• Exhibitions

    Antonio Secci – The Right Side

    12-29 June 2018

    Technical sheet: n.8 mixed technique on board, n.1 pastel on paper. Years: 1970-2016.

    The core of selected works in this small anthology embraces a period ranging from the 70s to our days. In these 40 years, the artist has chosen, from time to time, different materials (metals, plastics, papers, acrylic colors, pencils) to create material surfaces where only two colors delimit spaces and shapes accentuating the contrast. These irregular geometric shapes, forced on a two-dimensional support that they try to escape, are projecting themselves in the only possible direction (towards the eyes of the spectator), are forced to cohabit in the space dictated by the artist, and find a dialogue within those boundaries. Each work becomes a sort of atoll dispersed in the ocean, a place or mirage with which to confront, collide or join, letting the tensions and energies that ripple edges and surfaces find a common wavelength.

    Biography: Antonio Secci (Dorgali 1944) lives and works in Dorgali.

    Homepage: www.antoniosecci.com

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  • Exhibitions

    Vincenzo Grosso – Faber Sapiens

    16 May – 1 June 2018

    Technical sheet: n.9 oil on canvas, n.1 oil on canvas, n.5 mixed technique on masonite, n.1 oil on mds, n.2 etchings on paper, n.2 mixed technique on an aerosol-art decorated wall mural.

    Twenty works that awaken ancestral memories and questions about the role of homo sapiens, pursued since the dawn of his conscience/knowledge.

     

    Biography: Vincenzo Grosso (Nuoro 1977) lives and works in Nuoro and Berlin. Due to his interest in street art, he began his experience on the walls of his city. He graduated in jewelery at the Art Institute of Nuoro. In the same year, he left for Florence where he graduated at the Academy of Fine Arts. From 2004, he attended the S.I.S.S. Tuscany, where he obtained the qualification for teaching Pictorial Disciplines. From 2005 to 2009, he taught at the Art Institute of Nuoro and collaborated for the realization of events and artistic interventions in his region and in some Italian cities.

    In 2010, he left for Berlin, where he worked for two years with Xlab Gallery, focusing his attention on post-architectures and the possible consequences of the excesses of the modern world. He was invited to the 54th Venice Biennale in the Pavilion of his region. In addition to participating to awards, art festivals and exhibitions, he works with five artists at the Nuoro SEUNA LAB project, which has become a place for sharing experiences.

    In 2011, he spent three months in London in the MAN-GASWORKS residency program. In 2012, he was invited to Casa Falconieri where he followed the research workshop “Signs of the urban landscape”. The experimentation of graphics and printing continues at BBK Künstlerhaus Bethanien in Berlin, where he still works. In 2013, he actively worked on a new show-room Studio in the German capital. He was selected among the artists of A.P.T. Global Collection. His works are part of public and private collections.

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  • Exhibitions

    Marco Useli – The Mani

    11-27 April 2018

    Technical sheet: n.7 oil on canvas, 1 engraving and ink on 1/1 cotton paper, n.1 ink and crayon on cotton paper, n.2 ink, colored pencils and acrylic on cotton paper, n. 1 acrylic rolled on paper, 1 graphite on cotton paper, n1. acrylic and crayon on paper, 5 woodcut and drypoint of 5.

    An original selection of oil paintings, engravings and drawings made to give life to a ready-made, minimal and irregular encyclopaedia in which a small multitude of Mani and a plurality of hands heatedly discuss their memories and the future, opposable thumbs, limbs and anatomies and gestures and islands and reckless trips like that of Ulysses in Joyce’s Dublin.

    An episode of serious pictorial research between a boxing match and a puzzle magazine.

    Statement by the author

    My work crystallized the succession and overlapping of events and consumption. I define a rhythm and create the limits of an instantaneous landscape through the pictorial gesture.

    I seek formal synthesis of states of fact originated from subterranean and complex dynamics.

    I focus on elementary forms of landscape, on factors that interact in radical environments such as stone quarries, production and industrial sites, spaces for survival of spontaneous vegetation in urban areas.

    I do formal research and experimentation without compromise on the issues raised by the artistic work, the exploitation of environmental resources and the use of tools that have a strong impact on nature.

    Biography: Marco Useli (Nuoro 1983) lives and works in Milan and Dorgali. After graduating from the art institute, he graduated from the Academy of Fine Arts in Florence in 2007. After a two-year experience in London, he settled in Milan where he obtained a Master in Contemporary Design with Stone at the Polytechnic. Since 2012, he is part of the Milan Print Makers, which deals with developing research in graphic art. In 2017, he also opened a studio in Dorgali (NU) where he continues his artistic research. The studio hosts, under his curatorship, exhibitions and painting and engraving workshops.

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  • Exhibitions

    Igino Panzino – Augmented Reality

    23 March – 6 April 2018

    Technical sheet: n. 13  cut out photographs, recomposed on forex.

    Realtà Aumentata (Augmented Reality) is the title of the exhibition that Igino Panzino’s main works in the last 3 years: pieces of art made by reworking various photographic shots, in certain cases details, taken from his archive. After being dissected into cards, they were recomposed and positioned on layers.

    These are metalinguistic works and, because of that, we thought proper to involve a plurality of opinions to comment them.

    Therefore, we asked for the collaboration of photographers, curators, professors of aesthetics and art history, artists, to set up an exhibition that avoided a single point of view and, thus, adhered to the spirit of the works on display.

    Thus, each image has an appendix consisting of a text that is not and does not want to be just a caption but, like the photographic blocks that compose it, contributes to the definition of the work or perhaps to the revelation of the complete indefiniteness of its borders.

    In this way, the exhibition itself overcomes/includes the definition of installation, exhibition, work in progress, collective laboratory, a mix of genres made with intelligence and irony, capable of asking questions about the same semantics that art employs.

    In short, by deconstructing our knowledge and references, Panzino invites us to embrace the new century and to use our experience to investigate the present and the future with open and curious eyes.

    Biography: Igino Panzino (Sassari 1951) lives and works in Sassari. He completed his studies at the Sassari State Institute of Art, a school gifted – under the direction of Mauro Manca – with a lively atmosphere of discussion and research. Raised in the highly ideological moment of the late Sixties, he began its exhibition activity in the early seventies, conceptualizing the work of art as a product of a peculiar and autonomous language, endowed with infinite expressive possibilities, by creating three-dimensional structures with a neo-constructivist style, characterized by a marked design-oriented form, distinguished by an manifest craftmanship. In the same years, he joined the Rosa Group (conceptual orientation training, conceived by Aldo Contini), where he deepened a choice of investigation focused on the highlighting of the procedures and linguistic means.

    Since the eighties, he devoted himself to painting, with a particular focus on watercolor and drawing, first transferring the clear geometry of the previous plastic structures onto the canvas, then focusing on analytical texture effects that maintain an evident design-oriented approach, albeit softened by the gestures of the techniques implemented. The design-oriented dimension, constant presence in his activity, translated in sculpture in his most recent works, currently tends to focus on the environment as a result of collaboration with architects with whom he has created several public works distributed in various locations in Sardinia. Nowadays, he realizes works based on the transformation of photography into a plastic object.

    From 1969 to 2002, Panzino taught at the Artistic Lyceum of Cagliari and in the Art Institutes of Sassari, Alghero, Valenza Po and Rome. He has exhibited in Italy and abroad in public and private spaces. He currently lives and works in Sassari.

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  • Exhibitions

    Tonino Casula – Be careful where you look

    14 February – 2 March 2018

    Technical sheet: n. nitroacrylic on shaped masonite, 120x90x20cm, 1970, n.1 paint on forex, 80x90cm 1985, n.2 televisions, n.40 red/blue 3D glasses, n.73 diaphanous works, anaglyphs, two-dimensional cortronici and 3D works dating from 1989 to 2017.

    On display, there is a selection of video-sculptorial-musical works made in the last thirty years, diaphanous works, anaglyphs, two-dimensional cortronici and 3D works, video works characterized by the use of contemporary music and more.

    It is an opportunity to deepen, or discover for the first time, the research of this extraordinary artist and reflect on the ties between science, technology and art, both figurative and acoustic.

    Biography: Tonino Casula (Seulo 1931) is an Italian artist and essayist. He was one of the founders of the Transactional Group in 1966, together with Ugo Ugo, Italo Utzeri and Ermanno Leinardi.

    From the ’60s, to overcome traditional languages, he started using unusual tools and materials (spray guns and car paint, pvc, plexiglass…). In the years from 1990 to 1993, he worked with computers, creating the diaphanous works that he also used in theater, ballets and concerts. Starting from 1990, he used computers to create the cortronici. As an elementary teacher, he innovated the teaching of abstract art. He has published for Einaudi Impara l’arte, Il libro dei segni, Tra vedere e non vedere, Vedere e sapere, as well as various iconic texts for Mondadori, Taccuini per il Capitello, Leggere l’immagine for Fabbri editori (a monographic edition of Parlare et scrivere oggi), Linguaggi visivi, Storia dell’arte, Psicologia della percezione (Multigrafia Editrice), Arte per la didattica (Vita e pensiero), La costruzione del desiderio (Città Studio Edizioni).

    He lives and works in Cagliari.

    Homepage: www.toninocasula.net

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  • Exhibitions

    A gift from the artist

    27-30 December 2017

    Technical sheet

    Roberta Filippelli, La Douche, photography on blueback paper, 1/10, 70x100cm, 2017

    Vincenzo Grosso, Ruins, oil on canvas, 120x100cm, 2017

    Alberto Marci, A bed, ice monotype on cotton, 190x210cm, 2017

    Gianni Nieddu, I fachiri (The Fakirs), No. 5 iron brushes, No. 5 plasticine silhouettes, 2017

    Stefano Serusi, Piedini (Small feet), print on forex, clock, 1/5, 43x31cm, 2017

    Marco Useli, The unfolding of a kata, between barriers and artifices, n.2 oil on canvas, 30x40cm, 2016

    L’artista regala (A gift from the artist) it is an annual exhibition that begins immediately after the Christmas holidays and ends on the last day of the year.

    During the 5 days, from the 27th to the 31st of December, 5 artists exhibit a work of their choice: it is our way to offer best wishes for the past year and new one.

    The number and name of the artists varies every year.

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  • Exhibitions

    Zaza Calzia – A dance for the eyes

    21 September – 6 October 2018

    Technical sheet: n. 25 15x15cm collage on board made in 2016-17, 72.5x103cm collage and acrylic on cardboard composed of 5 elements made in 1982, n.19 15x15cm acrylics and collage on canvas made in 2017, n.1 90x100cm acrylic and collage on canvas made in 2004.

    A series of works, collages and “burka eyes” that embrace thirty years of  Zaza Calzia’s production, are displayed in the current exhibition in Cagliari (via Mameli 187) at Spazio E_EmmE.

    The collages, a technique used by the artist since the 60s, are combined with paintings to create layers and spaces in motion, aided in this by the author’s intuition of adding newspapers’ clippings to her art. The fragments of printed words, reduced to a pure sign, stimulate and force the eye to travel on the surface of the painting with tight rhythms, introducing a fourth dimension – time – to a two-dimensional surface.

    Over time, the artist has rarefied the surfaces of the collage, looking for the rhythm of breathing within the continuous color planes.

    The fragments of paper, intuitions and emotions, have occupied small dimensions, drawing expressive force from the wise use of a white paper support. It is the color that, by instinct, humans identify with nothing, for the ease with which it highlights every minute change.

    Dark and wavy acrylics, brushstrokes full of pathos and energy, emerge, like archaic deities or vigilant eyes of women, inquisitive and extraordinarily serene, bearers of a knowledge that is lost in the mists of time.

    Being enigmatic, they do not offer solutions, leaving us to alternate/wander between the yearning for research in that chaos and the illusion of a definition of balance.

    If the “eyes” of Zaza are open on chaotic worlds defined by swirling movements, the panorama that they observe with a fervent and inquisitive expression is a dance: a dance for the eyes and for life.


    Biography: Zaza Calzia (Cagliari 1932), lives and works in Rome.

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