarked on an association with several artists, including Giovanni Anselmo, Alighiero Boetti, Luciano Fabro, Jannis Kounellis, Giulio Paolini, Giuseppe Penone, Michelangelo Pistoletto, and Gilberto Zorio, which became a loosely defined art movement labeled Arte Povera by critic and curator Germano Celant. From 1968 Merz produced his typical igloos, in which he found a metaphorical shape for the connection between inside and outside, for the sheltering and the protecting. One year later Mario Merz's work repeatedly featured Fibonacci numbers. In 1977 he returned to gestural, color-intensive painting, but combined it with objects, Fibonacci numbers and other iconographic motifs. 
 He participated in significant international exhibitions of Conceptual, Process, and Minimalist Art, such as Arte povera + azioni povera at the Arsenali dell’Antica Repubblica, Amalfi, and Live in Your Head: When Attitudes Become Form at the Kunsthalle Bern in 1968; the latter exhibition traveled to Krefeld, Germany, and to London. His first solo European museum exhibition took place at the Kunsthalle Basel in 1975, and a major retrospective was organized by the Solomon R. Guggenheim Museum, New York, in 1989.
  • Mimmo Paladino

    Mimmo Paladino

    Biography : Paladino was born in Paduli, Campania, on December 18, 1948, but grew up and trained in Benevento. He now lives in Rome and Milan, but still has a studio in the little town near Benevento. It should not be forgotten that the Longobard originality of the town and of the Sannite land is very much a part of what shaped his esthetic concepts, with the constant overlapping and emergence of the styles that were such a feature of the local culture from pagan times through to the papal period. He made his debut in 1968 with a solo exhibition at the Galleria Carolina in Portici (Naples). Here he was presented by Achille Bonito Oliva, who was also present for the monographic show at Enzo Cannaviello’s Studio Oggetto in Caserta the following year. However, we need to go back to 1964 to find the first major date in his artistic education. This was when, still a schoolboy, he visited the 32nd Venice Biennale and, in particular, the U.S. Pavilion, where he discovered the American Pop artists. In the early 1970s, his approach shifted towards conceptual art and photography, but by the mid-decade his painting had acquired considerable importance and appeared in a manifesto work, Silently, I Am Retiring to Paint a Picture, which was shown in a room in which also the walls were painted. The aim was clearly a return to painting, as the principal place of narration. This was not to recapture the aspirations of the fifties and sixties, which in Italy reflected a painting tradition linked to pre-war artistic research, but rather to make a break with the influences that repudiated painting in the strictest sense, on which he intervened with a series of circular linguistic and semiotic interactions. In the late seventies, Paladino moved to Milan, where he later taught artistic disciplines at the Liceo school, while also working on his art. In 1977 came his first collaboration with Lucio Amelio, the historic gallery owner in Naples, and two years later he put on his first exhibition with
    Also represented by:
    Tornabuoni Art
  • Giulio Paolini

    Giulio Paolini

    Biography : Nato il 5 novembre 1940 a Genova, risiede a Torino. Dalla sua prima partecipazione a un'esposizione collettiva nel 1961 e dalla sua prima personale nel 1964 ha tenuto innumerevoli mostre in gallerie e musei di tutto il mondo. Tra le maggiori antologiche si ricordano quelle al Palazzo della Pilotta a Parma (1976), allo Stedelijk Museum di Amsterdam (1980), al Nouveau Musée di Villeurbanne (1984), alla Staatsgalerie di Stoccarda (1986), alla Galleria Nazionale d'Arte Moderna di Roma (1988), alla Neue Galerie am Landesmuseum Joanneum di Graz (1998), alla Fondazione Prada a Milano (2003), al Kunstmuseum di Winterthur (2005) e alla Whitechapel Gallery a Londra (2014). Ha partecipato a diverse mostre di Arte povera ed è stato invitato più volte alla Documenta di Kassel (1972, 1977, 1982, 1992) e alla Biennale di Venezia (1970, 1976, 1978, 1980, 1984, 1986, 1993, 1995, 1997, 2013). Il suo lavoro è rappresentato in numerose collezioni pubbliche internazionali. Grafico di formazione, ha sempre nutrito un particolare interesse per il campo editoriale e la pagina scritta. Fin dall'inizio ha accompagnato la sua ricerca artistica con riflessioni raccolte in libri curati in prima persona: da Idem, pubblicato nel 1975 da Einaudi (Torino) con un'introduzione di Italo Calvino, ai recenti Quattro passi. Nel museo senza muse, uscito nel 2006 presso lo stesso editore, e L'autore che credeva di esistere, pubblicato da Johan & Levi (Milano) nel 2012. Dal 1969 ha realizzato anche scene e costumi per rappresentazioni teatrali, tra cui si distinguono i progetti ideati con Carlo Quartucci negli anni Ottanta e le recenti scenografie per due opere di Richard Wagner per la regia di Federico Tiezzi (2005, 2007).
  • Pino Pascali

    Pino Pascali

    Biography : Pino Pascali ( Bari, Italy, 1935 – Rome, 1968 ) was an Italian artist, sculptor, set designer and performer. Moved from Bari to Rome in 1955 to learn scene painting and set design at the Academy of Art. Pascali worked as an advertisement illustrator and designer for a number of years before his first solo exhibition in 1965 at the Galleria La Tartaruga. Pascali showed his fake sculptures, a series of shaped-canvases that first appear to be solid sculptures but are actually paintings that present abstract forms suggesting animals, plants and landscapes. Soon after, Pascali created his weapon series, which is perhaps his most famous group of works. Assembled from found materials and painted olive-green, it faithfully recreates every detail of the weapon it mimics. In 1968, Pascali died tragically in a motorcycle accident at the young age of thirty-two. His all too-short career has served as an important contribution to post-war art.
  • Giuseppe Penone

    Giuseppe Penone

    Biography : In an oeuvre spanning more than forty years, Giuseppe Penone has explored the subtle levels of interplay between man, nature, and art. His work represents a poetic expansion of Arte Povera’s radical break with conventional media, emphasizing the involuntary processes of respiration, growth, and aging that are common to both human being and tree. In the early 1970s, Penone continued to work with his own body by transcribing the textures of his skin and casting his face in plaster. Engaging with, and subtly intervening in nature so as to reimagine it in artificial terms, Penone finds ever new ways to mark the persistence of biological life, harmonizing elemental occurrences in terms of his own artistic drive. In each work, he reveals the innate sculptural qualities of natural materials, chiseling marble and casting from nature to expose the deep patterns of growth and time. Giuseppe Penone was born in 1947 in Garessio, Italy. He graduated in 1970 from the Accademia di Belle Arte in Turin, Italy. Penone’s work has been included in several solo and group exhibitions. Recent solo exhibitions include “Retrospective Exhibition 1968–2004,” Le Centre Pompidou, Paris (2004, traveled to CaixaForum, Barcelona); Museo d’Arte Moderna di Bologna, Italy (2008); Toyota Municipal Museum of Art, Japan (2009); Musée des Arts Contemporains du Grand–Hornu, Belgium (2010); “Drawings and Sculptures,” Fondation De Pont, The Netherlands (2010); “The Hidden Life Within,” Art Gallery of Ontario, Canada (2011); Centre d'arts et de nature, Parc du Château, Domaine de Chaumont–sur–Loire, France (2012); “Entre les lignes,” Chapelle du Méjan, France (2013); “Penone Versailles,” Château de Versailles, France (2013); Kunstmuseum Winterthur, Switzerland (2013); “Ideas of Stone (idee di Pietra),” Madison Square Park, New York (2013–14); “Breath Is A Sculpture,” Beirut Art Center, Lebanon (2014); “Prospettiva Vegetale,” Forte di Belvedere and Giardino
  • Pino Pinelli

    Pino Pinelli

    Biography : Pino Pinelli was born in Catania in 1938. Inspired by the slightly older Zero artists, Pino Pinelli’s work encapsulates the desire of the era to alter the existence of traditional painting. Through the creation of mixed media geometric forms, he eliminates the presence of the canvas in its usual form while still hinting at the idea of a painting. His work often comprises of multiple brightly monochromatich elements, which hanf on the wall and yet give the impression of a canvas that has been melted or deconstructed. Pinelli’s work challenges the traditional idea of painting by creating works that mimic either outlines or geometric trails, and by ultilizing the materials themselves to give solidity to the artwork. The art work in its actual form is transformed through Pinelli’s ideas, and thereby lays outside the confines of specific media. By combining simple geometric shapes and predominantly primary colors, Pino Pinelli has created a unique artform that cannot comfortable be categorized and yet serve sas powerful minimalist statement.
  • Michelangelo Pistoletto

    Michelangelo Pistoletto

    Biography : Michelangelo Pistoletto (Biella, Italy, 1933 ) is a painter, sculptor, and Conceptual artist, lives and works in Biella and Turin. Pistoletto began exhibiting his work in 1955, and in 1960 the Galleria Galatea in Turin presented his first solo exhibition. During the early years of his career, Pistoletto experimented frequently with self-portraiture. He gained international attention and praise in the early 1960s with the first of his Mirror Paintings, created in 1961 and 1962, which changed the traditional style of artistic perspective by reflecting the viewer as part of the image. Just a few years later, Pistoletto created a series of sculptural works called Minus Objects (1965-1966). Also in 1967 Pistoletto began to pursue Performance art, an interest that would expand over his career to encompass film, video, and theater. With The Zoo group, which he founded, Pistoletto presented collaborative actions from 1968 until 1970. Pistoletto’s employment of everyday materials as in the Venere degli stracci (Venus of the Rags) (1967) a copy of a classical sculpture of Venus set against a huge mound of old clothes and fabrics, aligned him with Arte Povera. Since 1967 Pistoletto’s work has been included in gallery and museum exhibitions devoted to that movement. In the late 1970s and early 1980s he made sculptures that drew from art-historical precedents, working in polyurethane and marble. Retrospectives of Pistoletto’s art have been presented at Palazzo Grassi, Venice (1976), Palacio de Cristal, Madrid (1983), Forte di Belvedere, Florence (1984), Galleria Nazionale d’Arte Moderna, Rome (1990), and Museu d’Art Contemporani de Barcelona (2000). A major retrospective of Pistoletto’s work is slated for 2010 at the Philadelphia Museum of Art. His work has been included in major international exhibitions including Documenta 4, 7, 9, and 11 in Kassel (1968, 1982, 1992, and 1997) and the Venice Biennale (1966, 1976, 1978, 1984, 1986, 1993, 1995, 2003, and 2005). At th Artist's Objects: Other Dealers:
    Also exhibited by:
    Tornabuoni Art
  • Mimmo Rotella

    Mimmo Rotella

    Biography : Domenico "Mimmo" Rotella, (Catanzaro, 7 October 1918 – Milan, 8 January 2006), was an Italian artist considered an important figure in post-war European art. Best known for his works of décollage and psychogeographics, made from torn advertising posters. He was associated to the Ultra-Lettrists an offshoot of Lettrism and later was a member of the Nouveau Réalisme, founded in 1960 by the art critic Pierre Restany.After finishing school studies he moves to Naples in 1933 to pursue his artistic studies, but he got a job at the Ministry of Posts and Telecommunications. In 1941, he moved to Rome. He remains in the capital only for a short period, because he is called up. In 1944 he left the army and he graduated from the Art School of Naples. Between 1944 and 1945 he teaches drawing in Catanzaro. In 1945 he returned to Rome and, following his figurative beginnings and first experimentations, he began to paint new-geometric paintings. He starts in 1947 to participate at the exhibition, with the Exhibition Board of Fine Arts and the annual Art Club. In 1949 he devoted himself to the phonetic poetry experiments, calling epistaltic (a meaningless neologism), which in the same year he draws up the Manifesto (published by L.Sinisgalli in "Civilization of machines"). In 1951 he had his first contact with French art, exhibiting in Paris at the Salon des Nouvelles Réalités. Between 1951 and 1952, he obtained the award of a scholarship from the Fulbright Foundation, which allows him to travel to the US as an "Artist in Residence" at the University of Kansas City. Also in 1952 he realized the second personal exhibithion at the Rockhill Nelson Gallery in Kansas City. In the United States he had the opportunity to meet representatives of the new artistic currents: Robert Rauschenberg, Claes Oldenburg, Cy Twombly, Jackson Pollock and Yves Klein. In 1953, he suffers from a artistic crisis, during which interrupts his pictorial production. Now convinced that there is nothing to b
  • Cy Twombly

    Cy Twombly

    Biography : Twombly was born in Lexington, Virginia on April 25, 1928. Twombly's father, also nicknamed "Cy", pitched for the Chicago White Sox.They were both nicknamed after the baseball great Cy Young who pitched for, among others, the Cardinals, Red Sox, Indians, and Braves. At age 12, Twombly began to take private art lessons with the Catalan modern master Pierre Daura. After graduating from Lexington High School in 1946, Twombly attended Darlington School in Rome, Georgia, and studied at the School of the Museum of Fine Arts, Boston (1948–49), and at Washington and Lee University (1949–50) in Lexington, Virginia. On a tuition scholarship from 1950 to 1951, he studied at the Art Students League of New York, where he met Robert Rauschenberg with whom he had a relationship. Rauschenberg encouraged him to attend Black Mountain College near Asheville, North Carolina. At Black Mountain in 1951 and 1952 he studied with Franz Kline, Robert Motherwell and Ben Shahn, and met John Cage. The poet and rector of the College Charles Olson had a great influence on him. Arranged by Motherwell, Twombly's first solo exhibition was organized by the Samuel M. Kootz Gallery in New York in 1951. At this time his work was influenced by Kline's black-and-white gestural expressionism, as well as Paul Klee's imagery. In 1952, Twombly received a grant from the Virginia Museum of Fine Arts which enabled him to travel to North Africa, Spain, Italy, and France. He spent this journey in Africa and Europe with Robert Rauschenberg. In 1954, he served in the U.S. Army as a cryptographer in Washington, D.C. and would frequently travel to New York during periods of leave. From 1955 through 1956, he taught at the Southern Seminary and Junior College in Buena Vista, Virginia, currently known as Southern Virginia University; during the summer vacations, Twombly would travel to New York to paint in his Williams Street apartment. In 1957, Twombly moved to Rome, where he met the Italian artist Baroness Tatiana Other Dealers:
    Also exhibited by:
    Galerie Bastian
  • Gunther Uecker

    Gunther Uecker

    Biography : Günther Uecker was born in 1930 in Wendorf, Germany. He studied painting at the Kunsthochschule Berlin Weissensee from 1949 to 1953, and further pursued his artistic training in 1955 at the Kunstakademie Düsseldorf. Throughout the 1950s, Uecker cultivated a strong interest in repetitive practices and purification rituals, and became fascinated with the philosophies of Buddhism, Taoism, and Islam. He developed rituals of his own, including the lengthy, repetitive, meditative hammering of nails, and proceeded to translate this into his artistic practice. His nail-relief works exceed the limits of the two-dimensional plane and create a new realm for vision to explore the calculated patterns of light and shadow. Uecker examined this effect further in the 1960s by introducing kinetic elements into his works through the use of engines, shifting his methodology from using precise, geometric patterns to more organic and irregular arrangements. In 1961, he joined the Zero Group founded by artists Heinz Mack and Otto Piene, who advocated for a new art form—a degree zero—to erase the destructive, violent forces by which human experience had come to be conditioned during the war, and which were expressed in the then-prevalent Art Informel style. The Zero Group made a large impact in the European postwar milieu, influencing a number of artists with similar ideas. Central to the movement were explorations of light, technology, and an expansion beyond traditional two-dimensional confines of the canvas, all of which are implicated in Uecker’s work. After the dissolution of the Zero Group in the mid-1960s, Uecker's work took a turn toward body, Conceptual, and Land art, and in the 1970s he designed stage sets for several operas. He taught at the Kunstakademie Düsseldorf from 1974 to 1995, and was promoted to professor in 1976. Uecker has been the recipient of numerous prestigious awards, such as the Staatspreis des Landes Nordrhein-Westfalen in 2015. His work has been exh
  • Giuseppe Uncini

    Giuseppe Uncini

    Biography : Giuseppe Uncini (Fabriano, Italy, 1929 – Trevi, 2008 ) was an Italian artist. He studied in Urbino and in 1953 Uncini moved to Rome, invited by sculptor Mannucci, who received Uncini in his studio, giving him the chance of meeting Afro, Burri, Cagli, Capogrossi, Colla, De Kooning, Leoncillo, Marca Relli and Turcato. In 1957, he began his cycle of works entitled Terre, which were boards covered with oil, tempera, calc-tufa, sand, ash and earth. But the turning point in Uncini’s artistic development was in 1958, when he created his first Cementarmato, an object-work built with cement. Uncini’s first important solo exhibition was presented at Galleria l’Attico in Rome in 1961. In 1962, together with Biggi, Carrino, Frascà, Nato, Pace and Santoro, Uncini founded the Gruppo Uno, which dissolved in 1967. 
From 1962 to 1965, Uncini continued his research on his Ferrocementi, in which the cement that was spread created neuter surfaces while the iron rod created a kind of spatial opposition between line and surface on the cement. 
In 1965, Uncini made a group of works, Strutturespazio, which he presented at the 1966 Venice Biennial. 
Later, Uncini created a series of works, Mattoni, whose solid architectonic shapes interacted with their own shadows, which were also concrete objects. 
The ’80s were represented by Dimore, surfaces that created an architectonic landscape: buildings, doors, windows and thresholds; all of them with their shadows. In 1984, Uncini presented a solo room at the Venice Biennial. In 2001, an important retrospective on Uncini’s work was presented at the Stadtische Kunsthalle of Mannheim.
In September 2002, two important solo exhibitions were presented, one of them, at Galleria Christian Stein and the other, at Galleria Giò Marconi in Milan.

  • Francesco Vezzoli

    Francesco Vezzoli

    Biography : Vezzoli studied at the Central Saint Martins School of Art in London from 1992 to 1995. In his early works from 1994 to 1996, he reenvisioned twentieth-century masterpieces by Mark Rothko and Josef Albers as modest-sized hand stitched petit point embroideries. Upon his return to Italy, Vezzoli created his first series of films entitled An Embroidered Trilogy (1997–99). 2000 Vezzoli shot the short film The Kiss (Let's play Dynasty) with Helmut Berger. In 2002 his films were the subject of a one-man exhibition at the New Museum in New York City curated by Dan Cameron.[3] The film Non-Love Meetings (2004) from the series Trilogy of Death (2004) presents a game show in which contestants display their talents in hopes of winning the love of such celebrities as actress Catherine Deneuve. His Trailer for the Remake of Gore Vidal's Caligula (2005), featuring Courtney Love as the title character, along with Helen Mirren, Benicio del Toro, Milla Jovovich and Vidal himself, was his entry at the 2005 Venice Biennale, when he and Giuseppe Penone represented Italy. The film was also screened as part of the 2006 Whitney Biennial. In 2007 Vezzoli was again included in the Venice Biennale in the Italian pavilion with his video piece DEMOCRAZY starring Sharon Stone and the French philosopher Bernard-Henri Levy as a pair of U.S presidential candidates. That same year, he staged Luigi Pirandello's Right You Are (If You Think You Are) at the Solomon R. Guggenheim Museum, starring Abigail Breslin, Cate Blanchett and Dianne Wiest. On November 14, 2009 Vezzoli organised a performance where Lady Gaga performed her song Speechless on a pink Steinway & Sons piano decorated with painted-on butterflies while ballet dancers from the Bolshoi Theatre, danced alongside.
  • Gilberto Zorio

    Gilberto Zorio

    Biography : Gilberto Zorio ( Andorno Micca, Italy, 1944 ) is a sculptor, installation, and Conceptual artist. He began his formal art training in 1963, when he attended the Accademia di Belle Arti to study painting, but soon abandoned it in favor of sculpture. In 1967, he had his first solo exhibition at the Galleria Sperone in Turin. His use of commonplace materials, such as incandescent electric light tubes, terracotta, lead, copper sulfate, salt, and tar, granted him inclusion in the Arte Povera movement in the 1960s, alongside contemporaries Jannis Kounellis, Alighiero Boetti, and Luciano Fabro. In addition to his participation in Arte Povera exhibitions, Zorio was included in the 1969 group exhibition Nine Young Artists: Theodoron Awards at the Solomon R. Guggenheim Museum in New York. In 1979, Zorio held a solo exhibition at the Stedelijk Museum in Amsterdam and a retrospective at the Loggetta Lombardesca, Pinacoteca Comunale, in Ravenna. He had another important retrospective in 1985, at the Württembergischer Kunstverein, Stuttgart, which traveled to the Musée National d’Art Moderne in Paris. More recently, Zorio’s work was represented as part of the group exhibition Zero to Infinity: Arte Povera 1962-72 at Tate Modern in 2001, and his first UK solo exhibition was mounted at Milton Keynes Gallery in 2008. In 2010, a solo exhibition of his work was presented at the Museo d’Arte Contemporanea Roma, Rome. He lives and works in Turin.
    Also represented by:
    Tornabuoni Art