Showing posts with label Luce Gallery. Show all posts
Showing posts with label Luce Gallery. Show all posts

13/04/25

Peter Mohall @ Luce Gallery, Turin - "Landskap" Exhibition of Landscape Paintings

Peter Mohall: Landskap
Luce Gallery, Turin
March 21 – April 25, 2025

Luce Gallery presents Landskap, an exhibition of paintings by Swedish born, Norway based, painter PETER MOHALL. This is his fourth solo exhibition with the gallery.

As the Swedish lingual title implies, the exhibition thematic concern is with landscape painting. The coruscating landscapes of rural Scandinavian countryside captures the regional scenery, while the saturated imagery recalling the aesthetics of Post-impressionism, with embedded references to both regional painters like Helmer Osslund, Aleksi Gallen-Kallela and Willi Midelfart as well as idiomatic movements like Les Nabis, die Brücke, and Fauvism.

The specific material qualities of the traditional medium of choice, utilizing tempera grassa paint on jute canvas, along with a particular painting style, a sensitive brush handling and visual references, generates a distinct imagery that reveal a comprehension of the medium and it’s inherent art historical properties. Which is leading us to a tentative conclusion that the subject matter is subordinated by a conceptual inquiry into the medium.

The supporting evidence for this assumption comes in form of thick brush strokes sticked to the «window glass» of the illusionary window into the pictorial dimension. The brush strokes are «floating in the air» between us and the motif, causing our focus shift in and out between the pictorial dimension and the flat surface. The perceptual conflict destabilizes the narrative reading of the painting, leaving us with perceptual challenges searching for visual codes to decipher.

First thing we notice about the brush strokes are that they contain the colour index of the painting. Peter Mohall invites us into his artistic process by sharing the palette. A point of interest is the opportunity to study the change of optic values of a colour from isolation compared to inclusion within the context of surrounding colours in the motif.

An interesting insight about the process is that Peter Mohall has to calculate the numbers of colors to use in a painting in advance. Areas needs to be retained in order to properly attach the brush strokes directly onto the canvas. The brush strokes are often arranged as a grid, a note to the modernist method, or in alignment overlaying the motif.

Furthermore, the brush strokes are identical. Peter Mohall has developed a signature strategy utilizing cast brush strokes in an inquiry into a medium-specific investigation of the relationship between the painterly authentic and automation. First deployed in a formalistic setting on empty canvases, the cast brush strokes thematize the gesture alluding the fusion of two modernist strategies; the brush stroke as subject matter and repetition. Peter Mohall adapted the strategy using figuration as backdrops, innovating an imagery of complexity, multi-layered, with internal painterly discussions and perceptual challenges. A conflict between two image forms where traditional perception interacts with the implementation of modernist strategies.

PETER MOHALL (b. 1979, Löddeköpinge (SE), lives and works in Nesoddtangen (NO)) graduated from the Oslo National Academy of Fine Arts. He has exhibited throughout Europe, Asia and the United States, including solo shows with Luce Gallery, Turin, Nino Mier, Los Angeles, Koki Arts, Tokyo, Pablo’s Birthday, New York and QB Gallery Oslo. His work has been acquired by numerous collections such as Fondazione 107, Turin, Central Bank of Norway, Oslo; and JP Morgan Chase Collection among others, as well as public commissions in both Oslo and Drammen.

LUCE GALLERY
Largo Montebello, 40 - 10124 Torino

06/02/25

Rachel Hakimian Emenaker @ Luce Gallery, Turin - "The Wind Will Carry Your Traces" Exhibition

Rachel Hakimian Emenaker
The Wind Will Carry Your Traces
Luce Gallery, Turin
30 January -  7 march, 2025

Luce Gallery presents Rachel Hakimian Emenaker, The Wind Will Carry Your Traces. The show features eight batik paintings made from melted wax and hand applied dye. Through this unique approach, the artist reimagines and integrates ‘craft’ with the painting medium. Her composite cityscapes and interior scenes of everyday life convey profound familial and cultural histories, reflecting her diasporic upbringing. Rachel Hakimian Emenaker leans heavily into rich earth tones punctuated by vivid pops of burgundy, lemon, chartreuse, and indigo, heightening the visual impact of each composition. Her paintings are defined by thin yet saturated washes of dye, contrasted by crisp white linework that animates figures and details throughout each canvas. Together, the works in The Wind Will Carry Your Traces invite viewers to witness how diasporic histories and memories are integral in everyday life, fostering connections within communities.

The exhibition’s title, The Wind Will Carry Your Traces, poetically suggests how deeply held values and memories travel with us, shaping who we are no matter where we call home. Rachel Hakimian Emenaker’s ability to seamlessly blend Eastern and Western art traditions reflects her multicultural background and artistic journey infusing her work with remarkable depth. Of Armenian descent, she moved frequently during her formative years, living in Suriname, Russia and now the United States. This rich confluence of influences informs her work, drawing from European painting traditions, Armenian religious iconography, Soviet-era cinema, and ‘craft traditions’ from the Middle East and South America.

Having studied painting in undergraduate school, she gravitated toward the batik techniques she learned while growing up in Suriname, eventually integrating these methods with Western-style narrative compositions on canvas. Batik, a traditional Indonesian craft, involves creating intricate designs by applying melted wax to fabric and dyeing it in layers. The artist begins her process by drawing with melted wax to create distinctive, permanent lines on the canvas. As an unforgiving medium, wax leaves no room for error; every gesture—whether intentional or accidental—becomes a permanent element of the composition. After the wax dries, five to ten layers of dyes are applied with watercolor brushes, followed by a washing process to refine the colors. The canvas is then washed to remove the wax, leaving behind the crisp white lines that define their work. The final steps include drying, steaming the canvas flat, and attaching it to a stretcher, giving the piece a traditional painting appearance. This meticulous process is not only a technical feat but also a poignant metaphor for the artist's exploration of memory and cultural preservation.

A defining feature of Rachel Hakimian Emenaker’s work is the crisp white lines, which she describes as a form of “resistance.” Created by the wax’s resistance to dye, these lines give each painting a bold and cohesive structure. For the artist, this resistance symbolizes resilience in the face of erasure. The lines embody how people preserve and adapt cultural traditions, reconstructing memories into new forms that anchor them in a new home.

Her seminal painting, Traces, a wide main street winds through a vibrant village nestled in the hillside, where terracotta tiled-roofed buildings, postwar apartments, and octagonal churches coexist. A family strolls along a sidewalk while two women converse nearby, standing near a large puddle that shares the town’s reflection and energy. Here figures are painted entirely from recollection, often referencing family members or acquaintances, making each encounter deeply personal yet universally resonant. As with all the artist’s paintings, this scene is reconstructed from fragmented memories, family stories, and vivid descriptions, forming a collective diasporic memory brimming with detail and artifacts. The rolling hills in the background could easily symbolize inherited memories of Kessab, Syria, where ancient churches rise above towns, or evoke the lush green hills of Los Angeles in springtime, seamlessly blending past and present. The painting captures the essence of the diasporic experience: a liminal space where the boundaries of time and place dissolve, allowing distinct cultural and historical influences to coexist in one richly layered composition.

The strength of Rachel Hakimian Emenaker’s work lies in her ability to harness the labor-intensive nature of their medium to emphasize its conceptual depth. Each scene she creates feels as though it could exist anywhere, everywhere, and nowhere all at once, creating this intersection of familiarity and vagueness where memory is most at home. Hakimian Emenaker layers diverse architectural styles and distinct cultural objects that embody the diasporic experience, illustrating how individuals adapt to new environments by bringing familiar elements of Eastern and Western cultures, as well as regional nature motifs, into their new lives. Her paintings present a convergence of cities, aesthetics, and past worlds, blending them into a seamless recreation of diasporic memory. These works invite viewers to consider how memories and cultural fragments persist, transform, and coexist in new spaces, encouraging deeper engagement with the vibrant and multifaceted nature of the diasporic experience.

Rachel Hakimian Emenaker (Armenian-American, b. 1992) is a Los Angeles-based artist working in painting, installation, craft, sculpture, sound, and textiles. In 2024, she earned an MFA from the University of California, Los Angeles. Her work has been featured in solo exhibitions at the UCLA Broad Art Center, Los Angeles (2024), and the American University of Armenia, Yerevan (2017), as well as in group exhibitions throughout California, including at the Museum of Contemporary Art, San Diego (2017). Emenaker is the recipient of the 2024 Dedalus MFA Fellowship in Painting & Sculpture and the 2023 UCLA Elaine Krown Klein Fine Arts Scholarship. Her work is included in international private collections.

LUCE GALLERY
Largo Montebello, 40 - 10124 Torino

17/05/24

Luce Gallery, Turin: Fifteen Years Anniversary exhibition

Fifteen Years, Dominic Chambers, Ryan Cosbert, Robert Davis, Derek Fordjour, Connie Harrison, Yowshien Kuo, Hugo McCloud, Johanna Mirabel, Peter Mohall, Demarco Mosby, Ludovic Nkoth, Collins Obijiaku, Zéh Palito, Francesco Pirazzi
Luce Gallery, Turin
16 May - 18 June 2024

Luce Gallery presents a special anniversary group exhibition, Fifteen Years.

This show celebrates the gallery's milestone and features new works by a selection of the artists we work with, including Dominic Chambers, Ryan Cosbert, Robert Davis, Derek Fordjour, Connie Harrison, Yowshien Kuo, Hugo McCloud, Johanna Mirabel, Peter Mohall, Demarco Mosby, Ludovic Nkoth, Collins Obijiaku, Zéh Palito, and Francesco Pirazzi. The exhibition showcases the incredible talent and diversity of artistic style of our artists, some of whom have been with us since the inception of our gallery, as well as recent additions to the program. This show honors our partnership and journey with these artists, whether they have already achieved career stardom or are just beginning to make their mark. Fifteen Years offers a profound moment of pride and reflection, encapsulating Luce Gallery's mission to discover and support international emerging artists, enriching our ever-expanding gallery program.

With director and founder Nikola Cernetic at the helm, Luce Gallery's mission has always been to seek out new talent and provide spaces for their artworks to gain a wider audience. In a recent interview, Nikola Cernetic explained:
"I opened Luce Gallery in a very romantic way, and to this day, that spirit persists. I've never chosen an artist solely for a commercial reason; I ask them to join my program because I love and believe in their work and vision. Searching for these artists and being the first to discover them is perhaps the most interesting and rewarding part of my job as a gallerist. What distinguishes Luce from other galleries today is really our strong program of international artists and consistent discovery of new artists."
Over the years, the gallery's roster has been assembled to include artists from more than eight countries, including many hailing from the United States. The program currently excels at painting, displaying the full breadth of this medium from dynamic abstraction to hyperrealism, palpable textures to seemingly invisible brushstrokes, and often incorporates elements of mixed-media or collage used to heighten conceptual meanings. With a strong focus on providing under-recognized artists with a platform to exhibit and a partnership to provide support, we are always searching for unique talent with a distinctive quality from around the globe and in every medium.

To date, the gallery has hung seventy-seven exhibitions, participated in sixty-five art fairs across Europe and North America, and helped organize several well-received institutional shows for our artists, including a recent solo show of Zéh Palito's work at the Museo de Arte Contemporáneo Querétaro in Mexico. Luce Gallery has distinguished itself through its unwavering commitment to emerging artists for fifteen years, and this show encapsulates that vision.

Included in the nineteen newly made artworks on view are a selection of works by artists who have collaborated with the gallery the longest, including a 1970's inspired portrait by Robert Davis, two floral still-life paintings —composed with his signature single-use plastic technique—on panel by Hugo McCloud, a tranquil leisure landscape by Peter Mohall, and featuring a playful sculpture by Derek Fordjour of upturned legs precariously balancing a glass yellow ball. In recent years, other noteworthy artists such as Dominic Chambers, Ryan Cosbert, Yowshien Kuo, Johanna Mirabel, Demarco Mosby, Ludovic Nkoth, Collins Obijiaku, and Zéh Palito have joined the fold. Each brings a distinct 'language' of painting incorporating elements of surrealism, portraiture, and abstraction, expressing the complexities of race, gender, humanity, and memory. Additionally, the newest members to the program include two artists inspired by the landscape, Connie Harrison creating dense abstracted gardens both painted and excavated from oil and wax layers, and Francesco Pirazzi harnessing the mysterious nature of light in a surrealist style, with both artists debuting their solo shows later this year.

When viewed collectively, the artworks in Fifteen Years narrate a tale of the strength of Luce's program and the significance of the gallerist-artist relationship. Here, their devotion to creation is matched with our belief in their talent and abilities. We would also like to reserve a moment to thank our collectors—small and institutional—who have supported both our artists and this gallery's vision every step of the way. Thank you for joining Luce Gallery as we embrace this milestone with open arms and toast to now and to the next Fifteen Years! Salute!

ARTISTS

Dominic Chambers (American, b.1993) is a New Haven-based artist originally from St. Louis, Missouri. He paints introspective scenes that illustrate both the interior and exterior self and how this duality co-exists using a bold, vibrant palette. Chamber's surrealist-inspired work draws on both historical and art historical references and is grounded in his experiences as a Black man.

Ryan Cosbert (American, b.1999) is a Brooklyn-based conceptual artist working in abstraction. Her work draws from her Haitian and Guyanese heritage, humanistic experiences, self- expression, political issues, and rigorously researched historical narratives of the African diaspora. Cosbert skillfully explores the repercussions of subjugation and oppression experienced by the Black community, often shedding light on overlooked Black historical figures, shared experiences, and profound beliefs.

Robert Davis (American, b.1970) was born in Virginia and currently lives and works in Brooklyn, NY. His hyperrealistic paintings and drawings depict nostalgic scenes from the 1970s, often recalling images from popular culture or his vivid childhood memories. Davis' work invites viewers to reflect on the past, encouraging them to form deep personal connections to the subjects and spaces he portrays.

Derek Fordjour (American, b.1974) is an interdisciplinary artist of Ghanaian heritage who works across painting, sculpture, collage, video/film, and installation. Inspired by athletes, musicians, performers, and other Black cultural creators, Fordjour's artworks explore the vast physical possibilities of the human body while anchoring each subject within a broad social commentary. His works feature colorful, textural surfaces paired with energetic subjects, creating a seamless blend of physicality and conceptuality that evokes complex emotions.

Connie Harrison (British, b.1993) is a painter based in London who specializes in vibrant abstracted landscapes. Her technique involves overlaying multiple compositions of oil paint and wax, which she then carves to reveal underlying depths. This process serves as a metaphor for nature's natural rhythms and life cycles. As Harrison works, different parts of the surface evolve in texture, opacity, and color, creating movement and adding physical depth to the painting, as if simulating growth.

Yowshien Kuo (American, b.1985) is a St. Louis-based painter whose surrealist work blends his experiences as a Taiwanese American with historical references that comment on social and racial inequality, cultural constructs, sexuality, and the human condition. Incorporating Asian- American figures with American Western undertones, Kuo conveys universal experiences and traditions through detailed narratives and symbolism.

Hugo McCloud (American, b.1980) is a self-taught artist based in Los Angeles. Drawn to unconventional materials, he creates detailed representational works using his technique of 'painting' with single-use plastic bags that fuse industrial products with traditional painting, collage, and printmaking techniques. By using ubiquitous materials like single-use plastic, both McCloud's materials and subject matter directly address issues of labor, geopolitics, and environmental concerns, providing us with a deeper connection to our humanity.

Johanna Mirabel (French, b.1991) is a Paris-based painter whose work explores the intimate connection between our inner thoughts and interior spaces. By combining symbolic hues, tropical plants, household objects, and suggestions of exterior spaces with detailed portraits, the artist creates deeply intimate works that explore the immersive and transportive experience of recalling a memory. Her work draws from her French Guyanese and Martinique-Guadalupe heritage, sociological and philosophical writings, and historical references to Western art.

Peter Mohall (Swedish, b.1979) is a Swedish-born, Norwegian-based artist working in painting. His work explores the history and medium of painting as a subject and how each element contributes to our rich emotional experiences. His scenes of leisure, with picturesque Scandinavian backdrops, are painted on tactile jute surfaces with rich, palpable colors. Mohall further invites viewers into his artistic process by neatly arranging each color from his palette onto his signature acrylic brushstroke casts.

Demarco Mosby (American, b.1991) is a New York City-based figurative painter originally from Kansas City, Missouri. His work is narrative-based and uses the human figure to mirror and reveal the weight and complexity of life's everyday tribulations. By incorporating his symbolic vocabulary of objects like birds, ropes, rocks, and tumultuous landscapes into each composition, Mosby creates layered narratives that aptly visualize the complexity and disorientation of our emotional states.

Ludovic Nkoth (Cameroonian-American, b.1994) is a Cameroonian-American painting artist who now lives and works in New York. Known for fluid figurative works created with undulating heavy brushstrokes, Nkoth infuses his personal life as a Black immigrant with ruminations on family history, tradition, and the legacy of colonialism onto the canvas to manifest the essence of the Black experience.

Collins Obijiaku (Nigerian, b.1995) is a self-taught artist based in Abuja, Nigeria. He employs portraiture to examine the depths, truths, and complexities of humanity, using friends, family, and locals as his sitters. Each expressive gaze is further accentuated by his signature winding charcoal line work, which weaves throughout the sitter's face, reminiscent of 'mapping' their life journey.

Zéh Palito (Brazilian, b.1986) is a figure painter whose vibrant, joyful works celebrate Black culture. With studios in both Baltimore, MD, and Sao Paulo, Brazil, Palito researches neglected histories and gives them visibility in the canon, with each figure represented as a confident protagonist. His work is embedded with details referencing popular culture and traditional Brazilian fruits and flora to further radiate both beauty and joy.

Francesco Pirazzi (Italian, b.1994) is a painting and drawing artist who lives and works in Turin, Italy. His surreal yet quiet Italian-inspired land and cityscapes explore the profound power of light, using it to refocus the viewer's experience of reality to evoke both familiar and mysterious sensations.

LUCE GALLERY
Largo Montebello, 40 - 10124 Torino

14/06/23

Collins Obijiaku @ Luce Gallery, Turin - Traces of Me

Collins Obijiaku: Traces of Me 
Luce Gallery, Turin 
May 4 - June 30, 2023 

Luce Gallery presents Traces of Me, the first solo exhibition for COLLINS OBIJIAKU with the gallery. On view are series of new portrait paintings - all with his signature meandering charcoal line-work.

Collins Obijiaku is a Nigerian-based painter who uses the tradition of portraiture to examine the depths, truths, and complexities of humanity. In each work, the artist paints quiet, composed figures, with expressive gazes, to directly engage the viewer. To further strengthen the allure and intimacy, Collins Obijiaku draws a winding line—with no detectable beginning or end—that weaves throughout the sitter’s face and skin reminiscent of ‘mapping’ each person’s life journey. Together, the paintings in Traces of Me encourage viewers to contemplate the individuality of each person, as well as their distinct contribution to the diversity and complexity of the human experience.

This exhibition brings together a collection of portraits of people the artist has known since childhood. As the title Traces of Me hints, the paintings conceal a small element of the artist’s connection between him and each kindred spirit on view, a sentiment Collins Obijiaku felt after working on the series. In every elegant composition, he observes an old friend, memorializing their likeness, and thoughtfully records their inner conviction of strength, hope, positivity, and intelligence. Although usually indifferent to incorporating symbolism into his work, his use of ochre yellow, in many of the paintings, references the artist’s nostalgic connection to the hue from childhood. He recalled that all the brightest students were selected for the yellow group — a color he still associates with intelligence to this day. While aesthetically pleasing, the true strength of Collins Obijiaku’s work is how he marries observations of each sitter’s distinct mannerisms and expressions, with his meditative charcoal line work, to gently guide the viewer to see more deeply and encourage profound empathy.

In Portrait of Gladys (woman in blue dress) we see an elegant, young Nigerian woman donning a periwinkle blue dress. In a pale yellow room, she sits with her arms pressing downward, shifting her weight slightly left while leaning ever-so-slightly forward toward us, meeting our gaze directly. There’s a brief pause in her expression — her eyes slightly squinting— as if she’s examining us, rather than the other way around.

Her demeanor is calm and poised, while simultaneously exuding an inner confidence. For Collins Obijiaku this confidence is particularly important to emphasize with his female sitters, as he seeks to change common misconceptions of women, and instead emphasize their power. Meandering throughout her face, across her chest, and cascading down each arm, Collins Obijiaku’s signature charcoal lines create visual pathways for the viewer to explore. Working much like fingerprints or wrinkles, the lines identify her, as well as all the twists and turns of life. She knows who she is, where she’s been, and where she aspires to be.

COLLINS OBIJIAKU (b.1995) is a Nigerian-based visual artist working in portraiture. A self-taught painting and drawing artist, Collins Obijiaku creates alluring portraits of individuals from his home country. In each work captivating gazes and skin permeated with charcoal line work resembling topographic maps, foster a deeper understanding of both the individual, and ultimately humanity as a whole. In 2019, Collins Obijiaku was an artist-in-residence at Black Rock Senegal, the multidisciplinary residency program founded by artist Kehinde Wiley in Dakar, Senegal. Collins Obijiaku’s works have been also exhibited at the Museum of African Diaspora in San Francisco and the National Gallery of Arts in Enugu in Nigeria. His international exhibitions throughout Africa, Europe, and the United States include a solo show with Roberts Projects in Los Angeles, California. Additionally, his work has been acquired by numerous private collections and public institutions, including the Dallas Museum of Art in Dallas, Texas.

LUCE GALLERY
Largo Montebello, 40, 10124 Torino

20/02/21

Delphine Desane @ Luce Gallery, Turin - Dreams of a Dreamer

Delphine Desane, Dreams of a Dreamer 
Luce Gallery, Turin 
Through 27 February 2021 

Researching, blending and fusing disparate cultures, periods and moments, Delphine Desane uses her practice as a vessel for self exploration. The brush is a vehicle for understanding. Her simple forms contain multitudes. They speak to a single moment, packed with emotion, memories, longing. A single line acts as a marker for realizations, loss, and labor. Delphine Desane’s portraits are direct, intentionally unembellished, quietly referencing the shapes and figures of known and unknown ancestors. Only after completion do influences present themselves to her - the pointed chin of a Dan Mask, the flattened scapes of the Obin family’s practice (Philomé Obin in particular), and the graphic qualities of Ghanian Asafo Flags. Bold and clear, her portraits are purposefully impersonal, so as to not limit their message.

In Delphine Desane’s first solo show “Dreams of a Dreamer”, landscape provides no home to the artist's cast of characters. Instead they must find roots on their own. These roots find fertile ground in the memory of the viewer, growing slowly into something that can’t be ignored. In her three years as a practicing artist, Delphine Desane has seeded themes of displacement, home, birth and regeneration. Her steady hand relays a grace and conviction central to her person, depicting mostly female, sometimes animal characters, with pieced together identities, both connected to and separated from the Earth. Her generally minimal backgrounds are “an open question,” allowing the viewer to imagine her figures almost anywhere. What multiplicities exist within her subjects are held in the eyes. The truth rests in an iris, but is only accessible to those willing to look directly at it. Like the artist, these figures refuse to be boxed in.

Delphine Desane’s subjects live outside of time - a child, a mother and a grandmother all at once. Lineage is held within a single husk - an impossibility in our physical realm. Delphine Desane’s figures are not defined by their past, present or expected future, respectively, but encapsulate all that they could be, all that they are, all that they were, in one explosive moment. “No matter where you go, the first thing people see is your blackness,” says the artist, and so, that is often the only clue given to the viewer - a reclamation of agency.

Drawing on the surrealist and religious themes in Hector Hyppolite’s paintings (a peer of Andre Breton) and the perceptive black and white photographs of Katsu Naito and Seydou Keita, Delphine Desane creates ever-extending narratives that seem to grow and move as you witness them. There is something ancient in these paintings. Like the figurative etchings on Greek Amphora or the portrait on an agate cameo, “I’ll Open My Sun-Filled Heart to You” shows us a figure thrown into relief, passion shown in her stance alone. In “Promised Land” we see a traveler nearing the end of her journey. Nature folds in on her as she moves, protecting or restricting.

At this early stage in her career Delphine Desane’s oeuvre speaks to the scores of experiences she has weathered at each stage of her life as a Black woman. Her canvases relate to each other in their anonymity. One consistent feature is the artist’s use of blue, valued because it is “synonymous with infinity.”

In “Dreams of a Dreamer”, Delphine Desane brings together the latest body of works, simply rendered, and sensitively offered. The paintings shown detour from Delphine Desane’s previous works in their ambition, easily traceable through their growing size. The artist is beginning to connect the dots between her personal history, imagined future, and the myriad identities of her people. She reaches for something that is purely her own and in so doing excavates the many inescapable influences that inform her dual cultural identities (Haitian and French). Dreams of a Dreamer is one long, never ending, waking dream. A chosen dream. One in which the message is revealed and the messengers are hidden.

By Camille Okhio

LUCE GALLERY
Largo Montebello 40, 10124 Torino
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