Maurizio Galimberti: Polaroid Mosaics Exhibition @ Venice, Le Stanze della Fotografia / The Rooms of Photography, Venice

Maurizio Galimberti 

tra Polaroid/Ready Made e le Lezioni Americane di Italo Calvino 

on Polaroid/Ready Made and Italo Calvino's American Lessons

Le Stanze della Fotografia / 

The Rooms of Photography, Venice 

Through 10 August 2025

MAURIZIO GALIMBERTI

Charlotte Gainsburg 

Polaroid plate, 50 x 50 cm, 2003 

By Maurizio Galimberti/Photomovie

MAURIZIO GALIMBERTI

Isabella Rossellini 

Polaroid plate, 2003, 50 x 60 cm 

By Maurizio Galimberti/ Photomovie

MAURIZIO GALIMBERTI

Johnny Depp 

Polaroid plate, 2015, 50 x 60 cm 

By Maurizio Galimberti/Photomovie

Le Stanze della Fotografia / The Rooms of Photography presents the exhibition Maurizio Galimberti tra Polaroid/Ready Made e le Lezioni Americane di Italo Calvino [Maurizio Galimberti on Polaroid/Ready Made and Italo Calvino's American Lessons], curated by Denis Curti, organised by Marsilio Arte and Fondazione Giorgio Cini.

Internationally known for his portraits of celebrities like Lady Gaga, Robert De Niro, Johnny Depp and Umberto Eco, and for having published books and staged site-specific exhibitions on New York, Paris, Milan, Rome and Venice, Maurizio Galimberti presents some of his most iconic Polaroid mosaics in Venice – including Johnny Depp, Barbara Bouchet and Angelica Huston – alongside more recent works, some of them previously unseen, such as those dedicated to Taylor Swift.

Maurizio Galimberti (Como, 1956) in 1983 began to use the Polaroid camera almost exclusively, appreciating it for the immediacy of its results and the possibility of “manipulation”. With it he creates photographic mosaics, the artistic form for which he is best known. His expressive language mixes a sensitivity to the contemporary image with influences derived from the historical avant-gardes - Futurism and Cubism for shapes and spirit, Surrealism and Dadaism for modes.

As Denis Curti observes, «his works do not set out to reproduce reality faithfully, but are the product of an investigation of the visible, an operation of breaking down the world that finds its ideal instrument in photography. Galimberti takes inspiration from David Hockney’s photographic collages and is guided in his research by such illustrious models as the Futurist works of Umberto Boccioni or Marcel Duchamp’s Nude Descending a Staircase, No. 2, inspired in turn by Etienne-Jules Marey breakdown of movement» (D. Curti, Capire la fotografia contemporanea, Marsilio 2020).

MAURIZIO GALIMBERTI

Messico (4)

Polaroid plate, 2002, 40 x 50cm 

By Maurizio Galimberti/Archivio M.G. - N.308

MAURIZIO GALIMBERTI

New York Studio n. 10 

Polaroid plate, 2024, 31 x 66 cm 

By Maurizio Galimberti/Angelos Dimitriou

MAURIZIO GALIMBERTI

Taylor Swift (1) 

Polaroid plate, 2024, 50 x 54 cm

By Maurizio Galimberti/Luchi Collection

The exhibition is divided into six sections: Cenacolo, History, Sport, Portraits, Taylor Swift and Places, each of which presents a different facet of his work and his approach to photography. His creations, characterised by a multifaceted and fragmented vision of reality, are taken apart and put back together as in a mosaic, offering a profound reflection on perception and on the multiplicity of viewpoints.

The images are almost always manipulated at the development stage, exerting pressure with simple tools – like pens and wooden sticks – directly onto the surface of the support, or assembled into mosaic-like compositions, in which each photograph contributes to the formation of an end result able to create a spectacular overall vision.

«His technical inventions, manipulations, ready-mades and mosaics – Denis Curti still observes – are none other than the metaphor for a transversal language that does not pass through the filter of rationality, and, precisely for this reason, becomes emotion. In every one of his photos there is a precise gesturality, a visual act that finds its synthesis inside the definition of «Instant Artist», invented by Maurizio himself to describe his production, because, when he decided to transform his youthful passion into a profession, he chose the Instamatic camera as his ideal instrument. In his hands, this medium goes beyond the purely descriptive detail, through a procedure that is calculated and always oriented towards the transfiguration of the visible».

Le Stanze della Fotografia 

The Rooms of Photography

Venice, Island of San Giorgio Maggiore

www.lestanzedellafotografia.it

Maurizio Galimberti tra Polaroid/Ready Made e le Lezioni Americane di Italo Calvino

Maurizio Galimberti on Polaroid/Ready Made and Italo Calvino's American Lessons

Le Stanze della Fotografia / The Rooms of Photography, Venice, 10 April – 10 August 2025

Kandinsky and Italy @ MA*GA Museum, Gallarate, Italy - Kandinsky e l'Italia @ Museo MA*GA, Gallarate

Kandinsky and Italy

Kandinsky e l'Italia

MA*GA Museum, Gallarate

Museo MA*GA, Gallarate

November 30, 2025 - April 12, 2026

In italiano qui sotto

ENRICO PRAMPOLINI

Composizione, 1950

Oil on masonite

MAGA Museum Collection, Gallarate

From 30 November 2025 to 12 April 2026, the MA*GA in Gallarate (VA) hosts a large retrospective revolving around the figure of Vassily Kandinsky, one of the pioneers of abstract art.

The exhibition focuses on the centrality of the Russian master's work and thought in relation to the European scene and, in particular, to the great season of Italian abstraction that developed between the 1930s and 1950s.

The exhibition recounts the birth of abstract art and its evolution in Europe and Italy, whose influences are still alive and well in contemporary art today. This journey through masterpieces from the MA*GA Museum and the Galleria Internazionale d'Arte Moderna di Ca' Pesaro, enriched by prestigious loans from public and private collections, showcases works by artists such as Paul Klee, Enrico Prampolini, Mario Radice, Atanasio Soldati, and Emilio Vedova.

Curated by Emma Zanella and Elisabetta Barisoni, designed and produced by the MA*GA Museum and the Galleria Internazionale d'Arte Moderna di Ca' Pesaro (VE).

-----

Dal 30 novembre 2025 al 12 aprile 2026, il MA*GA di Gallarate (VA) accoglie un’ampia retrospettiva che ruota attorno alla figura di Vassily Kandinsky, uno dei pionieri dell’arte astratta.

Curata da Emma Zanella ed Elisabetta Barisoni, progettata e realizzata dal Museo MA*GA e dalla Galleria Internazionale d’Arte Moderna di Ca’ Pesaro (VE), la mostra dal titolo Kandinsky e l’Italia si concentrerà sulla centralità dell’opera e del pensiero del maestro russo in relazione alla scena europea e, in particolare, alla grande stagione dell’astrattismo italiano che si è sviluppata tra gli anni trenta e gli anni cinquanta del Novecento.

Il percorso espositivo racconterà la nascita dell’arte astratta e la sua evoluzione europea e italiana, i cui esiti sono ancora oggi vivi e presenti nel linguaggio artistico contemporaneo, attraverso capolavori provenienti dai due musei, arricchiti da prestigiosi prestiti di collezioni pubbliche e private, di artisti quali Paul Klee, Enrico Prampolini, Mario Radice, Atanasio Soldati, Emilio Vedova.

MUSEO MA*GA

MA*GA MUSEUM

Fondazione Galleria d’Arte Moderna e Contemporanea ‘Silvio Zanella’

Via Egidio De Magri 1, 21013 Gallarate (VA)

www.museomaga.it

Paolo Roversi @ Pace Gallery, NYC - "Along the Way" Focused Retrospective Exhibition (early 1990s - present)

Paolo Roversi: Along the Way

Pace Gallery, New York 

September 12 – October 25, 2025

Paolo Roversi 

Natalia, Paris, 2003

© Paolo Roversi, courtesy Pace Gallery

Pace presents an exhibition of work by photographer PAOLO ROVERSI at its 508 West 25th Street gallery in New York. Opening on September 12, during New York Fashion Week, and running through October 25, this focused retrospective will feature works produced by Paolo Roversi between the early 1990s and the present, highlighting the artist’s relationships with his many collaborators in the fashion industry.

Roversi’s upcoming exhibition with Pace in New York—his first solo show with the gallery since 2019—will present an overview of his storied career through a selection of photographs created over the past 35 years.“Every portrait is a meeting, an exchange, a mutual intimate confession,” Paolo Roversi has said of his work. The show will shed light on Roversi’s legacy as the artist behind some of the most iconic fashion images of our time.

Drawing inspiration from the work of August Sander, Robert Frank, and Diane Arbus, Paolo Roversi developed a distinctive style that is deeply influenced by the Byzantine architecture and rich cultural history of his birthplace, Ravenna, Italy. “Paolo's photography is timeless,” Sylvie Lécallier, curator Roversi’s 2024 exhibition at the Palais Galliera in Paris, said in an interview last year. “It is detached from the spirit of the times, from the ephemeral trends of fashion. It is located both at the heart of fashion and at the edge.”

Made with Polaroid film and mostly taken in his Parisian studio, Roversi's dreamlike, enigmatic images are imbued with a classical sensibility. His studio, he has said, “is a place for the chance, the dream, the imaginary to prevail. I give these forces as much space as I can.”

In addition to his collaborators in the fashion world, Polo Roversi has recently joined forces with his friend and fellow artist Sheila Hicks. For these works, which will figure in Pace’s exhibition, no discussion is had between the two artists regarding a direction for the final work, each knowing and respecting the other’s practice.

Born in Ravenna, Italy in 1947, Paolo Roversi discovered his passion for photography during a 1964 family holiday in Spain— upon his return from the trip, he built a darkroom in the basement of his home. He began his career in 1970, taking photojournalism assignments from the Associated Press. In 1973, at the invitation of photographer and ELLE art director Peter Knapp, Paolo Roversi moved to Paris, where he has lived and worked ever since. After a nine-month period assisting British photographer Lawrence Sackmann, whom he cites as an influential teacher, Paolo Roversi started shooting independently with small commissions for ELLE and the band Depeche Mode, gaining wider recognition with a Dior beauty campaign in 1980 and ultimately forging his reputation as one of the industry's leading photographers by the mid- 1980s. As model Guinevere van Seenus, who has worked with Roversi for nearly three decades, has said, “Having your portrait taken is more than just looking at the camera, [Paolo] creates the space for the person to [emerge]."

Today, Paolo Roversi’s work can be found in museum collections around the world, including the Museum of Modern Art in New York; the Getty Museum in Los Angeles; and the National Portrait Gallery in London. He has had major exhibitions around the world—in recent years, at the Museo d'Arte della città di Ravenna, Palazzo Reale in Milan, the Palais Galliera in Paris, the Multimedia Art Museum in Moscow, and Dallas Contemporary in Texas—and has published numerous books, including Paolo Roversi: Palais Galliera (2024), Lettres sur la lumière, with philosopher Emanuele Coccia (Gallimard, 2024), Des Oiseaux (Éditions Xavier Barral, 2023), Paolo Roversi – Studio Luce (Museo d'Arte della città di Ravenna, 2020), Natalia (Stromboli, 2018), and Nudi (Stromboli, 1999).

PACE NEW YORK

508 West 25th Street, New York City

www.pacegallery.com

Giuseppe Penone @ Serpentine, London - "Thoughts in the Roots" Exhibition

Giuseppe Penone

Thoughts in the Roots

Serpentine, London

3 April – 7 September 2025

Giuseppe Penone working 

on Pressione (Pressure) 

at Musée de Grenoble, 2014 

Photo © Musée de Grenoble / ph. Jean-Luc Lacroix

Thoughts in the Roots at Sepentine South showcases Giuseppe Penone’s continued interest in the relationship between humans and the natural world, featuring works that range from 1969 to today.

A leading figure in the Arte Povera movement, born in Italy in the 1960s, that celebrates the simplicity of natural materials and artistic techniques, Giuseppe Penone experiments with a wide range of materials including wood, iron, wax, bronze, terracotta, marble and plaster, bringing their individual physical qualities to the fore.

Since its launch in the 1970s, Serpentine has maintained a long-standing commitment to bringing art out of the traditional gallery context and into the surrounding landscape, offering an opportunity for artists to engage with the immediate environment of Kensington Gardens.

Giuseppe Penone says: “To breathe the perfume of the leaves that cover the walls of the environment, to inhale the fragrance of the resin extracted from the trees and poured into an empty tree trunk, these are actions that allow us to perceive the space of Serpentine as a continuum with the nature of the park that surrounds it.”

“All of my work is a trial to express my adherence and belonging to nature, and it is with this thought that I have chosen the works for the exhibition. The two paths that I have created, inside the gallery and outside of it, in the park, become two integrated gardens.”

The exhibition will embody the key principles of Giuseppe Penone’s work, namely the synergies between artistic and natural process, and the poetic relationship between humans and nature.

GIUSEPPE PENONE 

Respirare l’ombra (To Breathe the Shadow), 1999 

Wire mesh, laurel leaves, bronze 

Total dimension determined by the space Installation view 

Castello di Rivoli Museo d’Arte Contemporanea 

Photo © Archivio Penone

Since the 1970s, Giuseppe Penone has visualised breath as sculpture through different materials. Highlights will include Respirare l’ombra (To Breathe the Shadow), a sensory installation made of laurel leaves that envelops the walls of the gallery. The artist compares the process of breathing to that of lost wax castings, in which metal flows into the mould and air is expelled from reeds, similar to lungs respiring. Reminding us of the fleeting nature of organic elements, the artwork is conceived as an immersive experience celebrating respiration and dissipating over time as the leaves lose their scent and colour.

Exploring the rapport between nature and body, Giuseppe Penone also uses organic materials to record his own breath. In Soffio di foglie (Breath of Leaves), the artist stacks boxwood leaves and lies down on the pile, breathing air into them. The imprint of his body and respiration is cast on the leaves, recording traces of his bodily presence.

GIUSEPPE PENONE

A occhi chiusi (With Eyes Closed), 2009

Acrylic paint, glass microspheres, 

acacia thorns on canvas; white Carrara marble 

total dimensions 150 × 510 × 8 cm

Installation view at BnF Paris 2021 

Photo © Archivio Penone

The exhibition opens with A occhi chiusi (With Eyes Closed), a work showcasing the artist’s combined interest in exploring the relationship between sight and the act of closing one’s eyes. His first exploration started in 1970 with Rovesciare i propri occhi (Reversing One’s Eyes), a black and white photograph that captured Giuseppe Penone looking directly at the viewer while wearing reflective contact lenses that rendered him blind. With the absence of vision, he creates a space for imagination within the mind. The numerous acacia thorns on canvas echo a synthesis of our senses in connection with nature too.

The vegetal world is a central subject in Giuseppe Penone’s work, citing the tree as the ‘primal and most simple idea of vitality, of culture, of sculpture’. He created his first Alberi (Trees) in 1969, by removing the wood along the outer growth rings of mature timber layer-by-layer. Knots were left in place as they emerged into branches, revealing how the tree would have appeared before it was felled.

The exhibition features Alberi libro (Book Trees), a sculpture consisting of twelve carved saplings placed side by side. ‘Every word for tree collects days of rain, sun mist, contains seasons, memories of places, of times experienced, that have a different meaning from person to person. They are words that fill the woods with their presence, invade the landscape, force us to an interpretation of motion, active, and push us for their correct interpretation in the forest’s care.’

GIUSEPPE PENONE

Gesti vegetali (Vegetal Gestures), 1983-1985 

Bronze, vegetation 

Installation view at Galleria Borghese, Rome, 2023

Photo © Sebastiano Pellion di Persano

Gesti vegetali (Vegetal Gestures) is a series of sculptures that encapsulates the gestures of plants and the movement of the body. Giuseppe Penone created the first drawings of Gesti vegetali in the 1980s, outlining the movement of the human body. He molded the work in clay before casting it in bronze, a material which the artist began utilising after realising the oxidation resembled the same colour as the bark of trees. Each sculpture is placed in a plant pot and positioned outside the gallery windows, in dialogue with the trees in Kensington Gardens.

Designed by Atelier Dyakova, an artist book will be published to accompany the exhibition. Featuring drawings and new writings from Giuseppe Penone alongside the contributions from Ludovico Einaudi and other contextualising texts. The publication also features an extended interview between Penone and Hans Ulrich Obrist discussing the artist’s inspiration and practice.

Giuseppe Penone has a longstanding relationship with Serpentine. He previously worked with Ecologies at Serpentine, which encompasses myriad convenings, networks, infrastructural and long-term research projects which hold ecology and the environment at their core. The artist was a participant in the 2011 Garden Marathon at Serpentine. This two-day event was an exploration of the concept of the garden. He  is also featured in the book 140 Artists’ Ideas for Planet Earth, published by Serpentine and Penguin.

Bettina Korek, CEO, Serpentine, and Hans Ulrich Obrist, Artistic Director, Serpentine, say: “We are honoured to present Giuseppe Penone’s exhibition at Serpentine South. Thoughts in the Roots will celebrate his impressive five-decade practice and uncover the visual, tactile, and olfactory dimensions of the materials he explores. Revealing the fragile and poetic relationships between humans and nature, the exhibition will exemplify Penone’s experimental research and feature new works presented in the UK for the first time and extends into The Royal Parks. Following his participation in the Garden Marathon – our knowledge festive - at Serpentine in 2011 and his contribution to 140 Artists’ Ideas for Planet Earth, we’re thrilled that this leading figure of the Arte Povera movement, has accepted our invitation to bring the Park into the gallery and vice versa. Responding to the Spring and Summer seasons, Penone’s delicate landscape will nurture Serpentine’s mission of building new connections between artists and audiences.”

With a career spanning over five decades, Giuseppe Penone’s (b. 1947 lives and works in Turin, Italy) expansive oeuvre encompasses sculptures, drawings, painting, installations, and photography. Born in Garessio, a village near Cuneo, Italy, he is influenced by the forested region of Northern Italy.

Giuseppe Penone has been featured in solo exhibitions worldwide including at the Fondazione Ferrero, Alba (2024); at the Galleria Borghese, Rome (2023); Centre Pompidou, Paris (2004, 2022); Philadelphia Museum of Art (2022); Villa Medici, Rome (2021); Palais d’léna – CESE, Paris, (2019); Yorkshire Sculpture Park, Wakefield (2018); Chateau La Coste, Le Puy-Sainte-Réparade (2017); Palazzo della Civiltà, Rome (2017); Louvre Abu Dhabi (2017); MART, Rovereto (2016); Rijksmuseum, Amsterdam (2016); Nasher Sculpture Center, Dallas (2015); Musée Cantonal des Beaux-Arts, Lausanne (2015); the Beirut Art Center (2014); the Musée de Grenoble (2014); the Château de Versailles (2013); Kunstmuseum Winterthur (2013); Madison Square Park, New York (2013) and Whitechapel Gallery, London (2013). Giuseppe Penone has exhibited at Documenta V (1972), VII (1982), VIII (1987) and XIII (2012) and at the Venice Biennale in 1978, 1980, 1986, 1995 and 2007.

Thoughts in the Roots is curated by Claude Adjil, Curator at Large; and Hans Ulrich Obrist, Artist Director with Alexa Chow, Assistant Exhibitions Curator.

SERPENTINE GALLERIES, LONDON

Serpentine South + extend beyond the gallery 

to feature sculptures in the Royal Parks

Kensington Gardens, London W2 3XA

www.serpentinegalleries.org

Arte Fiera Bologna 2025 - International exhibition of modern and contemporary art - Sections, Curators, Galleries, artists, artworks, Awards

Arte Fiera Bologna 2025

International exhibition of modern and contemporary art

7 - 9 February 2025

Michelangelo Pistoletto

L'uomo nero, 1959

Oil on canvas, 120 x 120,5 cm

Courtesy Tornabuoni Arte

Salvatore Scarpitta

Drumer Brigade, 1963

Oil on canvas, bands and straps

61 x 61 x 12 cm

Signed, dated and titled on the back

Courtesy Studio Gariboldi

Valerio Adami

Park Avenue, 1969

Oil on canvas, 81 x 100 cm

Courtesy Studio Gariboldi

Piero Dorazio

Stop, 1972/1975

Oil on canvas, 70 x 35 cm

Courtesy Galleria Tonelli

Giuseppe Penone

Terra su terra - Tronco, 2015

Bronze and terracotta, 220,5 x 85 x 50 cm

Courtesy the artist and 

Tucci Russo Studio per l'Arte Contemporanea,

Turin and Torre Pellice

Ph. Photo Archives Tucci Russo Gallery

Tony Cragg

Tommy, 2013

Bronze, 150 x 120 x 95 cm

Courtesy the artist and 

Tucci Russo Studio per l'Arte Contemporanea,

Turin and Torre Pellice

Ph. Photo Archives Tucci Russo Gallery

Giacomo Balla

Progetto arredamento verde, circa 1919

Watercolor, pencil and paint on paper

38,1 x 48,4 cm

Courtesy Bottegantica

Enrico Prampolini 

(1894 - 1956)

Bozzetto per la sala Esportazione, Padiglione del mercury

© Estate Prampolini

Courtesy Bottegantica

After celebrating a half-century of activity with a fantastic 2024 edition, marked by the return of large galleries and by many collectors, Arte Fiera looks to the future and confirms its growth under the leadership of Artistic Director Simone Menegoi and Managing Director Enea Righi. The exhibition’s traditional halls (25 and 26), reconfirmed for 2025, will showcase the Italian scene: current and past artists, new and established galleries, publishers, critics and institutions. A complete panorama of which Arte Fiera is a trusted interpreter, from post-war masters to emerging artists.

Arte Fiera Bologna 2025: Exhibitors, sections and curators

After the return of galleries such as Apalazzo, Laveronica, Lia Rumma, Lorenzelli, Franco Noero, Ronchini, and Sprovieri in 2024 (confirmed for 2025 as well), Arte Fiera 2025’s 176 galleries include important new returns, such as Gió Marconi, Magazzino, Raffaella Cortese and Tucci Russo, and first-time foreign galleries such as Herald St.

Pietro Consagra

Giardino bianco, 1966

Ferro verniciato, lamiere tagliate, curvate,

saldate verniciate, 38 x 51 x 2 cm, Edition of 5

Courtesy Archivio Pietro Consagra and Cortesi Gallery

Enrico Baj

Kiss me, I'm Italian, 1972

Coloured mixed technique on paper

78 x 66 cm. Edition: 100, X

Publisher: Studio Marconi, Milan

© Archivio Baj, Vergiate.

Courtesy Gió Marconi, Milan

Man Ray

La Fortune II, 1973

Colour lithographie, 55 x 75,5 cm

Edition: 90

© Man Ray Trust. Courtesy Gió Marconi, Milan

Andrea Romano

Cocoons, 2015

Slate, fiber, glass, rope, 35 x 25 x 25 cm

Courtesy the artist and Federica Schiavo Gallery

Photo Andrea Rossetti

Salvatore Arancio

Drip Drip, 2018

Glazed Ceramic, 34 x 43 x 44 cm

Courtesy the artist and Federica Schiavo Gallery

Photo Andrea Rossetti

Sang Woo Kim

Closer 020, 2024

Oil on canvas, artists frame, 26 x 26 x 3 cm

© Sang Woo Kim

Courtesy the artist and Herald St, London

Photo Andy Keate

Nicole Wermers

Proposal for a monument to a

Reclaning Famale! #9, 2023

Air dry clay and found objects

41,5 x 12,5 cm

© Nicole Wermers

Courtesy the artist and Herald St, London

Photo Jackson White

Arte Fiera’s Main Section, divided as always into post-war and contemporary art, will be accompanied by four invitation-only curated sections: Photography and moving images, Multiples, Pittura XXI, and, making its debut, Prospettiva, devoted to emerging artists, whether represented by new or established galleries.

Photography and moving images will be curated for the third year by Giangavino Pazzola, curator of Camera - Centro Italiano per la Fotografia in Turin. For the second year, Multiples will be curated by Alberto Salvadori, critic and art historian. Davide Ferri, critic and independent curator specializing in contemporary painting, has curated Pittura XXI since its first edition. The debut of Prospettiva is entrusted to Michele D’Aurizio, curator and critic working in Italy and in the United States.

Alongside the curated sections there will again be Percorso: not really a section, but an itinerary that thematically links some of the stands in the Main Section and in the curated sections. After two years devoted to artistic forms (Ceramics in 2023 and Drawing in 2024), Percorso 2025 will also concern the content of the works: in fact, the new theme is “Community.” The format's new theme for 2025 - on which the partnership with Ducati is renewed - is the idea of "Community," as expressed by "Community: not "I" but "we."

15 exhibitors in the section dedicated to publishing and 13 exhibitors in the section dedicated to institutions complete the list of 204 exhibitors at Arte Fiera 2025.

Robert Mapplethorpe 

Robert Sherman, 1983

Gelatin silver print, 63 x 61 x 3,5 cm

Courtesy Galleria Franco Noero

JR

La Nascita, Milano Centrale, 11 avril 2024

Color photographic print, laminated on dibond,

matte plexiglass, flush frame and American box

in walnut, 123 x 183 x 6,5 cm

Unique work

Courtesy the artist and Galleria Continua

Mimmo Jodice

Venere Italica, Florence, 1990-91

Printed on baryta paper "True Black Fine-Art Giclée"

115 x 90 cm, Edition: 6

Courtesy the artist and Vistamare, Milan, Pescara

ph. Mimmo Jodice

Lucia Maria Patella

Perché il Sol ne riluca, 1991

Polaroid, 60 x 50 cm

Courtesy Galleria Il Ponte

Rosa Fosci

Double (Antonine Artaud), 1996

Composition of 9 polaroids, 10 x 10 cm each

Courtesy Galleria Il Ponte

Adelita Husni Bey

Parable #5, 2023

c-print, 101 x 131 cm

Courtesy the artist and Laveronica

Jonas Staal

94 Million Years of Collectivism, Karl Marx, 2023

Alu dibond 5mm, back printed black

109 x 174,6 cm

Courtesy the artist and Laveronica

Eva L'Hoest

One hundred staring sheep (diptych), 2024

Fine art print, 137 x 113 cm each

Courtesy the artist and Artopia Gallery

Installation view, Artopia Gallery

Photo Michela Pedranti

Arte Fiera Bologna 2025: Public program and special projects

Opus Novum #7: Maurizio Nannucci

Every year since 2019, Arte Fiera has commissioned an Italian established artist to create a work to be presented at the fair. The series, named Opus Novum, was inaugurated by Flavio Favelli, followed by Eva Marisaldi (2020), Stefano Arienti (2021), Liliana Moro (2022), Alberto Garutti (2023), and Luisa Lambri (2024). 

Maurizio Nannucci

Up/Down, 1984/2024

Red and blue Murano glass neon lights/

Timed ignition in three variants, 130 x 245 x 7 cm

Courtesy Galleria Enrico Astuni

Photo Renato Ghiazza

This year, the artist invited to create a new work for the fair is Maurizio Nannucci (b. 1939), an internationally renowned Italian artist since the 1960s. The author of sound and photographic works as well as artist books, Maurizio Nannucci is known above all for his use of the word as artistic material, specifically in the form of neon writing for site-specific installations. His contribution to the “Opus Novum” series is a work in edition: a high GSM paper shopper with YOU CAN IMAGINE THE OPPOSITE printed on its two main sides. A provocation – now more urgent than ever – to consider a radical alternative. Author, exhibition curator, collector, and even publisher of multiples (with Exempla, Zona Archives, and Recorthings, which he founded), Maurizio Nannucci views serial production as a way to affirm the preeminence of the idea of the individual action and as an opportunity for the democratic propagation of art. An approach shared by Arte Fiera as demonstrated by the creation of Multiples, a specific section for works in edition.

John Giorno

NASTURTIUMS FLAUNT TRUMPETS OF FIRE 

TEASINGLY DEMONIC, 2017-2023

Acrylic on canvas, 101,6 x 101,6 cm

Courtesy Thomas Brambilla

Neïl Beloufa

Silhouette 1, 2011

Wood, plastic, spray paint, 86 x 131 cm

Courtesy ZERO...

Photo ©  Filippo Armellin

Christian Frosi

Rice and Juice, 2007

Performative sculpture: 

shopping bags with rice and fruit

70 x 50 x 50 cm

Courtesy ZERO...

Rachele Maistrello

Black Diamond The corridor #1, 2024

Pigment print on Canson satin paper,

aluminium frame, 73 x 100 cm

Courtesy the artist and Artipia Gallery

Book Talk

The 4th edition of Book Talk, the series of conversations devoted entirely to art books, realized in partnership with BPER and curated by Guendalina Piselli, portrays the lively relationship between art and publishing, and its ability to stimulate great interest not only among professionals, but in the general public as well. A full calendar of presentations during the fair offers recently published works – essays, artist books, catalogs, and monographs – presented by critics, scholars, artists.

The Talks include Marie De Brugerolle, art historian and curator, in conversation with Vincenzo Estremo, theorist of moving images, presenting “Post-Performance Future. Method/e” (delpire and co edizioni), a research project analyzing the impact and legacy of performance art on the visual arts.

A double presentation creates a dialog between the book “Rematerialization of language 1978-2022” by Cristiana Perrella, Andrea Viliani, and Vittoria Pavesi (NERO Editions), and the monograph “Tomaso Binga. Euforia” by Eva Fabbris, Lilou Vidal, and Stefania Zuliani with Anna Cuomo (Lenz press), presented by Cristiana Perrella and Eva Fabbris.

Another double presentation compares “Skank Bloc Bologna: Alternative Art Spaces since 1977” by Roberto Pinto and Francesca Spampinato (Mousse), and “Anni Novanta. Arti visive, moda e design” by Alessandra Acocella and Valentina Rossi (postmedia books). The speakers will link the history of non-profit exhibition spaces in Bologna from 1977 to today with the Italian creative scene in the 1990s.

“On Patterns” (Mousse) by Adelaide Cioni will be an opportunity to focus on the research of this artist, protagonist of Arte Fiera’s performance program in collaboration with Fondazione Furla. She will talk with Ilaria Puri Purini, author of the book’s texts, and with Daria Khan, Jennifer Higgie, Jareh Das, Agnieszka Gratza, and Cecilia Canziani.

Piero Golia

Ancora Gora #13, 2023

Sumi ink on hotel letterhead paper

26 x 18,4 cm (unframed)

Courtesy the artist and Galleria Fonti, Naples

Giorgio Morandi

Natura Morta, 1956

Pencil on paper, 19,5 x 26,4 cm

Courtesy Galleria Sprovieri

William Kentridge

Cjiesa di San Francesco Saverio,

Palermo Cash Book Drawing I, 2023

Indian ink, charcoal and coloured pencil 

on found paper, 52 x 76,8 cm (not framed,

62,5 x 87 x 5 cm (framed)

Courtesy Galleria Lia Rumma, Milan, Naples

Mario Schifano

Incidente, 1964

Mixed technique on cardboard, 99 x 68,5 cm

Courtesy Galleria Tonelli

Libera Mazzoleni

Luca II, 49, 1977

Photography with typographic intervention

30,5 x 40,5 cm

Courtesy the artist and

Frittelli arte contemporanes, Florence

Lucia Marcucci

Un consiglio di moda, 1970

Collage on cardboard, 35 x 50 cm

Courtesy Frittelli arte contemporanes, Florence

Fondazione Furla

Arte Fiera renews its collaboration with Fondazione Furla for the live performance program curated by Bruna Roccasalva, the Foundation’s Artistic Director.

This year, the invited artist is Adelaide Cioni (b. Bologna,1976), who presents a performance created for the exhibition. Adelaide Cioni’s work regards the origins of the sign. Although her research covers a wide range of expressive forms - including painting, literature, music, and theater - her starting point remains drawing. 

At Arte Fiera 2025, Adelaide Cioni presents Five Geometric Songs, a performance in which abstract geometric motifs become the visualization of rhythm in space by means of five costumes designed by the artist and worn by five dancers who perform to original music by Dom Bouffard. The result of Cioni’s longtime focus on abstraction and color, on the origin of shape, and on the concept of patterns, the performance is both an evolution of a previous performance, Song for a Square, a Circle, a Triangle (2023) and a response to its specific location in Bologna: the Padiglione de l’Esprit Nouveau (1977), a faithful reproduction of an original design by Le Corbusier and Pierre Jeanneret for the 1925 Exposition Internationale des Arts Décoratifs in Paris, exactly 100 years ago.

Thursday 6 February at 4, 5, 6 PM | Friday 7 February at 11 AM and 12 N | Saturday 8 and Sunday 9 February at 11 AM, 12 N, 1 PM - Piazza Costituzione, 11, Bologna

Bice Lazzari

Untitled, 1966

Acrylic and pencil on canvas, 25 x 25 cm

Copyright of the artist

Courtesy Richard Saltoun Gallery, 

London, Rome, New York

Nedda Guidi

Omaggio a Ebla [Homage to Ebla], 1981

Terracotta and oxydes, set of twenty

70 x 50 x 13 cm

Copyright pf the artist

Courtesy Richard Saltoun Gallery, 

London, Rome, New York

Agostino Bonalumi

Rosso, 1977

Vinyl tempera on shaped canvas, 140 x 140 cm

Courtesy Cortesi Gallery

Ai Weiwei

Estasi di Santa Cecilia (After Raffaello), 2024

Toy bricks, 228 x 152 cm 

Unique work

Courtesy AI WEIWEI STUDIO and 

Galleria Continua 

Ph. Ela Bialkowska, OKNO Studio

Alberto Savinio

Nascita di Venere, 1950

Tempera on mansonite, 70 x 58 cm

Courtesy Tornabuoni Arte

Alfredo Piri

Senza Titolo, 2002

Plexiglass, steel wire, enamel and acrylic,

watercolour, watercolour paper

77 x 59 x 12,5 cm

© Alfredo Pirri. Courtesy z2o Sara Zanin

Photo Dario Lasagni

Marta Roberti

Autoritratto Come Santa Olivia Riservia 

Su Giaguaro, 2024

Drawing and collage with graphit and 

oil pastel from handmade carbon paper

on Taiwanese Gampi paper, 240 x 190 cm

© Marta Roberti. Courtesy z2o Sara Zanin

Arte Fiera Bologna 2025: Awards

BPER Prize

The BPER Prize, devoted to enhancing feminine themes, is part of the BPER Group’s traditional efforts focused on inclusion and the fight against gender violence, united with the promotion of culture and art.

As in 2024 (the first year of the prize), BPER will acquire the winning work and display it in its exhibition spaces, thereby providing visibility to the work and to the artist after the conclusion of Arte Fiera, Bologna 2025.

The jury is composed of Serena Morgagni, Director of Communications of BPER Banca; Caterina Riva, Director of MACTE - Museo di Arte Contemporanea di Termoli; Frida Carazzato, scientific curator at Museion - Museo d'arte moderna e contemporanea di Bolzano.

Marval Acquisition Award

Addressed primarily to emerging and mid-career artists, the Marval Acquisition Award consists of an acquisition to be added to the Marval Collection, a residency offered to the winning artist, and a targeted campaign on the Collection’s network to give the artist and gallery as much visibility as possible.

The jury is composed of collectors Marco and Valeria Curina.

Pier Paolo Calzolari

Untitled [la rosée], 2024

Salt, pigments, oil pastel, gold leaf, wood,

steel and iron on canvas glued on board,

ceramics, 187 x 190 x 35 cm

Courtesy the artist and 

Galleria Mazzoli, Modena, Berlin

Photo © Michele Alberto Serini

Pier Paolo Calzolari

Studio, 1999

Salt, wax and iron on paper on board

41 x 50,4 x 10 cm

Courtesy Repetto Gallery

Lucio Fontana

Concetto spaziale, 1957

Graffiti, holes, ink and aniline on canvas paper, 65 x 80 cm

Courtesy Repetto Gallery

Paolo Serra

Untitled, 2022

Lacquer and metal leaf on panel, 122 x 122 cm

Courtesy Ronchini

Salvatore Astore

Anatomia Umana, 2023

Stainless steel, 100 x 75 x 20 cm

Courtesy the artiste and Mazzoleni, London, Turin

Marinella Senatore

There is so much we can learn from the sun, 2024

Collage and silver leaf on paper, 50 x 70 cm

Courtesy the artist and Mazzoleni, London, Turin

Officina Arte Ducati Award

Ducati confirms the Officina Arte Ducati Award, linked to Percorso, the itinerary that thematically connects a selection of galleries exhibiting at the fair. The format's new theme for 2025 - on which the partnership with Ducati is renewed - is the idea of "Community," as expressed by the sentence "Community: not "I" but "we." As in the previous edition, the jury will assign the Award to the work that best expresses Ducati’s brand values: speed, design research, innovation.

The wining work will become part of the corporate collection in Borgo Panigale, supported by the Fondazione Ducati, which, including through its involvement in Arte Fiera, confirms its commitment to the public by promoting numerous cultural, educational, and social initiatives.

The jury is composed of Stefano Tarabusi, Design Manager Ducati Motor Holding; Andrea Bruciati, Director of Istituto Villa Adriana and Villa d’Este, Tivoli; Valentina Rossi, art historian, curator and lecturer.

Francis Offman

Untitled, 2023-2024

Acrylic, paper, ink, 100% cotton, coffee arounds,

Bologna chalk on linen, 222 x 244 cm

Unique work

Courtesy the artist and P420, Bologna

Photo © Carlo Favero

Victor Fotso Myie

Veglia, 2023

Glazed ceramic and gold, 22 x 60 x 42 cm

Courtesy the artist and P420, Bologna

Photo © Carlo Favero

Lynda Benglis

Gone Gone, 2024

Ice-white onyx, 121 x 26 x 45 cm

Courtesy Thomas Brambilla

Luisa Rabbia 

The Gods: Artemis, 2023

Oil on linen, 244 x 183 cm

Courtesy Galleria Giorgio Persano

Photo Nicola Morittu

Herbert Brandl

No title, 2022

Acrylic on canvas, 300 x 150 cm

Courtesy Galleria Giorgio Persano

Photo Nicola Morittu

Osvaldo Licini by Fainplast Award

The Osvaldo Licini by Fainplast Award stems from an idea by the Picena Contemporary Art Association with the collaboration of the City of Ascoli Piceno and the Fainplast Group.

The award is dedicated to Italian painting, with a selection method that involves about forty contemporary art professionals, including curators, critics, collectors, museum directors, and journalists, each of whom are requested to provide the name of two artists. In 2025, one of the five finalists will be chosen from the Pittura XXI section of Arte Fiera by a jury composed of Roberta Faraotti, collector; Bernardo Follini, Senior Curator Sandretto Re Rebaudengo Foundation, Turin; Pier Paolo Pancotto, independent curator.

Francesco Arena

Cassetta, 2023

Bronze, 63 x 31 x 45 cm

Courtesy the artist and

Galleria Raffaella Cortese, Milan, Albisola

Edi Hila

Broken circus, 2023

Oil on canvas, 95 x 141 cm

Courtesy the artist and

Galleria Raffaella Cortese, Milan, Albisola

Tanya Ling

Di Canio, 2024

Oil on canvas, 115 x 165 cm

Courtsy Ronchini

Martino Gamper

Sitzung, 59, 2023

Alpi Veneer, 82,5 x 67,5 x 50 cm

Courtesy Galleria Franco Noero

Tild Greene

Energy Tastes The Same, 2023

Bronze powder, epoxy resin, 10 x 10 x 2 cm

Courtesy the artist and Galleria Fonti, Naples

Photo Amedeo Benestante

LABINAC

Pino (model 8), 2024

Designed by Jimmie Duhram for LABINAC

Resin, bronze, steel, 41,5 x 69 x 52,5 cm

Courtesy Galleria Sprovieri

Righi Collection Award

The aim of the Righi Collection Award, in its third edition in 2025, is to acquire a work at Arte Fiera that will be added to the collections of MAMbo - Museo d’Arte Moderna di Bologna, with specific focus on the work of recent generations of Italian artists.

Currently consisting of over a thousand works of the highest quality, the Righi Collection is one of Italy’s largest private collections of contemporary art.

The jury is composed of Lorenzo Balbi, Artistic Director of MAMbo - Museo d’Arte Moderna di Bologna; Andrea Viliani, Director of Museo delle Civiltà, Rome; Bart van der Heide, Director of Museion - Museo d'arte moderna e contemporanea di Bolzano.

Rotary Award

Now in its 13th consecutive edition, the Rotary Award is presented to the most creative installation at Arte Fiera 2025, whether a creation by an artist or the overall setup of a stand.

The Award consists of the Rotary Award Arte Fiera 2025 to gallery, Special Rotaract Bologna Award, and the Special “Andrea Sapone” award by Rotary Club Bologna Valle del Samoggia.

The jury is composed of Davide Daninos, curator, critic, and Art Programme Leader, Marangoni Institute Florence; Giacomo Fontana, Chairman of Rotary Club Bologna Valle del Samoggia; Maura Pozzati, art critic and teacher at the Academy of Fine Arts, Bologna; Leonardo Regano, art historian and independent curator; Matteo Zauli, Director of Museo Carlo Zauli, Faenza.

Wael Shawky

I Am Hymns of The New Temple:

Pompeii Ceramic amphora #01, 2023

Courtesy the artist and 

Galleria Lia Rumma, Milan, Naples

Maurizio Mocheti

Camouflage Natter pixel grigi, 2019

Installation (resine plane, 4 multilayer wood panels

painted in gray tones of acrylic)

208 x 208 x 40 cm (overal measurement);

100,5 x 66 x 35 cm (plane)

104 x 104 x 2 cm (each of 4 panels)

Courtesy Galleria Enrico Astuni

Photo Yosuke Kojima

Carlo Benvenuto

Untitled, 2020

Plastic-coated photographic print

on aluminium, 180 x 150 cm

Courtesy the artist and 

Galleria Mazzoli, Modena, Berlin

Lorenzo Scotto Di Luzio

Tout le monde se fout des fleurs, 2024

View of the exhibition, Vistamare, Pescara

Courtesy the artist and Vestamare, Milan, Pescara

Photo Roberta Verzella

The Collectors.Chain Prize by Art Defender

With The Collectors.Chain Prize, now in its 4th edition, Art Defender confirms its collaboration with Arte Fiera as well as its special relationship with photography. This year as well, the winning work, selected from those exhibited in the Photography and Moving Images section, will become part of Art Defender’s corporate collection, emphasizing the company’s dedication to collecting and to photography in particular. 

The jury, composed exclusively of collectors, will once again be chaired by Walter Guadagnini, an internationally recognized photography expert. Together with Chiara Massimello and Katia Da Ros, collectors, and with Rischa Paterlini, independent curator, Guadagnini will select the work that best interprets the history of photography in terms of either continuity or innovation.

ARTE FIERA, BOLOGNA 

www.arteferia.it