Nawras Shalhoub _ A piece of wall for you mon amour

a piece of wall for you mon amour

Opening on Thursday 2nd Octoberfrom 6 pm

02-10-14 | 22-11-14


(galleria +) oltredimore presents the first solo-exhibition in Italy of the Palestinian artist Nawras Shalhoub.

In the gallery, an anthology of works in which the artist explores the question of pain by alternating between an intimate proximity with the subject and a more distant and prudent observation. Coming from a country in conflict, Nawras Shalhoub did not have the choice but to be in contact with pain, both physical and moral. Therefore his artistic research is the tool that he uses to get in contact with his own pain and the suffering of others, and to transform it into energy.

“The best thing about a war is its ending: the end of occupation, the end of pain, the hope that tomorrow will come with no bombs and no deaths, without bullets and walls; walls don’t remain in history, perhaps they resist few decades but no more, they are like chimeras in people existence. The concrete wall and the wall in the minds, it does not hide, it is visible, palpable and it leaves traces in bodies and souls; it is a wall with which you can live with, that you see when you live near it, which prevents us from going to see our trees and our neighbors, sometimes our family, it is an inner border; it is a wall that you can choose to destroy, with which you can choose not to live together, in need of liberation and large landscapes; to achieve them, let us imagine an “after the walls” Here is a piece of it, a gift for you, my love, a gift for everybody. “ NS

Nawras Shalhoub was born in the Palestinian refugee camp of Yarmuck in Syria in 1974. He was able to return to Palestine with his family only in 1994, where he lived in the Gaza Strip until 2001. Graduated from the fine arts School of Strasbourg in 2007, he lives in this town until now. Deeply attached to his country, his work gets hold of his life but aims to deliver a universal message, exploring the same human point where suffering and love gather, hijacking materials, mixing unexpected experiences with a surprising sense of humor. From 2008 to 2012, he was at the artist residency of the town of Strasbourg. His artworks, which embraces as much paintinings as videos, installations and sculpture, has been exhibited in Italy, Corea, Sharjah, France and Palestine between 2008 and 2013.



Cooking in maximum security

exhibition curated by Gino Gianuizzi with drawings by Mario Trudu from a book curated by Matteo Guidi

opening + talk 19-09-2014 from 6 pm

on the occasion of Artelibro – Serata d’Autore 20-09-2014 special opening until 10.30 pm

16-09-2014 | 27-09-2014

Raffaele Quattrone “IN ITINERE – Arte contemporanea in trasformazione”

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Raffaele Quattrone “IN ITINERE – Arte contemporanea in trasformazione”

book launch Saturday 12th April at 5 pm


(galleria +) oltredimore hosts on Saturday 12th April at 5pm the launch of the new book by  Raffaele Quattrone “IN ITINERE – Arte contemporanea in trasformazione” published by EQUIPèCO, Carmine Mario Muliere Editore. 

The book launch will be attended by:

Annalisa Cattani, artist and reseracher in rethoric and visual arts

Massimo Marchetti, contemporary art critic and curator

Carmine Mario Muliere, publisher

“IN ITINERE – Arte contemporanea in trasformazione” is a journey from a sociological point of view to discover the world of contemporary art through its key changes and the artworks of some of its leading exponents. Starting from the study of art in contemporary sociology and recovering in particular the cultural heritage of the French sociologist Pierre Bourdieu, Raffaele Quattrone tells us about the success of the artist-entrepreneur, the expansion of the “artistic citizenship”, the return of private patrons, the artistic overlapping, how it is changed the role of the museum and so on. Despite the international approach, the text and the researches guide us in the Italian cultural context trying also in this case to illustrate its main changes. The analysis is integrated with a conversation with the well-known Chinese artist Wang Qingsong and a careful iconographic research (with more than 80 color images) reflecting the diverse and multifaceted world of contemporary art. The book is introduced by an editor’s note and a text by the well-known Italian artist Michelangelo Pistoletto. In the cover you can find the artworks by the Spanish artist Kepa Garraza and the Italian artist Alessandro Moreschini.

On the occasion of the book launch in the project room of the gallery it will be installed a site specific project by Alessandro Moreschini. Curated by Raffaele Quattrone it has been created ad hoc for this event.

Raffaele Quattrone (Foggia, 1974) is a sociologist and contemporary art curator. President of the Sociologist Association – Emilia Romagna Department (Associazione Nazionale Sociologi – Dipartimento Emilia Romagna), he has beeing cooperating with EQUIPèCO since 2010, when he published his first book Modernità e campo dell’arte. Per una sociologia critica dell’arte contemporanea italiana” (Modernity and art field. Toward a critical sociology of the Italian contemporary art).

Alessandro Moreschini (Castel S. Pietro Terme – BO, 1966) is currently living and working in Bologna, Italy. He got a General Certificate Educational in Applied Arts at Istituto Statale d’Arte, Bologna, Italy and he graduated at D.A.M.S. at Università degli Studi di Bologna, Italy. Among the group exhibitions: When (Italian) Responsibilities Become Form (2012), Galleria Oltre Dimore, Bologna;/Seconds issue 07 sci-fi, utopia, roadside picnics (2007), Redux Projects, Londra, curated by Peter Lewis and Derek Horton; Sharjah International Biennial 6th (2003), Sharjah Art Museum, Sharjah (UAE), curated by Hoor Al Qasimi and Peter Lewis; Officina Italia  (1997),  various places, curated by Renato Barilli; Lab. 1.2-T.I.N.A. (There is no alternative), (1997), ViaFarini, Milan, curaed by Roberto Daolio. At the base of the artistic research of Moreschini there is the consideration that contemporary society is characterized more and more by a general “aestheticization” of everyday life to the disadvantage of the previous concern of “ethicsaction” of social life. In other words as stated by the French sociologist Yves Michaud the interest for beauty in all its forms (aesthetic) would permeate all the areas of our lives dozing off our social responsibility and civic engagement (ethics).

Raffaele Quattrone “IN ITINERE – Arte contemporanea in trasformazione” book launch will take part into the program of Manifattura delle Arti Open Day on the occasion of Live Arts Week III a MAMbo.    


PURO COLORE: in Bologna an unconventional path between arts education and food experimentation

001 gelatine SITO

In Bologna from March 28th to April 13th, on the occasion of the festival La Scienza in Piazza® 2014 – Food Immersion, (galleria +) oltredimore hosts the project PURO COLORE an interactive exhibition/lab promoted by Foundation Marino Golinelli, MAMbo’s Educational Department, Studio Public, (galleria +) oltredimore with the collaboration of the association RAW Magna and Dina&Solomon graphic design.

PURO COLORE is made by four different dimensions: free entrance interactive exhibition during the gallery’s opening hours (Tuesday and Wednesday 2.30pm-7.30pm, Thursday and Friday noon–8pm, Saturday 11am-7pm); didactical activities for the schools that comprise visit to the MAMbo – Museum of Modern Art of Bologna and creative laboratories at (galleria +) oltredimore (on reservation from Monday to Friday); family’s workshop (each Sunday afternoon on reservation); “Food experience” a series of monochromatic tastings for an experimental culinary experience designed by chef Diletta Poggiali (each Friday and Saturday from 6pm at the gallery).

Nature, color and art history will be at the heart of PURO COLORE.

The exhibition envisage a didactical section where notions on food properties and on the traditional pictorial techniques will intersect with the respective applications in the kitchen and in the art, and an experimental section where the secrets of the artists/cooks at work will be unveiled among stills, centrifuges and extractors. Didactical multimedia tools will drive the visitors to establish unusual connections between works of art and food through a direct experimentation of color.

The educational activities for the schools and the workshops for the families: trough art works chosen in the permanent collection of MAMbo – Museo d’Arte Moderna of Bologna, a story in pictures on “famous” colors in the history of paintings, will act as inspiration and starting point to get to know the color and its materiality. During the laboratories at (galleria +) oltredimore, in an hybrid atmosphere between a painter atelier, a kitchen and a chemistry lab, the art of extracting colors from nature will be deepened to recreate shades and texture present in the art works. Finally the participants will be invited to get their hands dirty using spatulas and brushes to realize edible objects/pantone.

Friday and Saturday from 6pm “Food experience” will open to a more adult audience the reflection on issues related to the expressive value of color in art and the use of natural colors in food, through a mix of practices and processes that starting from ancient paintings will arrive to the more recent experimentations in the realm of food: a new food project in line with the “temporary residencies” hosted by (galleria +) oltredimore focused on eating design united with anthropological, communicative, psychological and practical investigations on the finished food product.

Saturday April 12th from 5pm to 8pm PURO COLORE takes part into Manifattura delle Arti Open Day on the occasion of Live Arts Week III at MAMbo.

For workshops booking and information:

tel 051 0251008/19936110 –


Azienda Agricola Conte Collalto

Granfrutta Zani

Alessia De Montis_To be apple or not to be apple. An Hamletic doubt on Platonic love

immagine guida

Alessia De Montis _ To be apple or not to be apple

An Hamletic doubt on Platonic love

Opening April 17th from 7 pm to 11 pm

17-04-14| 28-06-2014

(galleria +) oltredimore presents Alessia De Montis solo show  To be apple or not to be apple. An Hamletic doubt on the Platonic love: a series of original works – photography, video, installations – result of a project started by the artist in 2012 during her staying in New York.
The project  starts out from the great illusion of the existence of “the other half”, that will never fit perfectly, as only the two parts of the same apple can do.
The artist’s research is an investigation on dilemmas and mysteries that accompany and fascinate human beings throughout  their lifetime in a process of endless maturation.
In the exhibited project, Alessia De Montis elevates a simple apple to protagonist of human feeling reshuffling heterogeneous cultural references, swallowing up and exposing myths and cliché: from emblem of the original sin to bone of contention, from Platonic metaphor of the perfect love to instrument of knowledge in the discovery of gravity, from symbol of the most alive and crazy city of the United States to the one of the most evolved technology…
The apple becomes also the object of destructive cruelty, pocked with a lethal blow inflicted with precise aim.
In a single instant everything is lost, what stays is the horror of what is done: the two halves separate forever to indicate a failure of something that is now gone. The successive manipulations, the creation of new matter to cement what was broken, to give birth to another half in our image and likeness, are not enough. On balance the perfect adherence of the two halves reveals itself as an illusion.
Through the three key concepts of ACCEPT/CUT OFF – MANIPULATE – COOK – the artist reminds us our active role into the personal research of sensitive and emotional awareness. The acceptance of the human limit lasts an instant but it requires the courage of pick up the “axe” and give a clean cut to our ego and our projections, that are at the base of the failure of all our actions and relationships.
De Montis’ apple hits, provokes and fascinates causing internal motions that do not run out immediately, and the public itself is called to enter in relation with the art works.

Elena Abbiatici writes about: “Starting from Palto’s Simposio, the artist – as a modern Zeus – splits the apple in two halves, created as part of a whole and composed by the same soul. She separates them with an axe in a process that encompasses a gestural and temporal synthesis. The curt cutting, filmed by a camera, brushes against the places of consciousness and the personal history of the viewer. Later, she tries to understand how, after the separation of the same soul in two distinct halves, Eros could subsist, resist or better exist in order to keep them linked, even in the distance. Without any presumption to unraveling this eternal question, through this project Alessia wants to drive the viewer into Jonah’s belly, or rather inside him/herself, his/her own ghosts and ways out, she wants to bring him/her inside a motion picture scene…”

Alessia De Montis (Livorno, 1976) lives and works between Bologna, Milano and Rome. Her art works are multidisciplinary projects developed through the use of photo, video and installations. At the center of her research there is always the relationship with the human being, in a work of investigation and introspection that probes the various aspects of Woman and Man; the relative projects are Odissea Contemporanea( 2000-2004) on the feminine and Combattere_Ridere_Pregare(2005-2011) about Man and his Acting. Her last two projects, WastedCulture(2009) and CaraMammaCaroPapà, (2010) touch social themes, cultural and familiar.
Winner of the Marconi Prize for the Electronic Art (Bologna 2007), among her recent exhibitions there are: “Odissea contemporanea”,(Madrid 2012),“DALLA PARTE DELLE DONNE Tra azione e partecipazione”(Fotografia Europea Reggio Emilia Galleria 2012).“Biennale di Videofotografia di Alessandria”(2011), “In corpo”, BTF Art Gallery (Bologna, 2011);“Short Video Art Show”, Space A (Katmandu, 2011); “Frames Italian Style in Contemporary Video Art”, Silpakorn University (Bangkok, 2010); “Still A Live”, Fondazione Pomodoro (Milano, 2010); “Alla gloria Militar” (Bratislava, 2010), “Colleziona 2010”, “Forma” (Milano, 2009); “Lilith oltre il feminino sacro”, Scuderie Aldobradini (Frascati, 2006).

Artist’s website

Elena Abbiatici’s critical essay

Nawras Shalhoub

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Nawras SHALHOUB was born in the Palestinian refugee camp of Yarmuck in Syria in 1974. He was able with his family to return to Palestine in 1994, where he lived in the Gaza Strip until 2001. Graduated from the fine arts School of Strasbourg in 2007, he lives in this town until now. Deeply attached to his country, Palestine, his work gets hold of his life but aims to deliver a universal message, exploring the same human point where suffering and love gather, hijacking materials, mixing unexpected experiences with a surprising sense of humor. From 2008 to 2012, he was at the artist residency of the town of Strasbourg. His art, which embraces as much paint as videos, installations and sculpture, has been exposed in Italy, Corea, Sharjah, France and Palestine between 2008 and 2013.

List of exhibitions


Aurs Al Arab,Oltre Dimore Gallery, Bologna, Italy


Al-Ghaib, Maraya Art Center, Sharjah


The Other Shadow of the City – Al Hoash Gallery,

Jerusalem, Palestine

Tawassol-Contact – Artericambi, Verona, Italy

Gaza61 and Seoul59 – Gallery Young, Seoul


Exhibition Colour Siege Gaza

Exhibition Gaza paris Paris

Fillip #18


Fillip #18|

€ 10,00|


FILLIP is a magazine about art, culture and ideas published three times a year by Projectile Publishing Society in Vancouver, British Columbia.

Issue #18 includes also a booklet with pictures taken from the Slide Show by Cheetham “A Landscape of Contemporary Independent & Art Publishing”.

Der Greif #7


Der Greif #7|


Der Greif is a project for contemporary photography and literature with a focus on photography. It addresses itself to people with an affinity for image and text. Der Greif is a print-magazine, online-platform, curatorial team and joint project for and with photographers and authors from all over the world. The artistic core and root of the project is the printed and ad-free magazine. It shows the works of photographers and authors of different origins in a holistic piece of art.

Issue #7 is the one that celebrates the 5 years of activity of the magazine.

Cura #15


Cura #15|



Cura is a trimestral indipendent magazine which uses collaborations with international curators to confront themes as the relationship between the artistic practice and the contemporary creation. The magazine offers insights, interviews and encounters with the protagonists of contemporary creativity at the international level. Moreover the magazine hosts projects “on paper” and creation “ad hoc” realized by contemporary artists for Cura’s covers.

Foto.zine Nr. 5


Foto.zine Nr. 5|



Foto.zine nr. 5 is the last in a series of zine collections by Erik van der Weijde. This series consists of 5 different issues, all showing photographs taken in Brazil.
Buzios shows colored B/W photos of a beachtown with its many tv antennas. Fusca shows a series of Volkswagen Beetles in the streets of Natal. Motel contains a series of Love Motels in a city. Jardins holds a large collection of appartment entrances in a fancy Sao Paulo neighbourhood. Lixo holds series of garbage baskets, photographed at night.

Flaneur #2


Flaneur #2|



Flaneur presents one street per issue. The magazine embraces the street’s complexity, its layers and fragmented nature with a literary approach. It creates a meaningful correlation between places, stories, people and objects that aren’t necessarily related.

The Wire #359


The Wire #359|



2013 Rewind
The Wire’s crucial review of the last 12 months in underground sound and music, including the releases of the year, opinions and reflections from a host of musicians and critics, and analyses of some of 2013’s most notable audio culture trends

Verities N°3


Verities N°3|



Verities is an independent biannual publication of thought, observation and reflection, giving equal focus to visual arts and literature.

Verities explores new ways-of-seeing the most ordinary and overlooked situations, revealing the arresting and irrational in the everyday. The ability to disorient and estrange through a subjects illumination makes for a potentially explosive catalyst that sits at the heart of Verities.

Odiseo #3


Odiseo #3|



Odiseo is an independent publication for adult entertainment appealing to the confident and intelligent man of today. It includes a selection of stories with an erotic point of view, paired with the most cutting edge ideas in an exquisite uncoated smooth paper.

Mono Kultur #35: Marina Abramovic


Mono Kultur #35: Marina Abramovic|



Mono.Kultur is a magazine made by interviews reported full lenght and with all their depth, without filters. Each issue a different interview, a different story.

San Rocco #6: Collaborations


San Rocco #6: Collaborations|



SAN ROCCO is a magazine about architecture.
SAN ROCCO does not solve problems. It is not a useful magazine.
SAN ROCCO is neither serious nor friendly.
SAN ROCCO is written by architects. As such, SAN ROCCO is not particularly intelligent, or philologically accurate. In SAN ROCCO, pictures are more important than texts.
SAN ROCCO is serious. It takes the risk of appearing naive.
SAN ROCCO will not last for ever. There will be no more than 20 SAN ROCCOs for the single five-year plan.
San Rocco is the name of a place in Monza, not a nice place. Giorgio Grassi and Aldo Rossi engaged in a design competition for this place in 1971. The project was not built; ordinary housing blocks were built instead.

San Rocco #7: Indifference


San Rocco #7: Indifference|


SAN ROCCO is a magazine about architecture.
SAN ROCCO does not solve problems. It is not a useful magazine.
SAN ROCCO is neither serious nor friendly.
SAN ROCCO is written by architects. As such, SAN ROCCO is not particularly intelligent, or philologically accurate. In SAN ROCCO, pictures are more important than texts.
SAN ROCCO is serious. It takes the risk of appearing naive.
SAN ROCCO will not last for ever. There will be no more than 20 SAN ROCCOs for the single five-year plan.
San Rocco is the name of a place in Monza, not a nice place. Giorgio Grassi and Aldo Rossi engaged in a design competition for this place in 1971. The project was not built; ordinary housing blocks were built instead.

Frog 13


Frog 13|




Frog is a bi-annual magazine about art and architecture published in France. The magazine is a project of Stéphanie Moisdon & Eric Troncy in collaboration with international contributors both for texts and photographies.

On the cover of issue 13 there is Mike Kelley, American contemporary artists, recently exposed at the Stedelijk Museum of Amsterdam and at Centre Pompidou of Paris discussed by Jill Gasparina and Noellie Roussel.


Camera Austria International #124


Camera Austria International #124|



The book as an autonomous work of art has frequently enjoyed an upswing in recent decades. It not only documents and distributes artwork, such as photography, but likewise establishes very unique logics and narrative approaches—basically, a new art form. Photographic artists in particular are prone to use the book medium, which provides a favourable context for presenting and conveying serial works and also the conceptual leitmotifs of a complex oeuvre. Exceptional examples of working with the book medium are the artist books of the Dutch photographer Erik van der Weijde, whose photographs are almost only to be found ensconced in this medium.

The Word Vol.1 Iss.2


The Word Vol.1 Iss.2|



The Word Magazine is bi-annual print publication with international aspirations and a thick Belgian accent that documents neighbourhood living, photography, fashion, music and the arts.




special openings

Special openings in the gallery during ArteFiera 2014

Friday 24th January from 9.30 am to 8 pm

Saturday 25th January from 9.30 am to midnight ART CITY WHITE NIGHT

Sunday 26th January from 9.30 am to 7 pm

Mattia Barbieri

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MATTIA BARBIERI born in Brescia on the 10/07/85
Lives and works in Milan.

- Master Degree in Visual Arts at Accademia di Belle Arti di Brera in Milan, 2010.
- Bachelor Degree in Painting at Accademia di Belle Arti di Brera in Milan, 2008.
- Degree in technology for commercials design at l’I.P.C. Golgi in Brescia, 2004.

Solo Exhibitions

Pitture Domestiche, Federico Luger gallery, Milano, curators Federico Luger and Gabriela
Pitture Domestiche, second round, Studio Tommaseo, Trieste, curators Giuliana Carbi, text by Nicola Cecchelli.
Did you Dio, Opera Delocalizzata, Museo Internazionale delle Ceramiche (MIC), Faenza,
curator Nero/Alessandro Neretti.
Dessert on Desert, Galleria 42, Modena, curator Marco Mango.
Aperò l’Barbieri, Galleria 42, Modena, curator Maura Pozzati.
Retrospettiva, Federico Luger, Milano, curator Federico Luger.
Bicipiti di stracciatella, Galleria 42, Modena, curator Maura Pozzati.

Group Exhibitions

L.E.M., Sassari, curator Alberto Zanchetta.
Ira tra i tartari, Szatior Gallery, Budapest, curator Dorka Kaposi.
Dietro lo specchio, Palazzo Appiani, Piombino, curator Nicola Cecchelli.
(P)ARERGA & (P)ARALIPOMENA DELLA (P)ITTURA, BonelliLAB, Canneto Sull’Oglio, curator Alberto
EXTRADELICATO, studio Corfone, Milano, curators Claudio Corfone and Marco Magni.
THE LIGHT CONE (And the story of the broken roots), Art on Stage, Vigevano, curator Gaia
Top Secret, Federico Luger, Milano, curator Federico Luger.
Edition of 5, Studio Apeiron, Macherio, curators Mattia Barbieri and Francesco Fossati.
2nd Moscow International Biennale for Young Art “Qui Vive?”: ATTENTION! BORDER CROSSING, White Hall, Winzavod Contemporary Art Center, Mosca, curator G.L.O.W. Platform (Alberto Podio and Allegra Ravizza).
Ordinary Work, Galleria 42, Modena, curator Marco Mango and Federico Luger.
Ottomani, Galleria 42, Modena, curator Marco Mango.
Disegno ora, Galleria 42, Modena, curator Marco Mango and Federico Luger.
Drawings, Pablo’s birthday, New York, curator Jimi Bingsley.
Drawings, galleria 42, Modena, curator Marco Mango.

Contests and Awards

winner of Premio Lissone, Museo Arte Contemporanea, Lissone, curator Alberto Zanchetta.
Premio Cairo, X edizione, Palazzo della Permanente, Milano, curator Marco Pierini.
winner of Primo Premio Pittura, Salon primo, palazzo della Permanente, Milano.

Active member of the artist magazineE IL TOPO

(galleria +) oltredimore @ ArteFiera 2014

logo artefiera

Maziar Mokhtari Solo Show

pad 25 booth B88


Bologna Exhibition Center

January 24 – 27, 2014


Thursday January 23 from 12 to 9 PM


Friday 24 to Sunday 26 January from 11 AM to 7 PM

Monday January 27 from 11 AM to 5 PM


Ovest Costituzione




Maziar Mokhtari _ Yellow Apocalypse

former flour factory_90 x 252 cm

On 16th November, on the occasion of the opening of the new venue in the cultural district Manifattura delle Arti in Bologna, (galleria +) oltredimore presents the first solo exhibition in Italy of the Iranian artist Maziar Mokhtari.

The distinctive yellow colour of his hometown Esfahan is the core of the artist’s works. The new series exhibited Yellow Apocalypse, ideally continues the previous one Palimpsest.

Maziar started to work on the project Palimpsest in 2010.In this series there are photo-collages and video installations which have been inspired by walls repainted in the urban spaces of the city of Esfahan in Iran. The word Palimpsest in Old Greek stood for the act of writing, erasing and re-writing a manuscript page or a scroll. Here Palimpsest is a metaphor of the wall that remains a wall even if it is covered by the yellow colour and in a way erased. Since the subjects of these pictures are always the same, Palimpsest is the title of every work from this series. The only thing that changes is the date: Palimpsest aims to be a work in progress, a way to record at the same time changes a city through the variation in time of its surfaces.

In Yellow Apocalypse, the aim to present a city only through the colour yellow is even emphasized. The different subjects of the pictures are linked by monochromia, by the yellow colour which indiscriminately covers everything: people, street, buildings, furniture,…

Iranian poet Kayvan Tahmasbian and Italian critic and curator Eugenio Viola through their writings on the catalogue of the exhibition will give two different and complementary points of view on the work of this artist, split in half between Iran and Italy.


Maziar Mokhtari is an Iranian artist. He works between Italy and Iran since 2004. He graduated at Rome Academy of Fine Arts in 2009, one year after he had his first solo exhibition “Palimpsest” at Azad Art Gallery in Teheran. Since then he has focused on “Wall” as material for the formulation of his artistic vision. His artistic training focuses on the study and use of different media that expand the creative possibilities of the artist, as painting, photography and video. He is among the finalists of the Talent Prize 2013






€ 10,00|


‘Breasts’ is 32 page Riso zine by Jurgen Maelfeyt collecting a series of found images edited from vintage erotic magazines. The zine is not a reproduction of an existing collection but the result of a research project. The (Riso) printing method is a very important part of the process for altering the quality of the pictures.


Lodown #87


Lodown #87|

€ 6,90|


Taking contemporary pop- and street culture seriously without commercializing the idea. It‘s about a personal disregard for everything too obvious and mainstream. It‘s about expecting the unexpected in order to fulfil certain expectations. It‘s about overcoming mediocrity. It‘s about challenging the readers by attacking their senses on every level imaginable. It‘s about getting rid of limitations. It‘s about embracing the idea of socialism. It‘s about taking off by transferring the freestyle attitude of music and skateboarding on to paper. It‘s about being able to be independent and still survive. It‘s something for all the lovers. It‘s something for all the haters as well. It´s about vanity and showing off and feeling superior just because we can. It‘s about being influential for a good reason. It‘s about doing this for fourteen years and still not having even started yet. It‘s about setting it straight but being off track. It‘s about the art of movement. It‘s about cheating without ever telling a lie. It‘s about us showing what we‘re interested in. It‘s about them trying their best to neglect us. And believe it or not… it‘s about you as well.

Mark Gonzales, Dan Woodger, Ted Parker, Delta, Jon Hopkins, Nick Jensen, Ryan Everson, Anish Kapoor, German Error Message, The Centre for Dying on Stage, Dan Voinea, Adam Batchelor, Letters from Sweden, Will Saul and much more.


Exercises in Kinesthetic Drawing


Exercises in Kinesthetic Drawing|

€ 20,00|


A book of drawing experiments by Aaron Carpenter. Carpenter’s humble, humorous drawings often result from peculiar, self-inflicted constraints, as in “Calibrating of Left Arm as a Rule Edge” and “Self Portrait Drawn at Knife-point”.

A Smart Guide To Utopia


A Smart Guide To Utopia|

€ 24,00|


Cities are the affirmation of civilisation and human inventiveness. They are at once fragile organisms in constant need of care and battlegrounds of conflicting interests. And above all, they’re ours. The smart guide to Utopia showcases 111 projects, initiatives and ideas from all over Europe that make our cities better places. Whether it be an underground waste disposal system in Barcelona or a public swimming pool converted into an arts centre in Berlin, a self-sufficient urban garden or a solar-powered pop-up restaurant traveling with the sun, a building printer or a zero-packaging supermarket, this book celebrates the energy and imagination of people who want to make their cities a little more fun, clean, friendly, green and above all, restore a sense of community. Our cities belong to us, and they depend on us. Only we can make them worth living in.

Off The Map


Off The Map|

€ 10,00|


In this exhibition, Kasper Andreasen presents drawings and artists’ books that investigate acts of printing, writing, and collecting. At the entrance on Skalitzer Str. 68, an image of a large book spine shows layers of papers accumulated from over a period of two years. In Motto’s courtyard, a landscape of vitrine-decors spans across the rear wall. Upon close examination, these layered decors reveal many different types of ephemera. Displayed in the vitrines are serial repetitions of landscape sketch, fragments of handwriting, maps, drawings, as well as wrappers, receipts, and newspapers articles. The ephemera and traces shown in this publication are part of an ongoing transformation in the artist’s process. This publication accompanies the exhibition “Off the map” at Motto Berlin, which runs from September 18 – October 10, 2013.
The essay by Matthias Weichelt was written especially for this occasion.
Translated by Caroline Rued-Engel.
Printed by New Goff, Ghent
Edition of 800 / Special edition: 30


Love Book


Love Book|

€ 25,00|


“Photography is the amorous fetish par excellence, a fragment of the present that, like the relation between two lovers, links and realizes both the past and the future and, in doing so, deranges time altogether.” Eduardo Cadava

The primary medium in which Aneta Grzeszykowska works is photography. However, she treats it instrumentally, as a tool for the realization of advanced, artistic and ontological exercises. The artist is interested in the role photography plays in creating and documenting a personal identity. Therefore, in her film projects or doll sculptures, the human figure acquires the shape and aura of a marionette. One of the main topics of Grzeszykowska’s works is her own identity, with which she plays on many levels: by erasing her own figure from a family collection of photographs (Album, 2005), or by impersonating Cindy Sherman in her classic cycle Untitled Film Stills (2006). Some projects by Grzeszykowska – like the cycle of illusionist portraits of non-existent people (Untitled, 2006) – take advantage of the possibilities offered by digital image manipulation, while others use photography and film in a classic way by emphasizing the performative dimension of the artist’s activities. The motifs which she obsessively returns to in her works are absence, invisibility, disappearing, and the confrontation of body and thought with non-existence.

Teksty / Texts: Krzysztof Pijarski, Walter Seidl
Projekt graficzny / Design: Michał Kaczyński
Tłumaczenie / Translation: Katarzyna Bojarska




Bauhaus #5


Bauhaus #5|

€ 8,00|


After 80 years it’s back: bauhaus – the Bauhaus Dessau Foundation’s magazine. Everything from the Bauhaus world, essays, interviews and more.

The first issue of the bauhaus magazine was published in December 1926 to coincide with the opening of the Bauhaus building in Dessau. Every three months (with interruptions), it reported on events in Dessau and important modern trends. Walter Gropius, László Moholy-Nagy, Ernst Kallai and Hannes Meyer contributed to the magazine as editors. The authors included Paul Klee, Wassily Kandinsky, Marcel Breuer, Ludwig Hilberseimer and many others. The last issue was published in 1931.

80 years after the discontinuation of this periodical, we, as the Bauhaus Dessau Foundation, are publishing a new magazine under the old name. In doing so, we by no means presume to replicate an interrupted tradition. The Bauhaus Dessau Foundation is not resuming the unique historical experiment of the “Bauhaus”. Nonetheless, it does work at the same place – the Bauhaus building in Dessau – and its remit is to cultivate the legacy of the historic Bauhaus and, “given the ideas and approaches of the historic Bauhaus, to address issues of design in the present-day environment” (the Foundation’s statute). The biannual magazine aims to report and comment on the activities of the Foundation and its partners. It will thereby not only focus on activities in Dessau, but also on those of an international network exploring issues of design. This issue of the magazine will delve into the history of modernity and its relevance to us today.




Fukt #11|

€ 12,00|

Fukt #12|

€ 16,00|


FUKT is an international magazine, inviting the most interesting artists and writers to present their views on contemporary drawing. The 12th issue of the magazine comprises works of 23 artists from 9 countries, as well as essays and interviews by invited authors and curators.
Fukt is in constant transformation with all issues in different size and layout, made by the designer Ariane Spanier.




Spectral Days


Spectral Days|

€ 18,00|


Setareh Shahbazi was born in Tehran in 1978. She moved to Germany in 1985, leaving behind a swimming pool, a garden and all family photographs. After studying Scenography and Media Art at the State University for Art and Design in Karlsruhe, she traveled to Beirut in 2003 with a scholarship from the DAAD to look through other peoples photographic archives at the Arab Image Foundation.

In 2009 Setareh Shahbazi moved to Beirut with a box of photographs from Tehran. There she got into a close conversation with her neighbour Mirene Arsanios, who is a writer based in Beirut.



Bulletins of the Serving Library #5


Bulletins of the Serving Library #5|

€ 10,00|


BULLETINS OF THE SERVING LIBRARY è una pubblicazione sia cartacea che on-line, che segue una linea diretta da Dot Dot Dot, il giornale semestrale fondato nel 2000 e pubblicato da Dexter Sinister. I “bulletins” che costituiscono ogni edizione sono prima pubblicati online come PDF al per un periodo di sei mesi, poi assemblati, stampati e distribuiti separatamente in Europa e negli U.S.A.

Concepita durante una residenza alla Biblioteca del Goethe-Institut di New York, quest’edizione di BULLETINS OF THE SERVING LIBRARY ha utilizzato il contesto dell’istituzione ospitante come tema di partenza. Analizzando questo tema sia dal punto di vista dello straniero che da quello del cittadino tedesco, molti dei contributi presentano questioni che scavano in profondità nel personale.




€ 6,00|

mono.editionen 03|

€ 14,00|


Mono.Kultur is a magazine that is fully dedicated to nothing but its content and the art of the interview. It is an archive of conversations. Every issue is entirely dedicated to one artist from the various genres of culture. And so each magazine contains one very long and in-depth interview – no more, no less


100 Chairs in 100 Days and its 100 Ways


100 Chairs in 100 Days and its 100 Ways|

€ 14,00|


A recalled dialogue from some time ago:

Martino: I will make 100 chairs

åbäke: What, the same one 100 times?

M: No, they will be different. They’ll be actual size 3D sketching, somehow, you know, instead of drawing on a piece of paper.

å: Sounds great. Do it in 100 days then.


Gastronomica 13:2


Gastronomica 13:2|

€ 16,00|


Combining a keen appreciation for the pleasures and aesthetics of food with the latest in food studies, Gastronomica is a vital forum for ideas, discussion, and thoughtful reflection on the history, literature, representation, and cultural impact of food. In each issue you’ll find provocative analyses, including the latest interdisciplinary research from noted scholars that considers the relationship between food and culture throughout the world. From news to techniques, design to reviews, poetry to prose, Gastronomica presents a mix of articles and features by culinary professionals, historians, architects, photographers, poets, artists, and others, and you can expect sumptuous images depicting the richness and vibrancy of food and our joy in preparing and consuming it.


Moon V_gue


Moon V_gue|

€ 8,00|

MaryMe-JimmyPaul works with the area that exists between art and fashion. Taking inspiration from their own created stories, worlds, people and view on the current (and past) pop culture, they show fashion in a different way.


White Flowers


White Flowers|

€ 25,00|


“White Flowers” is Sayo Nagase’s third book. She focused on a weed which grows wild along roadsides in Sweden during her stay last summer.

Route n16


Route n16|

€ 20,00|


Art and architecture project alongside the N16 route. With projects by Tractor (Peter Aerts, Denis Dujardin, Honoré d’O, Lore Perneel, Luc Reuse, Frank Vande Veire, Hugo Vanneste, Dirk Zoete), Architecten De Vylder Vinck Taillieu, Sarah & Charles, Office Kersten Geers en David Van Severen , Michaël Vanden Abeele, Uaps, Wesley Meuris, Architecten Robbrecht en Daem, Valérie Mannaerts, Philippe Vander Maren, Richard Venlet, Ann Veronica Janssens.
Text contributions by Joeri de Bruyn, Maarten Van Acker, Jeroen Boomgaard, Isabelle Makay and Oscar Van den Boogaard. Photograpy by Geert Goiris and Kristien Daem. Initiated by the cities Bornem, Puurs, Willebroek and Mechelen in collaboration with VAi, vlaamsarchitectuurinstituut




Motor Manual


Motor Manual|

€  10,00|


Drawings by db
biro and crayon on paper

Boiled Egg


Boiled Egg|

€ 10,00|


Brendan Colvert lives and works on the small Scottish island of Sanday, Orkney. Since arriving at this remote outpost 14 years ago he has committed his time to painting as a daily ritual and purpose. In filtering the complex relationship between the tranquility and wildness of this immutable archipelago, and the complexities of the world beyond, Colvert has created an extraordinary body of work, with a unique vision and a universal frame of reference.



Theatre Of Hunters


Theatre Of Hunters|

€ 19,00|


In Theatre of Hunters, his first major solo exhibition outside of Portugal, Pedro Barateiro presents a sequence of installations that include “staged” sculptures, found objects, photographs, drawings, paintings and films that encompass the five connected galleries on the ground floor of the Kunsthalle Basel.

Der Greif #6


Der Greif #6|

€ 10,00|


Der Greif is a magazine about contemporary photography and literature.


I Love You #9


I Love You #9|

€ 9,00|


The 9th issue of I LOVE YOU magazine addresses a essential need while simultaneously reflecting the spirit of the times: Proper eating. Good and bad nutrition. Targeted dieting. Food as the new status symbol. As an action and as a necessity, the theoretical analysis of our eating habits and creative approaches to food intake. Based on the most modern medical research, Dr. Max Timm established “metabolic balance” as a healthy nutritional concept in his practice and introduces us to the 10 basic rules of eating. How does it feel when you associate every random word and name with a taste? James Wannerton is a taste synesthete, and talks to us about his extraordinary sensory connections in an interview. Riva-Melissa Tez, entrepreneur and CRON diet devotee, discusses singularities and how, together with a group of scientists in Silicon Valley, she is attempting to attain immortality through diet. Journalist and vegetarian Julia Stelzner examines “Instafood” and the hype behind creating aesthetically pleasing food and sharing it over social networks. And much more…

White Zinfandel #4


White Zinfandel #4|

€ 20,00|


The Spring/Summer 2013 theme is “La Grand Bouffe,” based on the seminal French 1973 film directed by Marco Ferreri, in which food is “the last hope hidden in the despair of living.”Artists responded with loose interpretations that engaged with the rigor and discipline of pushing boundaries.
Contributors to the issue include Marina Abramovic, Agathe Snow, Aric Chen, Asger Carlsen, Cay Sophie Rabinowitz, Hans Ulrich Obrist + Simon Castets, Chris Burden, Daniel Gordon, David Horvitz, Davide Balula, Frédéric Malle + Sissel Tolaas, Ethel Rohan, Lucas Blalock, Luis Gispert, Luke Stettner + Carmen Winant, Nicole Wermers, Pete Deevakul, Raul Martinez, Sara Greenberger Rafferty, and Seth Zucker.


Fotograf #21


Fotograf #21|

€ 16,00|


The issue “On Photography” quotes Susan Sontag in its title, but it is not meant to be an accompaniment to her theoretical essays. In the meanwhile, photography has become a social, already a different type, of medium than it was in the 1970s, when Sontag wrote her essays on photography. Since that time, photography has become a new establishment among the creative media; after its fast penetration into the upper echelons of artistic disciplines in the 1990s and the first decade of this century. The history and the medium’s essence itself were once again exposed to new questions in correlation with the evolution of digital photography, along with the related gradual disappearance of certain original photographic principles such as the negative-positive process, etc. This all culminated in the fully evident wave of interest among photographers in photography itself; whether it be with a nostalgic reaction to the gradual disappearance of one of its analogue forms, as previously stated: the negative-positive, chemical processes, darkrooms, or the quotation of photographic history and its discovering acts. Of course artists from previous generations have already explored the photographic medium as such, but their efforts were rather attempts to find new possibilities, to push existing boundaries (perhaps the most in the modernist period). However, the work of new artists and photography „about photography“ became a new phenomenon, which this issue will address.


The Distance Of A Day


The Distance Of A Day|

€ 8,00|

Published on occasion of Art Basel 2013|


“In early February I asked my mom to go and watch the sunset and make a video. She did this from the Palos Verdes Peninsula, where I used to watch the sunset when I lived in California. She made the video with her iPhone taped to a metal barrier that protects people from falling over the cliffs.

In synchronicity with her, I too was looking at the sun and making a video. From my perspective the sun was rising. I had calculated where the sun would be seen as rising at the exact same moment it was seen as setting in Los Angeles. In early February this was the Maldives, a location which may not exist in the near future due to the rising of the seas.

As my mom watched the sun set into the Pacific Ocean, I was watching it rise over the Laccadive Sea. Synoptic is a useful term here. It comes from the Greek syn, meaning “together”, and optic, meaning “seen”. Though separated by thousands of miles, we were watching the sun together.

The title, The Distance of a Day, is a reference to the idea of the journey. Originally, journey meant the distance one traveled in a day. Here, the spatial distance that separated my mother and myself was not defined by the distance one could travel in a day, but by the day itself. By the delimitations of a day – where the sun rises and where the sun sets.

Phones were chosen to make (and display) the video because they are devices that orient us spatially and temporally. They are like contemporary pocket-watches and compasses that we carry with us. They coordinate and synchronize us. They broadcast moments instantaneously across distances. Or, what seems to be instantaneously. There is always some delay.

The same two phones that were used to shoot the videos, that were once on opposite sides of the world, are now used to display the videos. They are now only inches away.

Right now somewhere the sun is simultaneously setting and rising. Someone or something is probably bearing witness to this.”

Les Impressions Magiques


Les Impressions Magiques|

€ 13,00|


This publication has been created working on offset printing experiments using the quadrichromic system (cmyk) and other colors. The interventions were made directly on the offset plate using several tools and chemical processes, based on the ancient lithography techniques and advanced technology of offset printing. All the process was analogical and irreversible, from crop marks to overprinting. The design process became almost a part of the production.


Camera Austria International #123


Camera Austria International #123|

€ 16,00|





€ 9,90|


KLEBSTOFF #5 is a stickers magazine with various contributors, amongh which LODOWN Magazine




€ 18,00|


All images are Bonsai photo reproductions, printed ‘in negative’. The book refers to last years published Der Baum, as it’s also fruit of a two month stay of Van der Weijde in Japan.

The books aims to raise questions on the reproduced object, the photobook as an object, the authorship of the found image and the fetishistic quality of printed matter.

Concept, reproductions and design Erik van der Weijde





€ 18,00|


This is the artist’s book which accompanies Petrit Halilaj solo show POISONED BY MEN IN NEED OF SOME LOVE, organized by WIELS Contemporary Art Centre, Brussels (7th September 2013 – 5th January 2014), curated by Elena Filipovic.

Petrit Halilaj (b. 1986 in Kostërrc; lives and works in Berlin, Kosovo, and Mantova) studied art at the Brera Academy in Milan. His work has been featured in solo exhibitions including: Pavilion of the Republic of Kosovo at the 55th Venice Biennial, 2013; Who does the earth belong to while painting the wind?! (Kunst Halle Sankt Gallen, 2012) and Petrit Halilaj (Kunstraum Innsbruck, 2011); as well as in group exhibitions, including: The New Public (Museion, Bolzano), It doesn’t always have to be beautiful, unless it’s beautiful (The Kosovo Art Gallery, Prishtina), Lost and found (a nomadic initiative for contemporary art, Antwerp), 30 Künstler/30 Räume (Kunstverein Nürnberg/Albrecht Dürer Gesellschaft, Nürnberg; all 2012), Ostalgia (New Museum, New York, 2011) and the 6th Berlin Biennale for Contemporary Art (Berlin, 2010).




€ 24,00|


The book “Watercolors” is documenting a one and a half year long correspondence in form of watercolors sent via email between Natalie Haeusler and David Horvitz.




€ 9,80|


This issue of Condiment has reminded us of the simple truth that we are living with food, not living for food. In this context, the aim shifts from accomplishment to a need for further exploration.

Ideas and approaches to food have never seemed so evolved and exaggerated. Yet, as the focus on the meal continues to increase, we risk forgetting about all the hours of living that exist in between.

Rather than only being an object of desire, food needs also to be a subject of discussion—approached not as a statement about politics, provenance or proficiency, but as an open-ended question mark.

In some form or another, we hope that each page of this issue raises questions —not just about what food is, but about what it can be. After all, each meal is both an outcome and a new beginning.

Condiment Issue 02 has been produced in collaboration with BLESS. Images from their collection BLESS N° 42 Plädoyer der Jetztzeit appear on each page of the publication.

Modern Matter #4

modern matter

Modern Matter #4|

€ 10,00|


Modern Matter’s fourth issue, Made In USA, is a collaboration with London’s ICA gallery, created on the eve of a major retrospective by the New York-based art collective, the Bernadette Corporation (making it the first independent magazine to act as an ICA partner). Its cover star is the iconic American actress, Chloë Sevigny; the issue’s content is themed, in part, around the dual ideals of Art and America, and includes an exploration of the New York art scene.


Die Nacht #13

die nacht

Die Nacht #13|

€ 7,00|


dienacht is a printed Magazine for Photography, Design and Subculture. Photography is the main topic, but 1-2 Illustrators, Graphic-Designer, etc. are featured, as well as articles about underground movies and music and photo book, fanzine and magazine reviews.

dienacht likes to see and publish strong, timeless photography. It’s not about showing the most recent series or bodies of work. All kind of photographic genres are showcased in the magazine, excepting fashion photography.

dienacht is published 2x/year, printed in a limited edition of 1000 numbered copies, in English and German.

dienacht is a portfolio magazine.

dienacht is not only a magazine. Single and group exhibitions took place during the last 5 years in different cities in Germany and Luxembourg, showing artists featured in dienacht, guest lectures and talks were hold at universities, colleges and photo festivals.

dienacht is based in Germany


Quick #9


Quick #9|

€ 7,00|


Quick Magazine was a well known pocket-sized “news weekly” published by Cowles Magazines, Inc. from 1949 to 1953. On the cutesy backside covers folks were encouraged to “get Quick on your newsstand an carry it in your pocket or your purse… and read it wherever you are”.

A new Quick Magazine was first published in November 2010.

The artists´ magazine focuses on the exploration of ideas through images and strategies of appropriation. Each issue  is done by an artist and presents a text.

Quick also invites several artists to create small editions, that are realized in an circulation of 25 pieces.

Quick Magazine is edited by: Arno Auer.




O. Niemeyer


O. Niemeyer|

€ 26,00|


Dutch photographer Erik van der Weijde uses a simply designed volume of full-page, black-and-white photographs (without text or explanation) to present architect Oscar Niemeyer’s monumental work in the modernist city of Brasília. These images of the so-called utopian city are stark and carefully devoid of people, perhaps a pure celebration of the architects vision or perhaps indicative of modernism’s dehumanising failings.

The Hard And The Fast

the hard and the fast

The Hard And The Fast|

€ 20,00|


The publication is in part an archival document to a Situationist Intervention that took place sometime during the summer months of 1997, an intervention with specific interior / exterior locations within the centre of London.

This artistic / political gesture was carried out during a long running political debate, over the obtrusive and ever growing numbers of CCTV surveillance cameras being installed within public spaces within the capital, and of which were disputed as an infringement upon rights to privacy of the individual citizen.


The Burning Sand #2

the burning sand

The Burning Sand #2|

€ 4,70|


Prose, poetry and art magazine
Edited by Sarah Lowndes
Designed by Sophie Dyer & Maeve Redmond
Published twice yearly in Glasgow

FROG #12


Frog #12|

€ 18,00|


FROG is a contemporary art and architecture magazine, published twice a year.




€ 26,00|

this is the third collaboration between Linus Bill and Rollo Press. It collects a series of photographs taken in Bill’s atelier when he was working on the exhibition “Was Nun’” at Photoforum Pasquart (9.10. – 27.11.2011) in Biel, together with  Patrick Hari and Timm Ulrichs. These images show the “making of” the works exhibited and they are suspended in the limbo between being a documentation and being a out-and-out artwork.

Dead Traffic


Dead Traffic|

€ 25,00|

This book is a raw and bewildering journey through the fringes of Freetown, capital city of Sierra Leone.
Shot over the course of two separate trips, Kim Thue spent 10 months living in close proximity to a notoriously rough area of the slums, digging deep into the livelihoods and emotions of his subjects. Through a visual stream of unsung tragedies, vulnerable integrity and chance encounters, his efforts leave us with an engaging account of a corner of the world normally unrevealed to most of us.

2 Steps Aside


2 Steps Aside |

€ 15,00|

Together with the landscape-architect Stefan Vidts, Stijn Cole went on a journey from the flat isle of Texel (NL) to the ancient woods of Bialowieza (Pl). Two extremes in the European landscape. The book “2 steps aside” tells the story of that trip and shows 6 pencil-drawings. As the base for these drawings, Cole took a picture at Branitz, a landscape-park in the geographical and conceptual middle of the traject, moved two steps aside and took a second picture of the same subject. The book has a “Concertina” format so the original movement of 180cm is kept.

Mattia Barbieri _ Vedute. The new fragrance

MADONNA TUTTI I FRUTTI, 2013; 45,5x58,5x4 cm; olio e smalti su tavola

Mattia Barbieri _ Vedute. The new fragrance
opening Friday 17th January from 6 pm
17-01-14 | 14-03-14

(galleria +) oltredimore presents on Friday 17th January Mattia Barbieri’s solo exhibition VEDUTE. The new fragrance,  curated by Maura Pozzati.

“Veduta”( Italian for “view”) is for the artist an ambivalent term, which refers to a pictorial genre but also to the act of “Seeing”. The landscape is a “View” and therefore it is obviously linked to the observer and to the way in which it is experienced by him/her.

As the art critic and curator Maura Pozzati writes in her text for this exhibition, “The view brings with itself, like the landscape, the memory of something which has been seen but also perceived, listened but also smelled, an enchanted moment when the subject loses itself in the object, the inside with the outside”. After all, Cézanne himself affirmed that “The landscape reflects, humanizes, thinks about itself in me. I objectify, translate, fix it on my canvas”.

A nice photograph is therefore not enough to capture and return a landscape, it would be necessary to distil the perfume in order to convey emotions, the nostalgia, the sublime, the sense of entirety and powerlessness and the desire to describe or paint it. The direct perception of nature is in itself misleading and it intersects inseparably with the history of who translates it on the canvas. Barbieri intends to open the “View” to a multisensory interpretation: the new fragrance – almost as it was a new glam essence– not only identifies itself with the strong smell of fresh painting, but also it melts itself surprisingly with the fascination for the landscape painting of 1700 and the suggestion evoked by Lombard artists of the seventeenth century. Mattia Barbieri’s painting is made of stratifications and cancellations: colors spread skilfully with the brush, which simulate path to follow with a gaze, together with fragments of still life, colorful and fresh fruits painted on the blurry hug of a Madonna with child, sky lacerations interrupted by cold digital writing.

In Mattia Barbieri’s works one can see simultaneously intuitions, attempts, mistakes, consolidations, tensions, continuous cross references between the fragments and the entirety: all this is the new fragrance which the artist has distilled in his atelier and brought in the new venue of (galleria +) oltredimore.

Mattia Barbieri (Brescia, 1985), after the degree at the Brera Academy in Milan, he has been protagonist of numerous personal exhibitions like Pitture domestiche (2013), show in two acts at the Federico Luger gallery in Milan and at the Studio Tommaseo in Trieste, and Aperò l’Barbieri (2007)at  Galleria 42 of Modena curated by Maura Pozzati.He took part also into important group exhibitions such as: La Pintura es una cosa de vida o muerte (2013), L.E.M. in Sassari, curated by Alberto Zanchetta; the second International Moscow Biennial for Young Artists 2010 “Qui Vive?”: Attention! Border crossing, White Hall, Winzavod Contemporary Art Center, curated by G.L.O.W. Platform; Drawings (2009), Pablo’s birthday, New York, curated by Jimi Bingsley. He won the Lissone Prize in 2013 and participated to the tenth edition of the Cairo Prize in 2009. He is an active member of the Artists’ magazine E IL TOPO.

On Saturday 25th January, on the occasion of ArteFiera 2014 and ART CITY BOLOGNA, (galleria +) oltredimore
will be exceptionally open from noon till midnight.



corner editoria

In collaboration with MOTTO Distribution, recognized worldwide as as a distribution company specializing in the field of design and art, in our gallery you will find a selection of artists’ books, fanzines and magazines.

To learn more, go to the section BOOKS on this website and every week follow FACCE DA LIBRO in our social networks.

Andrea Renzini & Silvia Spada _ Opuscolo Vaticana

renzini NL

Andrea Renzini & Silvia Spada _ Opuscolo Vaticana | book launch Friday 29th November from 6 pm

OPUSCOLO VATICANA is a pocket-sized bible, a breviary, a liturgical book of fluid images which flow in sequence, without chronologies, not either technical or biographical information. A single hole passes through this  ceremonial of suggestions, connecting Andrea Renzini’s different ways of expression, from painting to music, till fashion. The hole is the seal of an execution/desecration of the quintessentially sacred object for every artist, the fetish which certifies the existence of a career, it becomes in this case not the point but the hole of the situation, and like in every hole there’s an entrance way and a fundamental way out. In the deluxe version OPUSCOLO VATICANA is wrapped and preserved in an episcopal shroud with the papal emblem.

(galleria +) oltredimore hosts the presentation of OPUSCOLO VATICANA launching in this way its own section dedicated to publishing. In this occasion  the unreleased video called Ultrafine will be projected, a 2009 multicolor abstract cartoon with the music of the Teatro Sonico per Pantone. The first 200 copies of OPUSCOLO VATICANA contain an original drawing used for the realization of the video. OPUSCOLO VATICANA is produced by Luigi Tortato and SI Produzioni. Texts in Italian, French and Japanese.

CAKE. The dessert culture between Arab and Western tradition

low cover_cake

CAKE. The dessert culture between Arab and Western tradition

curated by Manuela De Leonardis

Cake is a cooking book, because itcollects some dessert recipes found in a little treasure bought in a “charity shop” in Kensington High Street, in London, in May 2012: an old notebook in a dark rigid cover, with yellowed squared sheets, thick of pen script, which measures 17x23x1 cm. With blue ink more than sixty dessert recipes are written meticulously, in Arab and French (the ingredients are often listed in French and the explanations in Arab) – Mascot au chocolat, Koul Wal Ishkur, Pain d’Espagne, Amandine, Biscuits à l’Anis – most of them associated to feminine names: Gateau chocolat Rose, Biscuit Ely, Croissant, Biscuit Linda, Sfouf Souad, Tarte Laurice, Kataif Souad, Gateau Tania, Tarte Hélène, Petits-fours Mary Karkalla… East and West – mediated by the blue of the Mediterrean – strengthen theirselves in the pages of this manuscript.

Cake is an art book, because the recipes dialogue with works of nineteen international artists – Hassan Al-Meer, Paolo Angelosanto, Yto Barrada, Beatrice Catanzaro, Maimuna Feroze-Nana, Parastou Forouhar, Maïmouna Patrizia Guerresi, Susan Harbage Page, Reiko Hiramatsu, Uttam Kumar Karmaker, Silvia Levenson, Loredana Longo, MAD_Angela Ferrara e Dino Lorusso, Şükran Moral, Ketna Patel, Pushpamala N., Anton Roca, Jack Sal, Larissa Sansour – who confronted theirselves with its contents.

Cake is a trip through cultures, which passes through the knowledge, in a melting pot of different  languages, flavours, colours, perfumes.

Cake is a no-profit project in support of BAIT AL KARAMA. All the artists, the authors of the texts and of the graphic project, the partners and media-partners contributed voluntarily to the realisation of the project to the purpose to support Bait al Karama Women Centre, the first School of Palestinian cookery (Slow Food  Praesidia in Palestine) born from the workship between Fatima Khaddoumi (responsible for the Women Affairs of the Old City Charity of Nablus), Beatrice Catanzaro (artist) e Cristiana Bottigella (cultural manager).

Cake will be presented during  Artelibro, Art Book Festival, in several meetings.

In the loggia at the first floor in the days of Thursday 20th, Saturday 21st and Sunday 22nd September a series of performative actions are in program, realized specifically for the project CAKE by some artists present in the book: Paolo Angelosanto, Susan Harbage Page, Loredana Longo, Anton Roca e Jack Sal. Saturday21st at 4pm in the Captain Room the presentation of the book will take place, with the curator of the book Manuela de Leonardis as speaker; while from 6.30pm in the loggia at the first floor it will be possible to taste a selection of desserts offered by Offelleria Sorelle Fosser (ZOO), prepared for the first time following the recipes contained in the book.

During the Festival, the book CAKE. The culture of the dessert between the Arab and the Western tradition will be sold in the section FRUIT. Focus on contemporary art.

Maziar Mokhtari among the finalists of Talent Prize 2013


Talent Prize is a prize for young artists organized for the sixth consecutive year by Guido Talarico Publisher and sponsored by the Italian Presidenza del Consiglio dei Ministri, the French Embassy in Italy and the Department for Cultural Policy and for the historical city center of Rome.

Danilo Correale (Naples-Italy, 1982) is the winner of the sixth edition of the competition with the work The visible hand, the future in Their Hands .

In addition to the winner were also announced the nine finalists, including the Iranian artist Maziar Mokhtari with the work of Former Flour Factory for the photography section

The jury is composed by Guido Talarico – Publisher and Director of Inside Art; Luca Massimo Barbero – Associate Curator Peggy Guggenheim Collection; Marie Fernandez – Director of visual arts and exhibition activities of the city of Lille; Alberto Fiz – Artistic Director of MARCA Catanzaro; Micol Forti – Curator of Contemporary Art Collection of the Vatican Museums;
Anna Mattirolo – Director of MAXXI Arte; Ludovico Pratesi – Artistic Director of the Centro Arti Visive Pescheria of Pesaro, Patrizia Sandretto Re Rebaudengo – President Fondazione Sandretto Re Rebaudengo.

The artworks of the winner and finalists will participate in the final exhibition curated by the students of the IED - Master Course in Event and Museum Curator in Rome, which will open on November 16th at Casa dell’Architettura in Rome.



new venue

+ Maziar Mokhtari _ Yellow Apocalypse
opening Saturday 16th November no-stop from 11am to 9pm
16-11-13 | 11-01-14

+ Panem Et Circenses _ trEATticon
opening Saturday 23rd November from 6pm
23-11-13 | 22-02-14 on Thursday and Friday from 6pm; on Saturday from 11am


On 16th November 2013 we will open the door of our new venue, happy to place ourselves in the Manifattura delle Arti, one of the biggest cultural district in Europe, nearby the MAMbo – Museo d’Arte Moderna di Bologna and the Cineteca di Bologna.

Many novelties will liven up the new space situated in via del Porto 48 a/b. 150 square meters in 3 different settings will host the first solo exhibition in Italy by the young Iranian artist Maziar Mokhtari, among the finalists of Talent Prize 2013. He will work in close contact with the space through a site-specific video installation and he will exhibit the photographic series Yellow Apocalypse, inspired by the wall in his hometown, Esfahan. Iranian poet Kayvan Tahmasbian and Italian critic and curator Eugenio Viola through their writings on the catalogue of the exhibition will give two different and complementary points of view on the work of this artist, split in half between Iran and Italy.

There will be also a brand new section dedicated to Food Design in the equipped area in the gallery. Each project will last three months and will develop simultaneously with the exhibitions. This section will give life to three-monthly “temporary residencies” with a focus on anthropological, communicative and psychological investigations and practices about food. Ludovico Pensato and Alessandra Ivul, aka Panem et Circenses will be the first to experience this new section. “Eating” as a way to understand the world is the leitmotiv of their project trEATticon: an evolutionary excursus in three different acts on a monthly basis.

Our gallery will start also a collaboration with the international publishing distributor MOTTO Distribution, known for its unique and valued offer in the field of design and the arts. MOTTO distribution will make a constantly updated selection for our book and magazine corner. Book presentations, talks, lectures and performances characterized by a clear focus on the relationship between publishing project and  performative action will enrich the gallery’s cultural offer.

(galleria +) oltredimore: space / time of creative idleness. You are welcome.

OltreDimore @ SCOPE Basel 2013

SCOPE Basel 2013

OltreDimore @ SCOPE Basel 2013 |

Uferstrasse 40 CH-4057 Basel – Switzerland |

preview Monday 10th and Tuesday 11th June 2013 |

open to public from Wednesday 12th until Sunday 16th June 2013 |

Be sure to visit us at the stand H05 |

artists: Francesca Romana Pinzari, Maziar Mokhtari, Alberto Di Fabio, Nicola Evangelisti, Gioacchino Pontrelli, Alessandro Moreschini |

more info


Francesca Romana Pinzari

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She has been trained as painter at Fine Arts Academy in Rome, but she makes independent use of different media, such as sculpture, performance, installation and video art. Her works are self-portraits that tell universally well-known concepts, in which the audience could easily identify itself. Recently she exhibited her works in Catarifrangenze, a show curated by Achille Bonito Oliva and Luiss Master of Art (La Pelanda, Macro Testaccio, Rome, 2012), in Short Video Show a festival about Italian video art (Kathmandu, Nepal, 2011), Expectations (Invisible Dog Gallery New York, 2010), in the international performance session at Yes Foundation in Netherlands (2011) and at ADD video art festival organized with the support of the province of Rome. She took part also into the traveling exhibition Sing Sweet Songs of Conviction in Berlin, Rome, London, San Francisco, New York and Mexico City. In 2011 with her performance and video Urban Devotion she won the Awards “Giovani Talenti” organized by Rome Municipality and a residency of three months in New York, where she worked in SVA laboratories, realizing video and installations.

The video of the performance “Finchè avrò fiato” can be seen here

OltreDimore @ SCOPE Basel 2013

SCOPE Basel 2013

SCOPE Basel 2013 |

Uferstrasse 40 CH-4057 Basel – Switzerland |

preview Monday 10th and Tuesday 11th June  2013 |

open to the public from Wednesday 12th to Sunday 16th June  2013 |

Come to visit us! Booth H05 |

artists: Francesca Romana Pinzari, Maziar Mokhtari, Alberto Di Fabio, Nicola Evangelisti, Gioacchino Pontrelli, Alessandro Moreschini |

more info |

Droste Effect mag :: Presentation @ OltreDimore

droste magazine flyer

Droste Effect mag :: Presentation @ OltreDimore

Droste Effect magazine presentation will take place at OltreDimore Gallery in Bologna on Tue, June 4, 2013. In that occasion, the gallery space will host two temporary site-specific artworks by artists Francesco Federici and Gedske Ramløv, who – through their opposite exhibition practices – will reflect on the relationship existing between physical and imagined space. Two personal mise en abyme, that will open OltreDimore Gallery’s exhibition space towards something that exists autonomously in outer reality.

Tuesady  4th June 2013 H 6pm-9pm
Droste Effect mag :: Presentation
Artworks + Talk with artists Francesco Federici and Gedske Ramløv
Aperitivo curated by Vênus et Milö
Galleria OltreDimore – P.zza San Giovanni in Monte 7, Bologna

Droste Effect mag :: Presentation

droste magazine flyer

Droste Effect magazine presentation will take place at OltreDimore Gallery in Bologna on Tue, June 4, 2013. In that occasion, the gallery space will host two temporary site-specific artworks by artists Francesco Federici and Gedske Ramløv, who – through their opposite exhibition practices – will reflect on the relationship existing between physical and imagined space. Two personal mise en abyme, that will open OltreDimore Gallery’s exhibition space towards something that exists autonomously in outer reality.

Tuesady  4th June 2013 H 6pm-9pm
Droste Effect mag :: Presentation
Artworks + Talk with artists Francesco Federici and Gedske Ramløv
Aperitivo curated by Vênus et Milö
Galleria OltreDimore – P.zza San Giovanni in Monte 7, Bologna

droste magazine flyer

NONOSTANTE TUTTO – Online catalogue

immagine guida rosso

The catalogue has been designed in the form of diary that represents the process of creation of the collective exhibition, shown through e-mail correspondence of gallery, curator and five artists. Furthermore, catalogue is structured as an archive in progress in which all the images, audio testimonials and performance videos are available to public through a simple click.

Performances of protagonists of the Nonostante tutto exhibition, artists Maria Crispal, Silvia Giambrone, Chiara Mu, Francesca Romana Pinzari and Francesca Pizzo, have inspired the online format of the catalogue which Gallery traditionally publishes for its exhibitions. It represents the innovative and dynamic solution, in line with contemporary tendencies within the editorial field.

The catalogue can be downloaded in the following link: 

NONOSTANTE TUTTO – Online catalogue

immagine guida rosso

The catalogue has been designed in the form of diary that represents the process of creation of the collective exhibition, shown through e-mail correspondence of gallery, curator and five artists. Furthermore, catalogue is structured as an archive in progress in which all the images, audio testimonials and performance videos are available to public through a simple click.

Performances of protagonists of the Nonostante tutto exhibition, artists Maria Crispal, Silvia Giambrone, Chiara Mu, Francesca Romana Pinzari and Francesca Pizzo, have inspired the online format of the catalogue which Gallery traditionally publishes for its exhibitions. It represents the innovative and dynamic solution, in line with contemporary tendencies within the editorial field.

The catalogue can be downloaded in the following link: 

//:(TT)+U=Think The Unthinkable

1) Immagine Guida Filippo_Berta

//:(TT)+U=Think The Unthinkable

curated by Raffaele Quattrone

Filippo Berta | Enrica Borghi | Alberto Di Fabio | Michele Giangrande | Roberta Grasso | Alessandro Moreschini | ZUP – Zuppa Urban Project

22nd March – 25th May 2013
opening on Friday 22nd March from 6 pm


On Friday 22th May 2013, in the venue of OltreDimore Gallery opens the exhibition //: (TT)+U Think The Unthinkable, curated by Raffaele Quattrone. Glory, money, success. These are the values which inspire the contemporary society and define its cultural structure. Growth (from an economic perspective), individualism and constructionism are instead the main activities and, at the same time, the constitutive processes which set up our world, where no one believes in a shared project of development anymore. Is it possible to image a different scenario? //: (TT)+U Think The Unthinkable starts from this premise ironizing about the supremacy of scientific-math knowledge over human science. The result of this strange mathematics formula //: (TT)+U is the slogan Think The Unthinkable meaning the attempt to overcome limits of our social system through art and creativity. 7 artists through different media, give their personal interpretation: Filippo Berta through photo, video and performances investigates the contradictions of human nature. “Istruzioni d’uso” represents a temporary alternative approach with respect to the use of arms: some soldiers play with their guns trying to keep them on the palm of their hands. Enrica Borghi questions the nowadays trend to increase goods and resources consumption, by recycling waste in order to create art pieces with it, as in the installation “Meduse”. In the workshop scheduled in May, she will invite participants to make precious things out of waste. Alberto Di Fabio mixes art and science by using his virtuosity to find out the physical energy of the elements. Thus art becomes not only an expressive tool with a great esthetic impact, but also a tool for scientific analysis. Michele Giangrande, with his neon-work “Mike the headless Chicken” ironizes about traditions, history and symbols of culture to show that they are not absolute but variable, negotiable, relative entities. Roberta Grasso, the youngest among the 7 artists, creates soft sculptures by using the classical mosaic techniques, as in her installation “25 €/etto” which activates a sensorial involvement by stimulating the sense of touch and smell in addition to the sight. Alessandro Moreschini with the installation “Crescita e sviluppo insostenibili”, made up of surfaces and objects covered by pictorial pattern, wonders about the future possibility of planet’s growth. ZUP-Zuppa Urban Project is a participatory project that starting from prejudices about a city (in our case Bologna), questions them during a workshop, which ends with their translation into a cooking recipe, cooked and served to the audience in a performing event.

curator and artists’ bio

Scheduled activities:

22nd March 2013: opening from 6 pm
13th April 2013: Art and Science with Alberto Di Fabio
23th May 2013: ZUPlab. Workshop and performance by ZUP-Zuppa Urban Project

//:(TT)+U=Think The Unthinkable on Droste Effect

Alessandro Brighetti @ Scaramouche (New York)




A l e s s a n d r o

°                                                                        °

B r i g h e t t i



P   r   o   u   d   l   y           P   r   e   s   e   n   t   s

-       N     A     R     C     H     I     T     E     C     T     U     R     E        -

s o l o   s h o w

C u r a t e d   b y

L   A   R   A       P   A   N


S   C   A   R   A   M   U   C   H   E

N   e   w      Y   o   r   k

2 0   /   1     –     1 5   /   3

Season’s Greetings and Best Wishes for 2013 from all at OltreDimore!

Season’s Greetings and Best Wishes for 2013 from all at OltreDimore!

AuguriNATALE 2012

Nicola Evangelisti

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Nicola Evangelisti (Bologna, 1972), is one of the protagonists of the Italian Light Art, he realized several series of illuminated sculptures and also big installations on a urban scale, such as Light Blade at Villa Reale’s porches in Milan, part of the GAM collection. His work has been object of many publications such as the LIGHT ART – Targhetti Light Art Collection catalogue published by Skira. He has taken part into different exhibitions in museums and international galleries as for instance Chelsea Art Museum (New York), Centre for Contemporary Art “Ujazdowski Castle”  (Warsaw), MAK (Vienna), MUAR (Moscow), ISELP Institut Supérieur pour l’Etude du Langage Plastique (Bruxelles), Museo Archeologico (Francoforte), Museo e biblioteca internazionale della Musica (Bologna), GAM (Milan), MACRO (Rome), Galerie Artiscope (Bruxelles), PaciArte contemporary (Brescia); and also into special projects for Bruxelle’s Biennial, Biennale di Venezia, and Manifesta9.


2012 Turnover: Nicola Evangelisti, galleria Paci contemporary, Brescia

2012 A.L.I.C.E.’S EYE con ELASTIC group of artistic research, Palazzo Bevilacqua ArteFiera OFF2012 Bologna

2011 “Nicola Evangelisti” VII giornata del Contemporaneo, Palazzo Ducale Genova

2011 “Nicola Evangelisti e Antonio Pio Saracino” Padiglione Italia nel Mondo, Biennale di Venzia 2011 Isituto Italiano di Cultura, Bruxelles, Belgio

2011 “YOU ARE NOT SAFE/Light Pulse” Museo Internazionale e Biblioteca della Musica di Bologna

2010 “Perì Photòs – Around the Light” Paci contemporary Brescia

2010 Nicola Evangelisti / Marina Giannobi – La Chiarezza e il Labirinto,  Mya Lurgo Gallery, Lugano

2009 “Behind the light”, Dream Factory, Milano

2008 Meccaniche della meraviglia VI, Maglio Averoldi di Ome, Brescia

2008 “Chromocosmica”, Galerie Artiscope, Bruxelles

2007 “Elettrika”, Galleria PaciArte Contemporary, Brescia

2006 Installazioni luminose, Espace d’art contemporain Villary, Nîmes (Francia)

2004 “Chimere di luce”, Galleria d’arte Serego, Verona

2004 “Light Art”, Galleria d’arte Bergamo, Bergamo

2002 “Luminis ora”, BGH Gallery, Santa Monica (Stati Uniti d’America)

2000 “Nuovo Spazialismo”, Centre culturel “Louis Ratel”, Bievres (Francia)

2000 “Ephemerides – Ong Quy Cong”, Galleria No Code, Bologna

2000 Premio internazionale “Guglielmo Marconi”, Corte Isolani, Bologna

1998 Premio internazionale “Guglielmo Marconi”, Università di Bologna

1997 “Frammenti cosmici”, Schabes Gallery, Chicago, Illinois (Stati Uniti d’America)


2012  “HIGH VOLTAGE onder hoogspanning”,  Galerie De Mijlpaal, evento di Manifesta9  – Belgio

2012 “La Retina Lucente” premio Termoli

2012 “I have a dream”, PaciArte contemporary Brescia

2012 “RELATIVITY. Relative and Relations ” Laboratorio PaRDeS, Mirano

2012 XXV Edizione – Premio Marconi 2012 Corte Isolani Bologna

2012 Davide Rondoni legge Compianto Vita, Chiesa di Santa Maria della Vita, Bologna

2012 Futures – Galerie Artiscope Bruxelles, Belgium

2012 ARTOUR-O Villa la Vedetta Firenze

2012 ON hangar 6 di Davide Coltro, Milano

2011 Premio Internazionale Limen Arte Vibo Valentia

2011 ARTERACTIVE a cura di Chiara Canali, Torino

2011 ADD Festival Macro Testaccio Roma

2011 ARTOUR-O the Must Villa la Vedetta, Firenze

2010 Luces, (Luminale Biennale Lighting Culture), Museo Archeologico Francoforte, Germania

2010 Here and now, (ArteFiera Bologna) a cura di Julia Draganovic

2009 “Futuro” Festival della Scienza, Palazzo Ducale, a cura del  CNR, Genova

2009 “CLICKING THE COSMOS” Auditorium di santa Chiara, Vercelli

2009 “DOROTHEUM”, Vienna, Austria

2009 “BOX SHOCK – Evangelisti VS di Giovanni, Dream Factory, Milan, Italy

2009 “Premio Internazionale Guglielmo Marconi”, Palazzo d’Accursio, Bologna

2008 “Astralia – Tra astronomia e astrologia”, PaRDeS laboratorio di ricerca d’arte contemporanea, Mirano (Venezia)

2008 “Clicking the territory – Window of light and darkness”, Museo di Arte Contemporanea “Angela Malandra”, Vespolate (Novara)

2008 “De Narcisse à Alice, miroirs et reflets en question”, ISELP (Institut supérieur pour l’étude du langage plastique), Bruxelles

2007 “Conti, Evangelisti, Pansini”, Myartprospects Gallery, New York

2007 “River’s Edge Film Festival”, Maiden Alley Cinema, Market House Theatre e Yeiser Art Center, Paducah (Stati Uniti d’America)

2007 “Orizzonte degli eventi”, Galleria ArtSinergy, Bologna

2006 “Targetti Light Art Collection”, MUAR (Museo Nazionale dell’Architettura), Mosca, Russia

2006 “Viaggio nella fotografia contemporanea”, Gallery PaciArte contemporary, Brescia

2006 “LIGHTS ON”, Galerie Artiscope, Bruxelles, (Belgio)

2006 “Dead line”, Villa Vogel, Firenze

2006 “Video island”, Isola Tiberina, Roma

2006 “Microcosmo vs Macrocosmo”, PaciArte contemporary, Brescia

2006 “Harlem Art Project”, Saatchi & Saatchi, New York

2006 “Premio Vasto”, Pinacoteca Comunale, Vasto (Chieti)

2006 “Targetti Light Art Collection”, MUAR, Mosca

2006 “Videoformes – Vidéo & nouveaux médias dans l’art contemporain”, Clermont-Ferrand (Francia)

2005 “D.A.B.”, Galleria Civica di Modena2005 “V Premio internazionale di scultura della Regione Piemonte”, Accademia Albertina delle Belle Arti, Torino

2005 “Diva Bruxelles”, One Night Video, Bruxelles

2005 “Video Festival”, Galerie Parisud, Parigi

2004 “L’eredità di Fontana”, Borgo medievale di Castelbasso (Teramo)

2004 “Diva Fair”, Digital & Video Fair, New York

2004 “I love 3 T”, Sabatini, Cadriano (Bologna)

2004 “Mehrlicht: Targetti Light Art Collection & James Turrel”, MAK Museum, Vienna

2004 “I love 3 T”, Futurshow, Milano

2004 “Luce vero sole dell’arte”, Museo Bargellini, Cento (Ferrara)

2003 “Targetti Light Art Collection”, Arte Fiera, Bologna

2003 Premio internazionale “Guglielmo Marconi”, Istituto Italiano di Cultura, New York

2003 “Focusemotionalliving”, Saie Due, Bologna

2003 “Targetti Art Light Collection”, Chelsea Art Museum, New York

2003 Collettiva, Galleria Soligo & C. International Art, Roma

2002 “Focusonthegeniuslocioperandi”, Palazzo Stella, Crespellano (Bologna)

2002 Collettiva, Galleria Santo Ficara, Firenze

2002 “Targetti Art Light Collection”, Arte Fiera, Bologna

2002 Premio internazionale “Guglielmo Marconi”, Università di Bologna

2002 “Targetti Art Light Collection”, Centre for Contemporary Art “Ujazdowski Castle”, Varsavia

2001 “L’oggetto inesistente”, Futurshow, Bologna

2001 “Quotidiana”, Museo civico al Santo, Padova

2000 “Mito e materia – Scultura, altro e oltre”, Borgo medievale di Castelbasso (Teramo)

2000 Premio internazionale “Guglielmo Marconi”, Università di Bologna

2000 “Artisti vari”, Galleria No Code, Bologna

2000 “Piccolo formato”, Bertrand Kass Gallery, Innsbruck (Austria)

1998 “La scultura possibile – Progetti e disegni della Nuova Arte Italiana”, Circolo artistico


La Sfacciata Lighting Academy, Firenze

Villa Reale, GAM di Milano

Pinto / Xandev Foundation (London – Goa GB)


Premio Internazionale Guglielmo Marconi sezione  “Nuove Generazioni” 2000

2° Premio sezione “Quadri di Luce”

3° premio Aletti ArtVerona 2009


immagine guida rosso

NONOSTANTE TUTTO a cura di Raffaele Gavarro from Galleria OltreDimore on Vimeo.

curated by Raffaele Gavarro

26th January 2013 – 16th March 2013
opening on Saturday 26th January from 6 p.m.

I would like to say to you only words full of anger, to make you promises of revenge and of inevitable violence. You deserve it. And maybe even more, you are waiting for it. I am sure. As I know that you are already ready to avoid and to neutralize; making use of all possible legal and illegal ways. And yet that is not the case. Despite all what you are and what you are responsible for, we are here filling your space, your time and your soul with what you could never have even imagined. Consider it as a gift.

And this is first of all a declaration of presence and resistance. Nonostante tutto exhibition, which opens on 26th January 2013 at OltreDimore Gallery in Bologna, stages artworks by Maria Crispal, Silvia Giambrone, Chiara Mu, Francesca Romana Pinzari, Francesca Pizzo with the aim to underline in particular a state of unprofitable generosity, in a scenery of decay that was unthinkable until a few years ago.

Nonostante tutto, curated by Raffaele Gavarro, is the choral work of five young Italian female artists who have chosen to tell their “stubborn being in the world” through the traces they leave in it, knowing to give also when the gift is not valued as such. An exhibition in the feminine but not on and about femininity as a cliché, in which to conceive and to gift are the distinguishing and significant characters. The group exhibition gathers videos, photographs, drawings and installations in the gallery venue, while during the opening on 26th January each artist will propose to the public a performance expressly created for Nonostante tutto.

artists’ bio

in collaborazione con_lineare


Nicola Evangelisti_Temporary Illusions

crisis obliquo x NL

Nicola Evangelisti_Temporary illusions

curated by Olivia Spatola in collaboration with Eli Sassoli de’ Bianchi

30th November 2012 – 19th January 2013
opening on Friday 30th November from 6 p.m.

On Friday,  November  the 30th  at 6 p.m., OltreDimore gallery opens the exhibition Temporary Illusions by Nicola Evangelisti, curated by Olivia Spatola in collaboration with Eli Sassoli de’ Bianchi. Nicola Evangelisti, thanks to studies based on the Gestalt theory, creates, for his first solo exhibition at OltreDimore gallery in Bologna, interactive installations and video-installations, whose perceptive fulfilment is achieved on a mental level. The absence of an objective reality is incontrovertible and has already been confirmed by the scientific theory of relativity by Einstein, and then in a philosophical way by the phenomenology of Husserl, up to the most recent and shocking revelations of quantum physics. Real and virtual are two forms of the same reality, whose boundaries are really ephemeral or better absent. Both in architecture and on the massmedia level, the digital era in which we live implies the trespass and overlapping between entities that are apparently conflicting such as the real and the virtual, the material and the nonmaterial. Approaching the contemporary reality, we can find an analogy between the social situation and the economical one: the international crisis is deeply characterized by the virtuality of the financial speculation, which has an influence on the objective reality of every single individual. In a few years, the so called financial by-products have raised enormous quotations in generating a speculative bubble without any records. At the origin, their inventors claim they wanted to prevent the risks, but the growing politic perplexities, the seduction of the profits and the general laxness made the research of stability become a factor of destabilization. The real economy is in the lap of the virtual economy, generating a domino effect, whose proportions are exponential, that drives the entire occidental economic system into a crisis. Nicola Evangelisti wants to go deeper into the perceptive dynamic of an inconsistent materiality, made of sounds and images, whose presence can only be an illusion.

Nicola Evangelisti (Bologna, 1972), is one of the protagonists of the Italian Light Art, he realized several series of illuminated sculptures and also big installations on a urban scale, such as Light Blade at Villa Reale’s porches in Milan, part of the GAM collection. His work has been object of many publications such as the LIGHT ART – Targhetti Light Art Collection catalogue published by Skira. He has taken part into different exhibitions in museums and international galleries as for instance Chelsea Art Museum (New York), Centre for Contemporary Art “Ujazdowski Castle”  (Warsaw), MAK (Vienna), MUAR (Moscow), ISELP Institut Supérieur pour l’Etude du Langage Plastique (Bruxelles), Museo Archeologico (Francoforte), Museo e biblioteca internazionale della Musica (Bologna), GAM (Milan), MACRO (Rome), Galerie Artiscope (Bruxelles), PaciArte contemporary (Brescia); and also into special projects for Bruxelle’s Biennial, Biennale di Venezia, and Manifesta9.

Alessandro Brighetti “Critica in Arte” @ MAR

invito mar

Alessandro Brighetti’s last series of works curated by Chiara Canali will be exhibited from 25th November 2012 to 13th January 2013 at MAR-Museo d’Arte della città di Ravenna for the project Critica in Arte created by Claudio Spadoni

OltreDimore @ The Others

logo the others

The Others _ Turin, 9th-11th November 2012 | Ex Carcere “Le Nuove” _ via Paolo Borsellino, 3 Turin | Come to visit us! Booth  # A10

Piero Mottola

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Piero Mottola (Caserta, 1967)

is an artist and experimental musician. His artistic practice is tied to the Jartrakor Sperimental Study Center in Rome, and to  the Teoria Eventualista. Mottola, following the principle of Eventualismo – experimental method with cognitive purposes- elaborates works of rigorous expressive abstinence, building “neutral acoustic stimuli” able to stir in the audience measurable answers and reactions. He is a Sound Design teacher at Fines-Arts Academy of Rome

PIERO MOTTOLA Concert with a view


Esposizioni personali | Solo shows

2012      Recording Havana, installazione multicanale per Autocorrelatore, Palazzo D’Accursio, Bologna

2010      Play Different, installazione multicanale per Autocorrelatore, Fondazione Spazio 13, Varsavia

2009      Stupore. Passeggiata emozionale per un ambiente cromatico, Galleria Pino Casagrande, Roma

Concerto con vista, Fondazione Morra – Museo Hermann Nitsch, Napoli

2007      Giuseppe Chiari, Piero Mottola. Opere ed emissioni, Studio Stefania Miscetti, Roma

2005      Cielo acustico a dieci emozioni, Sala Santa Rita, Roma

2003      Astratto cromatico emozionale a due livelli, Galleria Pino Casagrande, Roma

2002      Ritmo cromatico a dieci emozioni con quattro elementi irripetuti, MLAC – Università di Roma La Sapienza

1997      Immagini auditive, Galleria Zoo artecontemporanea, Bologna

1993      Esperimenti, Galleria Art Now, Capua

1988      Miglioramento Peggioramento, Centro Studi Jartrakor, Roma

Esposizioni collettive | Group shows (Selection)

2012      Scatole sonore (Havana version 2012), Scope Basel, Basilea

2012      L’Etica prima della forma, in Pratica e immaginario sociale, Biennale Arte de L’Avana, Cuba

2011       L’intervallo necessario. Artisti in dialogo con Gillo Dorfles, Archivio dell’Architettura Contemporanea,Salerno

                Lo stato dell’arte, Padiglione Italia della Biennale di Venezia (sezione Campania), Pontecagnano

Fuga, ambiente cromatico relazionale, 54° Biennale di Venezia, Padiglione della Repubblica Araba Siriana

Passage Cornoldi, 54° Biennale di Venezia, Padiglione della Repubblica Araba Siriana

Il Caos #3 I conflitti, Isola di San Servolo, Venezia

2009      Far From Where We Came, The Aran art gallery, Tehran

                Intramoenia Extrarte. On the ground underground, Castello Svevo Aragonese, Barletta

2007      L’Utopia praticabile, Museo H. C. Andersen, Roma

2006      Giuseppe Chiari, Piero Mottola. Opere ed emissioni, Studio Stefania Miscetti, Roma

2001      Artisti suonati, Trevi Flash Art Museum, Palazzo Lucarini, Trevi

2000      Eventualismo: oltre l’interazione, MLAC Museo Laboratorio d’Arte Contemporanea, Roma

1999      Lavori in corso 7, Galleria Comunale d’Arte Contemporanea, Roma

Sound, Galleria Arsenal, Bialymstoku (Polonia)

Eventualismo: la teoria delle differenze, Galleria Arte in Scena e Studio Bocchi, Roma

Artissima – Fiera d’Arte Contemporanea, Lingotto Fiere, Torino

1993      Giovani Artisti V, Palazzo delle Esposizioni, Roma

1992      Concretismo, Costruttivismo, Cinevisualismo Internazionale, Galleria Arte e Struktura, Milano

Eventualismo in Progress, XXXVII Premio Termoli, Galleria Civica d’Arte Contemporanea, Termoli

FIAC – Fiera Internazionale d’Arte Contemporanea, Grand Palais, Parigi

1990      Italia ‘90: Ipotesi Arte Giovane, La Fabbrica del Vapore, Milano

Strutture Modificabili, in Caos e bellezza: immagini del neobarocco, Palazzo Serra Gerace, Genova

1989      Eventualismo, Centro Studi Jartrakor, Roma

Concerti e performance musicali | Concerts and musical performances

2012      Concerto con vista, in Pratica e immaginario sociale, Biennale Arte de L’Avana, Cuba

Tre tipi di musica relazionale, in When (italian) responsibilities become form, Galleria OltreDimore, Bologna

2011       Improvvisazione su Cielo acustico, Hochschule für Musik und Theater, Leipzig

2010      Improvvisazione emozionale 3, in Giuseppe Chiari, Piero Mottola. Flussi, Fondazione Volume, Museo RAM radioartemobile, Acquario Romano, Roma

                Interno Disperso e Andamenti differenti, Fondazione Spazio 13, Varsavia

Sette emozioni per Equipèco, Fondazione Signum, Venezia

2009      Improvvisazione emozionale 2,in On the ground, underground, Castello Svevo Aragonese, Barletta

Concerto con vista, Fondazione Morra – Museo Hermann Nitsch, Napoli

2008      Interno Disperso, Changing Role – Home Gallery, Napoli e Fondazione Pastificio Cerere, Roma

Improvvisazione su Interno Disperso, Teatro Comunale, Bihac (Bosnia              Erzegovina)

2004      Mauro Bortolotti, Piero Mottola. Variazioni sul Grido, Goethe-Institut, Roma

2003      Astratto 2, Università degli Studi di Siena, Certosa di Pontignano

Mauro Bortolotti, Piero Mottola, inPlay 40° Festival di Nuova Consonanza, Accademia Americana, Roma

2002      Astratto 2, in Progetto Musica ’02, Centro Petralata, Roma

2001      Articolazione emozionale 1, in Artisti suonati, Auditorium Center Johns Hopkins University, Bologna

2000      Articolazione emozionale 1, Galleria Comunale d’Arte Moderna e Contemporanea di Roma

1998      Addensamenti 1, in Progetto Musica ‘98, Acquario Romano, Roma

Discografía | Discography

2010      Mauro Bortolotti, Giuseppe Chiari, Piero Mottola. Correspondances, Edizioni Gangemi, Roma

2002      Piero Mottola. Percorsi emozionali 1995-2001, Edizioni SSSSHT!, MUSPAC Museo Sperimentale, Roma, L’Aquila

Conferenze | Conferences

2011       Rumore ed emozione, Musei Capitolini, Sala Pietro da Cortona, Roma

Estetica del rumore: dal Futurismo alla Musica Spettrale, Università Statale di Lipsia

2010      Dal rumore alla composizione musicale attraverso lo studio delle emozioni, Accademia di Belle Arti di Varsavia

2008      Da una scelta estetica ad una musica non scelta, Accademia di Belle Arti di Toulouse

2005      Modelli di relazione cromatico emozionali, in La Tavolozza nel cervello, RAI Radio 3 Scienza

2004      Ambienti acustici a dieci emozioni 1997-2004, Museo d’Arte Contemporanea MACRO, Roma

1998      Coinvolgimento emozionale nella percezione di stimoli acustici, Università di Roma La Sapienza

1997      Ricerche eventualiste aperte: lo stimolo sonoro A9 Paura>Gioia, Università della Tuscia di Viterbo

1995      Esperimenti di Miglioramento Peggioramento e sul Suono-rumore, Accademia di Belle Arti di Bergamo


Pubblicazioni (monografie) | Published books

2012      Passeggiate emozionali, dal rumore alla musica relazionale, Maretti Editore, Cesena

2001      Suoni referenziali, edizione limitata del Museo Laboratorio di Arte Contemporanea, Università La Sapienza di Roma

1995      Storie, edizione limitata del Museo Laboratorio delle Arti Contemporanee, Università della Tuscia di Viterbo

Pubblicazioni (articoli) | Published articles

2006      Autocorrelatore, sistema automatico di composizioni emozionali acustiche e cromatiche, in “Titolo”, a. 17, n. 50

2004      Modelli unidimensionali di relazioni acustiche, emozionali, estetiche, in “Avanguardia”, ”, a. 9, n. 25

2002      Dal rumore alla composizione attraverso lo studio delle emozioni, in “Avanguardia”, a. 7, n. 19

1999      Per una nuova strutturazione del suono, in “Konsequenz”, a. 6, n. 1,

1998      Coinvolgimento emozionale nella percezione di stimoli acustici, Università di Roma La Sapienza, Edizioni Kappa

1994      Miglioramento Peggioramento, in “Rivista di Psicologia dell’Arte”, n.s., a. 15, n. 3/4/5



published in 2012|

critical text: Raffaele Gavarro|

graphic design: Ivana Spinelli|

price: 5,00 €|

limited edition 300 copies|

Gabriele Corni ADOPERABILI


published in 2009|

critical text: Elisa Schiavina|

print: HQS High Quality Standard – Bologna|

photo credits: Gabriele Corni|

price: 10,00 €|

number of copies 1000|


parute et absence

published in 2010|

texts: Alessandro Caiola|

graphic design: Antonella Paulon|

print: HQS High Quality Standard – Bologna|

photocredits: Roberto Legnani|

price: 10,00 €|

number of copies 500|


Atto ZERO_NatWilms BOX

published in 2010|

texts: Elisa Schiavina, Simona Pinelli|

price: 50,00 €|

ARTIST’S BOX Special Edition  50 copies|

Nino Bandiera IO SO CHI SONO


published in 2010|

critical text: Simona Pinelli|

photo credits: Nino Bandiera|

price: 100,00 €|

ARTIST’S BOX Special Edition 50 copies|



published in 2011|

interview: Elisa Schiavina and Simona Pinelli|

graphic design: Antonella Paulon|

price: 5,00€|

limited edition 300 copies|

Leonardo Vecchiarelli MATER


published in 2009|

texts: Gianpaolo Barbieri, Carlo Ducci, Douglas Kirkland, Elisa Schiavina, Teresa Zambrotta|

graphic design: Antonella Paulon|

print: HQS High Quality Standard – Bologna|

photo credits: Monica Vecchiarelli|

price: 10,00 €|

number of copies 1000|

Alessandro Brighetti | SOUL SCANNER

soul scanner

published in 2010|

text: Maria Livia Brunell, Sandro Sproccati|

graphic design: Antonella Paulon|

print: Compositori Industrie Grafiche s.r.l. – Bologna|

price: 10,00 €|

number of copies 500|

SCOPAMI Francesca Pasquali


published in 2011|

texts: Denitza Nedkova, Ilaria Bignotti, Paolo Insolera|

graphic design: Antonella Paulon|

photo credits: Aurore Martignoni|

price: 5,00 €|

limited edition 300 copies|

QUEENS di barbarauccelli


published in 2010|

critical text: Simona Pinelli|

interview/biogaphy: Elisa Schiavina|

graphic design: Daniele Catalli|

print: HQS High Quality Standard – Bologna|

photo credits: Cristina Uccelli|

price: 10,00 €|

number of copies 500|

Ivana Spinelli GLOBAL SISTERS_handmade pop-up artist books


published in 2012|

Special Edition 1/10|

– A e B € 90,00|

– C  € 100,00|

Ivana Spinelli GLOBAL SISTERS_the contradictions of love


published in 2012|

ed. Revolver Books – Berlin|

96 pages|

price: 20,00 €|

number of copies: 1000|

When (Italian) Responsibilities Become Form


published in 2012|

texts: Raffaele Quattrone and Cesare Pietroiusti|

graphic design: Gabriele Corni|

print: Tipografia Negri|

photo credits: Gabriele Corni|

price: 5,00 €|

limited edition 300 copies|

Elena Stradiotto INTERNO LETTERA (corrispondenze)

interno lettera

published in 2012|

critical text: Veronica Ceruti|

graphic design: Laura Calvini, Studio Lulalabò|

print: Fast Edit Srl Litografia Industriale|

photo credits: Stefano Candoli, Ilaria Marchetto|

price: 15,00 €|

limited edition 300 copies|

Gioacchino Pontrelli _ Comportamento Emergente

Comportamento Emergente

published in 2012|

critical text: Raffaele Gavarro|

graphic design: Gabriele Corni|

print: Fast Edit Srl Litografia Industriale|

photo credits: Gabriele Corni|

price: 5,00 €|

limited edition 300 copies|

Gioacchino Pontrelli

[nggallery id=23 template=caption]

Born in Salerno (Italy) in 1966, he lives and works in Rome. Gioacchino Pontrelli’s research aims at rewriting objects and images that live and define the present-day world. The rewriting is done through painting, as painting is able to alter and redefine the codes and the ways contemporaneity is perceived and consumed. Using alternately traditional colors, industrial paints and synthetic pigments, Gioacchino Pontrelli’s paintings aims at revising hybrid and standardized images of the mass culture in private landscapes, more mental than physical, full of a strong psychological and emotional component. His painting is suspended between figuration and abstraction, between a visionary and slightly anxiety-inducing hyperrealism and a spontaneous but aware and balanced gestural expressiveness.


Mostre personali / Solo shows

12     “Comportamento Emergente”  a cura di Raffaele Gavarro, Galleria OltreDimore, Bologna.

11     “Di quanti millimetri è fatto il mondo”  con testo di Raffaele Gavarro, Accart Antonella Cattani Arte Contemporanea, Bolzano.

09      “Altre Stanze”, a cura di Claudio Libero Pisano, CIAC Centro Internazionale per l’ Arte Contemporanea, Genazzano, Roma;

“In Between”, a cura di Elisabeth Claus e Heinz Bartowski, e con il sostegno di Klaus Wolbert, Neuer Kunstverein Aschaffenburg, ( Francoforte )

06      “In Between”, a cura di Federico Mazzonelli, Paolo Maria Deanesi Gallery, Rovereto;

02      “Distorted superficiality”, a cura di Laura Culpan, Galleria Autori Cambi, Roma;

00      “Vaneggio”, a cura di Raffaele Gavarro, Antonio Colombo Arte Contemporanea, Milano;

“Serie Analogica”, a cura di Raffaele Gavarro e Ludovico Pratesi, Studio Ercolani, Bologna;

98      “Gioacchino Pontrelli”, a cura di Raffale Gavarro, Galleria Carlomaria Weber, Torino;

Mostre collettive / Group Shows

13     “Nell’acqua capisco” curated by Claudio Libero Pisano, off event 55. Venice Biennale, Ateneo Veneto and Procuratie Vecchie

13     “Premio Maretti / Valerio Riva Memorial IV Edizione”, PAN-Palazzo delle Arti di Napoli

12     “Vetrinale” festival di arte contemporanea, relazionale e performativa nei negozi del centro storico di Roma

“Come una bestia feroce” (nella sezione curata da Federico Mazzonelli “Route tournante en sous-bois”) BonelliLab, Canneto sull’Oglio(Mn)

“Paesaggi complicati” a cura di Claudio Libero Pisano, Palazzo Incontro, Roma

11      “Ente Comunale di Consumo”,a cura di Claudio Libero Pisano, Palazzo del Vittoriano, Roma,

Galleria Nazionale di Palazzo Arnone, Cosenza

“Percorsi Riscoperti Dell’Arte Italiana”  Vaf-Stiftung 1947-2010, a cura di Gabriella Belli e Daniela Ferrari, MART museo di arte contemporanea di Trento e Rovereto

Festival Internazionale Delle Letterature 2011, a cura di Maria Ida Gaeta, Basilica Di Massenzio, Roma.

“Home Sweet Home” Jon Cabot Univesity, Roma.

10     “Concerning space” a cura di Daniela Bigi, Antico Municipio San Donato Val di Comino (FR);

“Impresa Pittura”, a cura di Raffaele Gavarro e Claudio Libero Pisano, CIAC Centro Internazionale per l’ Arte Contemporanea, Genazzano, Roma;

“Passaggi” a cura di Maria Chiara Valacchi, Pinacoteca Civica, Follonica

09      “Take the space”, a cura di Patrizia Ferri, Palazzo della Vicaria, Trapani

“Corrispondenze”, a cura di Lorenzo Canova, Banca Dexia Crediop, Roma

“Viaggi scoperte ritorni”, Galleria La Bussola, Cosenza;

08      “Well darling, I act”, a cura di Matteo Boetti, Studio Matteo Boetti c/o Adele-C Studio, Roma;

“Allarmi 2008”, (section: “Astero”), a cura di Alberto Zanchetta, Caserma Cristoforis, Como

“Words”, Paolo Maria Danesi Gallery, Rovereto

06      “Grazie per una volta”, Valentina Bonomo Arte Contemporanea, Roma;

05      “E vissero Felici e Contenti”, doppia personale con Marco Papa, a cura di Francesco Ventrella, Galleria Autori Cambi, Roma;

“Getsemani”, a cura di Alberto Zanchetta, AndreA Arte Contemporanea, Vicenza;

04      “Arte italiana per il XXI secolo”, a cura di Lorenzo Canova, Palazzo della Farnesina, Roma;

“InsideOut – A temporary Art Collection – Red Bull

Music Academy”, a cura di Maria Alicata e Francesco Ventrella, Rialto Sant’Ambrogio, Roma;

“P.C./A.C. Palermo Ch’ange”, a cura di Matteo Boetti, Laura Gabarino e  Giuliana Stella,  Ex deposito Sant’Erasmo, Palermo;

03      “Melting Pop”, a cura di Gianluca Marziani, Palazzo delle Papesse/Centro Arte Contemporanea, Siena

“FuturoItaliano”, a cura di Lorenzo Canova, Parlamento Europeo, Bruxelles, Belgio;

02      “Archivio attivo”, a cura di Daniela Bigi, Centro per l’arte contemporanea.  Carbognano, Viterbo

“301.302 kmq.”, a cura di Luca Beatrice, Galleria Alessandro Bagnai, Firenze;

“Antologia romana”, a cura di Daniela Bigi e Roberto Lambarelli, Galleria Alessandro Bagnai, Siena;

01      “Cantieri Romani”, a cura di Arnaldo Romani Brizzi e Ludovico Pratesi, Galleria Comunale d’ Arte Moderna e Contemporanea, Roma

“Senza Mani! Provos e le biciclette bianche”, a cura di Matteo Guarnaccia e Marco Cingolani, Antonio Colombo Arte Contemporanea, Milano;

00      “Futurama. Arte in Italia. Frequenze e Segnali dalle ultime generazioni”, a cura di Bruno Corà, Raffaele Gavarro e Marco Meneguzzo, Centro per l’ Arte Contemporanea Luigi Pecci, Prato;

99      “Autodafé”, a cura di Raffaele Gavarro, Studio Ercolani, Bologna;

“Giganti. Arte Contemporanea nei Fori Imperiali”, a cura di Ludovico Pratesi e Alessandra Maria Sette, Fori Imperiali, Roma;

98      “Immaginate”, a cura di Raffaele Gavarro, ex Palazzo del Municipio, Santa Maria Capua Vetere, Caserta;

“La pittura nella cruna dell’ ago” a cura di Raffaele Gavarro, Palazzo delle Arti, Capodrise;

“Festa dell’ arte”, a cura di Lina Calende e Simona Cresci, ex Mattatoio, Roma;

“Panta rei”, Galleria Carlomaria Weber, Torino;

97      “Giro d’ Italia”, a cura di Raffaele Gavarro, Galleria L’ Attico, Roma

96      “In tempo”, a cura di Raffaele Gavarro, Alberto Weber, Torino;

95      “All’ armi!”, a cura di Raffaele Gavarro, Quartiere Militare Borbonica, Casagiove (CE);

Premi / Awards

09      Premio Fabbri terza edizione “Un secolo e 4”, Villa delle Rose, Istituzione Galleria d’Arte Moderna di Bologna, a cura di Marina Modana, vincitore premio pittura

03      “Premio Agenore Fabbri”, MART Museo di Arte Moderna e Contemporanea di Trento e Rovereto;

“Premio Agenore Fabbri” Institut Mathildenhohe, Darmstadt, Germany.

01      “Premio Cario Communication”, Antica Posteria, Milano

Collezioni Pubbliche/ Public Collections

Fondazione VAF, Francoforte, in prestito al MART – Museo di Arte Moderna e Contemporanea di Trento e Rovereto, Rovereto (TN);

Galleria Comunale di Arte Moderna e Contemporanea di Roma.


OltreDimore @ cutlog

logo cutlog

cutlog 2012 _ 18-21 Ottobre 2012 _ Bourse de Commerce de Paris _ 2, rue de Viarmes _ cutlog |

Come to visit us! Booth  # D5 _ artists: Alessandro Brighetti, Davide Coltro, Gabriele Corni, Francesca Pasquali, Ivana Spinelli, Nat Wilms

roBOt festival preview_selected works from call4roBOt 2012

invito robot

OltreDimore Gallery presents

roBOt festival preview _ selected works from call4roBOt 2012

26th September – 28th September 2012

OltreDimore Gallery keeps on following its interaction path with the events which take place in the city of Bologna, hosting some works selected through the call4roBOt 2012.

Cristian Grossi – Madreperla

In life, a designer for advertising and fashion, with an exceptional ability to keep up with the changing balance between kitsch and formal elegance, with a passion that’s never hidden for liberty and art deco. But for roBOt, he’s the author of “Madreperla”, a fascinating video installation, semi-static evolution that changes over time in a continuous dialectic between the mystical and Eros: the original image is broken down into digital form by vectoriale approximations that at the same time simplify and abstract the process of understanding. The design becomes a dynamic system of mathematical functions, the sexual object is transformed into analytical curves of second and third degree that evolve in a temporal dimension. The language is once again, like the other videopath from the series “Trasformazioni.spore” (2010), generated by the narrow and sharp tension between beauty and kitsch.

Marco Mendeni – FOV01

Take and assault one of the contemporary entertainment fetishes, the video game: “FOV01″ by Marco Mendeni. Thanks to a decoding with which the functionality of the original game is transmuted, it carries you from recreational dimensions to islands of disturbing hypnotism, to tell in the best way possible the world in which we are migrating. Born in Brescia, now commuting between Milan and Berlin, Mendeni has long been dedicated to artistic research that experiences the contamination of materials, computer animation and 3D production. All of this with a particular focus on the process that leads the videogame medium to become a social medium.

Marco Morandi – Progetto lucina

“Wunderkammer”: un piccolo gioiello interattivo in cui lo spettatore, “suonando” una tastiera, mette in relazione gli oggetti luminosi che gli si parano davanti dando vita ad una vera e propria partitura di luci. Sono sorgenti luminose molto particolari: lampade costruite con oggetti da cucina, in una intelligente e spiazzante operazione di riciclo. Questo è quanto Marco Morandi in collaborazione con Vincenzo Pacella presenta a roBOt, una nuova, significativa tappa nella sua evoluzione artistica fatta di computer graphics, produzione di videoclip e live visuals, intrecci tra il linguaggio filmico e cinematografico con quello dell’arte.


Opening Hours:

Wednesday  26th September

h 11.00am-1.00pm
h 5.00pm-9.00pm

Thursday 27th|Friday 28th
h 11.00am-1.00pm
h 5.00pm-7.00pm

Book Test


OltreDimore @ FRUIT. Focus on contemporary art

logo fruit


Palazzo Re Enzo e del Podestà

Opening  Thursday 20th September 2012, 7pm-9pm;

21st – 22nd September 2012, 10am– 8pm;

23rd September 2012, 10am – 7pm

OltreDimore gallery has always been focused on creating catalogues associated to the exhibition program. Every single exhibition is related to an independent editorial production, which is always in limited edition and realized with great care from the conception to the print. Artists and curators are the first in taking care of the layout, entrusting themselves to graphics and professionals. Each catalogue is an integrating part of the exhibition, adding textual criticism and pictures. OltreDimore Book produces also artists’ book .

FRUIT. Focus on contemporary art  is the second appointment about Italian and international’s self-publishing press created by Crudo Cultural Association and considered for this occasion like an incursion into the Artelibro Festival

OltreDimore @ FRUIT

At the booth situated in Palazzo Re Enzo e del Podestà you can find our publications:

Elena Stradiotto INTERNO LETTERA (corrispondenze)       

When (Italian) Responsibilities Become Form

Ivana Spinelli GLOBAL SISTERS . the contradictions of love.


Ivana Spinelli GLOBAL SISTERS (pop up books A ed. 1/10; B ed. 1/10; C ed. 1/10)

Gabriele Corni ADOPERABILI  

Alessandro Brighetti | SOUL SCANNER 

SCOPAMI Francesca Pasquali        

QUEENS di barbarauccelli  (catalogue & flip book)



Leonardo Vecchiarelli MATER

Maziar Mokhtari

[nggallery id=21 template=caption]

Maziar Mokhtari is an Iranian artist. He works between Italy and Iran since 2004. He graduated at Rome Academy of Fine Arts in 2009. One year after he had his first solo exhibition “Palimpsest” at Azad Art Gallery in Teheran. Since then he has focused on “Wall” as material for the formulation of his artistic vision. His artistic training focuses on the study and use of different media that expand the creative possibilities of the artist, as painting, photography and video. He is among the finalists of the Talent Prize 2013



2013, “Yellow Apocalypse”, (galleria+) oltredimore, Bologna, Italia

2010, “Palimpsest’’, AzadArt Gallery, Teheran, Iran



2013, “Talent Prize”, exhibition of the Award’s finalists, Casa dell’Architettura, Roma

2012, “Aurs Al Arab (Ours?) The Wedding Party!”, Spazio MenoMale Bologna, Italia, curata da Gaia Serena Simionati

2011, Museo Epicentro – Gala di Barcellona (Collezione D’arte Contemporanea su Mattonelle), Barcellona Pozzo di Gotto Messina, Italia, Nino Abbate

2011, “La Formazione Dell’Uno’’, Galleria Nazionale di Cosenza, Italia

2011, ”Le Nove Porte (Sciamanesimo e Arte contemporanea)”, Sala Santa Rita, Roma, Italia ,Bruno Corà

2011, ”Lampemusa”, Museo Archeologico di Lampedusa, Lampedusa ,Italia, curata da Gaia Serena Simionati

2011, ”Al Ghaib (Aesthetics of the Disappearance)”, Stuxgallery, New York ,Stati Uniti d’America, curata da Gaia Serena Simionati

2011, ”Violenza Invisibile”, Palazzo Triennale, Milano, Italia, FESTARTE VIDEOART FESTIVAL

2011, ”E così ci ritrovammo all’alba nel porto di Le Havre”, Vertigo Arte, Cosenza, Ilari Valbonesi

2011, ”Al Ghaib (Aesthetics of the Disappearance)” Maraya Art Centre, Sharjah (Emirati Arabi Uniti), curato Gaia Serena Simionati

2011, Video installazione in San Leonardo collegiate, San Casciano dei Bagni Toscana, Italia, Istituto polacco di Roma

2010,  ”Violenza Invisibile”, Museo Macro (Testaccio), Roma, FESTARTE VIDEOART FESTIVAL

2010, ”Il Maestro e Margarita”, Museo Crocetti, Roma, Italia

2009, ”AltriMuri”, Studio Tiepolo, Roma, Tiziana Musi

2009, ”Profezie di Bellezza”, Studio Ferraro, Roma, Italia, Giovanna dalla Chiesa

2009, ”Frantumazione”, Associazione culturale furclap, Udine, Italia

2007, ”Amparo”, Galleria Artetica, Roma, Italia



2013, ”Open The Door”, collaboration between Maziar Mokhtari and Shahram Karimi, Art Workshop for prisoners inside a jail in Spoleto(italy) and making of a film ((open the Door)) during the workshop



Gioacchino Pontrelli – Comportamento Emergente

Foto Studio Lavori In Corso

Gioacchino Pontrelli _ Comportamento Emergente

curated by Raffaele Gavarro

5th October – 24th November  2012
opening Friday 5th October 6 pm

Special Opening: 6th October 2012 up to midnight on the occasion of 08 Giornata del Contemporaneo AMACI

OltreDimore Gallery opens its new show season with Gioacchino Pontrelli  solo show Comportamento Emergente,  curated by Raffaele Gavarro. The show is the result of a conjugation between painting and reality, considered very hard in and by contemporary tradition. The idea of using painting as tool for understanding our world seems nowadays a difficult path, both at the practical and at the conceptual level.  As a matter of fact, the practice of painting is seen today as a mere metanarrative and emotional vocation. Comportamento Emergente advances a different hypothesis, starting from the Emergent Behavior in complex systems theory. According to this theory, reality is a system and laws that rule each single element are overcome by non linear relations among them, whose effect is the creation of further properties in the same system. In his paintings Gioacchino Pontrelli recreates similar conditions, determined by non linear relations generated between images and non-images, but also between the objectivity of the painted surface, real space and objects. In Comportamento Emergente paintings have an explicit 3D dimension: as installations they qualify unambiguously the gallery venue and add themselves to real elements inside this same space, up to becoming out-and-out objects such as tables or enigmatic sculptures.

Gioacchino Pontrelli (Salerno, 1966) lives and works in Rome. Selected last solo shows: 2011, “Di quanti millimetri è fatto il mondo”, Antonella Cattani Arte Contemporanea, Bolzano; 2009, “Altre Stanze”, Ciac, Genazzano (Roma); 2009 “In between”, Neuer Kunstverein Aschaffenburg (Frankfurt). Selected last group shows: 2012, “Come una bestia feroce”, BonelliLab, Canneto sull’Oglio (Mn); 2012, “Paesaggi complicati”, Palazzo Incontro, Roma; 2011, “Percorsi riscoperti dell’arte italiana”, Vaf-Stiftung 1947-2010, Mart di Trento e Rovereto.

Fall 2012_Events scheduled

OltreDimore Gallery wishes you happy summer holidays!
The Gallery will be closed from 4th up to and including 27th August.
See you back in September with the new programme:

on the occasion of Artelibro

Elena Stradiotto. Interno_lettera
curated by Veronica Ceruti
relational art project, workshop, public talk, artist’s book
14th – 22nd September 2012

FRUIT. Focus on Contemporary Art
self publishing exhibition
Palazzo Re Enzo e del Podestà, Bologna
21st – 23rd September 2012

on the occasion of 08 Giornata del Contemporaneo | AMACI

Gioacchino Pontrelli. Comportamento Emergente
curated by Raffaele Gavarro
solo show
5th October – 24th November 2012

contemporary art fairs:

Paris, France
18th – 21st October 2012

The Others
Torino, Italia
9th – 11th November 2012

Elena Stradiotto. INTERNO LETTERA

invito elettronico internolettera

INTERNO LETTERA (Corrispondenze)

INTERNO LETTERA is a Relational art project, which began with a hand-written letter, sent by Elena Stradiotto to a bunch of addresses. In the letter the artist wrote the origin of her daily practice: drawing as measure of time, separation and distance; and asked to share with her private rituals of elaboration, analysis and repair, by answering to her letter with writings, videos, objects, photos. During fall 2011 at OltreDimore Gallery Elena opened and read the correspondences sent throughout the summer before, making her a vehicle of memories, emotions and inventions. This practice has been documented by a video, which will be screened in the gallery as a trace of the building process. This research – not a scientific one, but rather empirical and personal – about life practices, gave its first results through gathering and sorting the inputs sent by correspondents: autobiographical letters, memories’ images, good luck rituals, talismans, words and objects inventories, musical playlists and symbolical gestures that witness the impulse towards aesthetic dimension. INTERNO LETTERA will be presented as a work in progress in the gallery spaces, which will become a place of meetings and relations.  Two workshops open to the public and held by the artist and a public talk will involve participants in private/collective actions/reflections aiming to the production of works which will create a dense scenario to enrich the project with new meanings. The two workshops are meant to experiment in a collective dimension some practices and gestures told by correspondents. Tra-me proposes the practice of intertwining as weaving, combing, plait, knot, crossing, bond, intrigue, plot, tangle. Intertwining of hair, sentences, materials, branches, bodies, memories. With  Fotomemorie participants are invited to put into relation old photographs, personal or anonymous – discovered into photo albums, drawers, diaries and markets – and new thoughts. A selection of texts, from the project INTERNO LETTERA, will accompany writings and re-writings. A bare wall of the gallery will host and make public the workshop outcomes. The public talk will concern the theme of art as repair and as daily practice. The inquiry tools will be the gestures and thoughts coming out from Interno lettera, some artist’s confessions and some questions made by Louise Bourgeois on the occasion of a panel discussion moderated by Robert Motherwell the 22nd April 1950: What determines the birth of a work of art? Which is the primary impulse? What pushes the artist? Is it a way to escape from depression (to fill the empty)? Is it a confidence or pleasure note? Is it the attempt to understand and solve a problem and to tidy up the world?

The artist’s book

INTERNO LETTERA (corrispondenze) is also a graphic project, an artist’s book. The book encompasses the correspondences from the multiple voices, of who put him/herself to stake. The book invites also the reader to be involved, publicly – by sending to OltreDimore Gallery his/her own contribution – or intimately, thinking about his/her own personal repair practice. The book is contained in a hand silkscreened and numbered large envelope, where we can read: “If it ever happened to you to face distance, pain, changes, great joy and fear by resorting to a daily and aesthetic practice or by creating your own personal magic ritual, write to me”. The publication has been projected to leaf through as an album or to be disassembled in single sheet, as posters to be hang up to walls, each of which put into visual relation two names, two practices, two stories. Graphic Design: Laura Calvini


12th September
h. 12 pm– project and artist’s book presentation

14th September
h. 4pm/7pm – Workshop Tra-me INTERNO LETTERA (open to the public | by reservation)

21st September
h. 4pm/7pm – Workshop Fotomemorie INTERNO LETTERA (open to the public | by reservation)

22nd  September
h. 11am – Public talk
h. 6pm – Opening

During the opening time the artist will be present in the gallery to describe her project and to go on with the work in progress which will culminate with the opening on 22nd September.





Rec ording Havana_invito elettronico

Multichannel acoustic installation for Autocorrelatore real time mode (unlimited duration)

acoustic survey realized for 11th Havana Biennial, May 2012

OltreDimore Gallery presents Piero Mottola acoustic installation  Rec|ording Havana, an environmental adjustment of the work Sound Boxes – Five Emotional Acoustic Combinations, realized for the exhibition Ethics before form, curated by Raffaele Gavarro, during 11th Havana Biennial. Mottola’s inquire on noises for Havana grafts on the experimental research for selection of acoustic stimuli. These stimuli are meaningful of the emotional experience began in 1995, the year in which the first Sound Boxes, object/stimulus, were born. The artist has mapped the sounds of Havana social environment, recording it in interiors (houses, workplaces, place of studying and leisure activities) and exteriors (streets, marketplaces, squares), natural landscapes or densely inhabited ones, deriving an acoustic landscape of unprecedented  power. The sounds-noises have then been elaborated after the 10-emotions(Fear, Angst, Anger, Anguish, Sadness, Calm, Astonishment, Pleasure, Excitement, Joy)-Relation-Model, a scale system built by measuring the emotional activation after 154 acoustic stimuli (natural, artificial, human and animal noises). The artist has then studied the distribution of emotional preferences for each of the aforementioned stimuli. He was therefore able to find the one most activated emotion by measuring the share of that particular one compared to the other nine remaining, as a measure of relative distance. The amount of information accumulated for each acoustic stimulus allows to speculate about a space in which the 10 emotions are set according to their correlation, from value 1 (maximum emotional closeness) to value 9 (maximum emotional distance). Results are combined real time through the Autocorrelatore, an automatic system of acoustic-emotional stroll, with the aim of creating a new, original acoustic reality, strongly impacting the psychological and relational spheres, subject  to a wide range of interpretations.

The preview will include the presentation of the artist’s last book: “PASSEGGIATE EMOZIONALI dal rumore alla musica relazionale, edited by Maretti Editore

in collaboration with

thanks to



Marcus Egli. Uno, nessuno e centomila.

ME invito elettronico


On 11th May 2012, OltreDimore contemporary art gallery presents in its venue  Marcus Egli. Uno, nessuno e centomila, the first Marcus Egli (Zurich, 1957)’s solo exhibition in Italy.

The exhibition encompasses a series of works inspired by the city of Bologna but at the same time connected with the artist’s constant obsessions: the waiting, the absurd, the anonymity, the crowd and the loneliness.

Capture and Idéntites aléatoires spur from the artist’s emotional impact towards the memorial of the terrorist attack at Bologna train station in 1980. According to the artist, the clock which stays still at 10.25 is the symbol of the exact moment when the fate chooses who will be struck down among the crowd and who will be spared.

The four geographical maps which constitutes the work Bologne view were born out of the artist’s need to orient himself in an unknown city. Beside, the treasures hedged-in libraries and museums around the city hinted to the artist the work Archives, as the religious relics inspired the installation In Vitro.

Aluminum is, as usual, Egli’s main medium. With it he creates his Hominium, a set of asexual, selfsame characters, standing alone or within a group, funny and serious like tin soldiers, whose faces mirror literally the personalities of who stares at them, changing shape with them. So similar, at heart, to the masks of Pirandello.

“Individual” is the word used by the artist to speak about the entire humanity. Used alone is a cry, together with others, it becomes sentence, text, book, which everybody can interpret according to what he/she is ready to see, listen and undertstand.









OltreDimore at Pavilion 2 with the artists

Hassan Hajjaj (booth 70)

e Gabriele Corni (booth 72)


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PetriPaselli is an artistic duo made up by Luciano Paselli (1983) and Matteo Tommaso Petri (1981). They are friends since their childhood, spend in the Bolognese Appennino and they started to collaborate for artistic projects in 2007, driven by a shared passion for photography and a common sensitivity for collecting and accumulating objects; which they gather and decontestualize through artistic experimentation. Even if photography is their main medium, they work also with video and for music and theatre. In 2007 they won the Premio Iceberg ’07 in the section art-photography and in 2009 they were among the finalists of Premio Terna and Premio Celeste.


2010 “Amici d’Infanzia”, in collaboration with the Association Articolture, Fienli del Campiaro,  Grizzana Morandi
2009 Simbionte: ipotesi di mutualismo museale, Gemine:Muse 2009, curated by Karin Andersen,  Museo Davia Bargellini, Bologna
2009 Souvenirs d’Italie”, a project for “BTAT_Crossino – Forum de l‘Image”, spazio Croix- Baragnon, Tolouse
2008 Souvenirs d’Italie”, curated by Flaminio Gualdoni, L’Ariete artecontemporanea, Bologna
2008 Intervallo”, L’Ariete artecontemporanea, Bologna

2011 “Non tutto è in vendita”, curated by Raffaele Gavarro, Galleria OltreDimore – ArteFiera Off, Bologna
2010 “Oltre lo Specchio”, curated by Elisabetta Modena, Castello dei Pico, Mirandola
2010 “Casabianca”, curated by Anteo Radovan, Casabianca, Bologna
2010 “Acquanime”, curated by Niccolò Bonechi, Overlook Gallery, Prato
2009 “Mostra finalisti premio Celeste 2009”, Fabbrica Borroni, Milano
2009 “C’era una volta… un bosco dietro la porta rossa”, curated by Gianluca Marziani, in collaboration with Photology and YOOX.COM. Villa Impero, Bologna
2009 “Playlist”, curated by Ceclia Guida, galleria Neon>campobase, Bologna
2008 Unicef ChiAma Arte”, Accademia di Belle Arti, Bologna
2008 Aqua – Le proposte del Premio Vasto”, curated by Daniela Madonna, Palazzo d’Avalos, Vasto
2008 Unicef ChiAma Arte”, Cà La Ghironda, Bologna
2007 Premio Arte Mondadori 2007”, Palazzo della Permanente, Milano.
2007 Mostra Collettiva, Galleria 18, Bologna
2007 Colossi nascosti”, Galleria Ta Matete, Bologna
2006 Incontri ravvicinati”, Palazzo Comunale, Vergato
2006 Fiori di l@boratorio”, Parco ai Caduti della Libertà, Vergato

2011 “Natale con PetriPaselli”, curated byMarta Papini, Il Posto, Bologna
2010 “In vacanza con PetriPaselli”, performance curated by Fabrizio Lollini and under the patronage of Bologna University, Dipartimento Arti Visive, La Pillola 400, Bologna
2010 “Premio San Fedele 2010”,meeting with the audience, curated by Massimo Marchetti, Galleria San Fedele, Milano
2010 “L’Oggetto in questione”, discussion with Concetto Pozzati, PetriPaselli, Elisa Serravalli, Enrico Guerzoni. Curated by Articolture e Regione Emilia Romagna, Fienili del Campiaro, Grizzana Morandi

2009 “MiArt”, Milano
2009 “Art First”, Bologna

2010 “Oltre lo Specchio”, artist book curated by Elisbetta Modena
2010 “Acquanime”, catalogue curated by Niccolo Bonechi
2009 “Premio Terna 2”, catalogue curated by Gianluca Marziani
2009 “Premio Celeste 2009”, catalogue curated by Gianluca Marziani
2009 C‘era una volta…”,catalogue curated by Gianluca Marziani and Alberto Biagetti
2009 Gemine:muse”, catalogue, text by Karin Andersen
2009 Made05”,n°36, magazine about art and design
2008 IBC-Istituto per i beni culturali e naturali”, rivista n° IV, text by Carlo Tovoli
2008 Premio Carmen Silvestroni”, catalogue curated by Rosalba Paiano and Luciana Prati
2008 Souvenirs d’Italie”, FMR Bianca #4
2008 Acqua”, catalogue
2008 Unicef ChiAma Arte”, catalogue
2008 Young Blood”, yearly publication about 2007 art prizes, curated by Next Exit and Next Mag
2008 Premio Iceberg ‘07”, catalogue with the winning artists, Bologna


Roberto Kusterle

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Roberto Kusterle was born in 1948 in Gorizia, Italy. Since the Seventies he works in the field of visual arts, using painting and installation as main media. From 1988 he started to gain interest in photography, which eventually became his primary expressive medium. He lives and works in Gorizia.



· MUTABILES NYMPHAE, Galleria Antonio Nardone,Bruxelles
· MADRIDFOTO 2011 mc2gallery Milano


· ANA KRONOS, Ex Chiesa Anglicana, Alassio (SV)
· MUTABILES NYMPHAE, Mestna Galerija Nova Gorica, Slovenia
PROFILI, Aboca,Sansepolcro -AR
SENZA TEMPO NE’ LUOGO, Galleria Weber&Weber, Torino

· ANA-KRONOS, Cankarjev dom Ljiubliana, Slovenia
ANA-KRONOS, mc2gallery, Milano
· UNA MUTAZIONE SILENTE, Wook Lattuada, New York
· UNA MUTAZIONE SILENTE, Galerija Sodobne Umetnosti, Celje, Slovenia
· UNA MUTAZIONE SILENTE, Centro Arti Visive “La Castella” , Motta di Livenza


· LO SPECCHIO DEL CORPO, Galerija Tir Solkan, Nova Gorica,Slovenia
· LO ZOO DELL’ANIMA, ArtMbassy Berlin, Germania



· LDPF Lucca DigitalPhoto Festival2010, Villa Bottini, Epson Digigraphie Lounge, Lucca
· ALPE ADRIA ART, Committee of the Regions, Bruxelles
· DAL FUTURISMO AD OGGI, Lattuada Studio Arte Contemporanea, Milano
· IN-DIFESA, Fondazione 107, Torino


· COLLEZIONA2010, Fondazione FORMA, Milano
· WIESBADENER FOTOTAGE, Rathaus Wiesbaden (Germania)


· CASTRUMFOTO, Pilonova Galerija, Ajdovscina (Slovenia)


WIRBF invito elettronico - Copia

On 9th March 2012, OltreDimore contemporary art gallery presents in its venue the project When (Italian) Responsibilities Become Form curated by Raffaele Quattrone. Through the exhibition of works of art created by well-known and emerging artists and a tight meetings schedule, this project investigates the role of responsibility of art exhibitions, beside their unavoidable media and worldly component, which inevitably attracts a public made up by a large majority of “art tourists”.

The ironic and critic cutting of the project reveals itself starting from the title, with which the curator quotes the exhibition When Attitudes Become Form curated by Harald Szeemann at  Kunsthalle Bern and at the Institute of Contemporary Art in London in 1969. Raffaele Quattrone invites the public to think about the current overlapping between the institutional role of Museums and the commercial role of private galleries and about artistic forms of responsibility – also the social one – in a period in which the cultural world’s attention is diverted by a spread need of entertainment and amusement, leaving out frequently the quality of the works of art and their authors.

Too often people speak more about vernissage than about the actual works of art, even if the first ones do not last. On the contrary, When (Italian) Responsibilities Become Form invites to reflect on a new feasible balance between the formative/informative level and the recreational/relational one. The project is thought as an actual process, which consists of different meetings. It starts from the opening evening, during which the curator chooses to keep the works of art and the artists quiet, commissioning a mere amusing performance to an agency of touristic entertainers, up to the conclusive performance, when Cesare Pietroiusti will speak about his personal relationship with artistic responsibility.

Artists: Emanuela Ascari, Armando Lulaj, Dacia Manto, Alessandro Moreschini, Piero Mottola, Cesare Pietroiusti, Michelangelo Pistoletto & Diego Paccagnella for Love Difference – Movimento Artistico per una Politica InterMediterranea.


Friday 9th March
6 pm: vernissage

Saturday 24th March 6 pm: OltreDimore Art Talk. Project presentation and meeting with the artists

Thursday 29th March 6 pm: Love Difference Bologna Cup with the artivist Emanuela Baldi. Presentation of the artistic movement Love Difference created by the artist Michelangelo Pistoletto and opening of the table-football tournament Love Difference Bologna Cup. Artists, gallery managers, curators will find in playing a way to meet and to overcome typical hostilities

Friday 30th March 5 pm: OltreDimore for Kids. Workshop for children, held by Laura Falcone, educator and professional sociologist, in behalf of Associazione Nazionale Sociologi. An unusual way to make children closer to contemporary art and to the issue of responsibility

Friday 6th April 6 pm: concert/performance site specific music and voice by Piero Mottola

Saturday 7th and Friday 20th April 6 pm: guided tours of the exhibition with the curator Raffaele Quattronne

Saturday 21st April 5.30 pm: finissage with Cesare Pietroiusti and catalogue presentation

Sami Alkarim

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BFA (honor) in Fine Art, University of Colorado, Denver, CO, USA.

BA in Graphic Design, Metropolitan State College of Denver, CO, USA.

Baghdad Academy of Fine Art, Baghdad, Iraq.

Fair, Art week, Casablanca, Morroco.
Lampemusa, Museo Archeologico Lampedusa, Italy, curated by Gaia Serena Simionati.
Al Ghaib, Aesthetics of the disappereance, Stux Gallery, New York, USA, curated by Gaia Serena Simionati.
Position Velocity Acceleration, XVA Gallery, Dubai, UAE.
Al Ghaib, Aesthetics of the disappereance, Maraya Art Center.
Sharjah, UAE, curated by Gaia Serena Simionati.
Baghdad Burn, Robischon Gallery, Denver, USA.

Foreshadowing, XVA Gallery, Dubai, UAE.
Bastakiya Art Fair, XVA Gallery, Dubai, UAE.
Love Lines, Redline Gallery, curated by Robischon Gallery, Denver, Colorado, USA.
Bastakiya Art Fair, Iraqi House, Dubai, UAE.

Florence Biennale, Florence, Italy.
Bastakiya Art Fair, XVA Gallery, Dubai, UAE.

Worn Out Memory, Fort Collins Museum of Contemporary Art, USA.

Genesis, juror Williem Bieky, Denver,Colorado.USA.
Emmanuel Gallery, Denver, Colorado. USA.

Emmanuel Gallery, Denver, Colorado. USA.

Emmanuel Gallery, Denver, Colorado USA.
Emmanuel Gallery, Denver, Colorado. USA.

Emmanuel Gallery, Denver, Colorado. USA.

Emmanuel Gallery, Denver, Colorado USA.

Second prize, Rocky Mountain Biennial
Fort Collins Museum Of Contemporary Art U.S.A

University of Colorado at Denver.

Metropolitan State College at Denver.

Stanly Hotel, Estes Park, Colorado.

State Capital, Denver, Colorado.

Spring Institute, Denver, Colorado.

Hassan Hajjaj

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Born in Morocco in the early sixties, Hassan Hajjaj moved toLondon aged 14 years old. Rapidly independent, Hassan set-up his own fashions label R.A.P. in the 80’s. His creation already reveals his capacity to bridge British and Moroccan culture. Progressively, Hassan investigates and translates his background into Artwork. His photographs refer to stereotypical imagery such as the Odalisque, a 19th Century symbol of Oriental exoticism, and icons of contemporary fashion. He highlights the power of image and branding, juxtaposing the iconography of contemporary culture and consumerism with classical references. He includes and contrasts visual elements of both Islamic and European culture. Familiar components from contrasting cultures are integrated to create an unexpectedly rich and seductive environment. The frames are an integral part of the photographic image using modern packaging, which echoes designs such as mosaic patterns. His salon installation is equally compelling. Creating a vibrant playful space where brands and signage are incorporated and transformed into household items. The viewer is drawn into an interactive social space where furniture and everyday objects made from recycled materials reflects the color and atmosphere of the souk. Either through photography or installation, Hassan is keen to explore, the perception/reflection relationship between the Orient and the Occident.


Upcoming 2011 September – ‘Mi Casa Tu Casa’ – Matisse Gallery, Marrakesh – Morocco.

‘1430 in Casa’, Bab Hotel,Marrakesh, Morocco.
‘My beautiful Rubbish’, Frieis Museum, Berlin, Germany.
‘Kesh Angels, Rose Issa Projects, London, UK.

‘1430 in Casa’, Matisse Gallery, Casablanca, Morocco.
‘Dakka Marrackesh’, 8th Bamako Encounters African Photography Biennial, INA, Mali.

‘Reuse 2.0’, El boutique at Lothan Exhibition Space, Kuwait.
‘Dakka Marrakesh’, Leighton House Museum, London, UK.
‘Noss Noss: Photographic Works and Other Moroccan Stories’, The Third Line, Doha, Qatar.

‘Noss Noss: Photographic Works and Other Moroccan Stories’, The Third Line, Dubai, U.A.E.

‘Graffix From The Souk’, Dar Sharfia, Marakkesh, Morocco.

‘Graffix From The Souk’, Taros, Essaouira, Morocco.

‘Graffix From The Souk’, Apart Gallery, London, UK.

‘Pop Art In The Kasbah’, Ministero Del Gusto Gallery, Marrakech. Morocco.


Upcoming 2011 September – ‘Photoquai’ – Musee du quai Branly, Paris – France.

‘Africa, See You, See Me’, Fondazine Studio Maragoni, Firenze, Italy.
‘Play Ground’ New Walk Way Museum, Leicester, UK.
‘Le Salon’ for the Jameel Prize, La Villa des Arts, Casablanca, Morocco.

‘Africa, See You, See Me’, Museu Da Cidade, Lisboao, Portugal.
‘Le Salon’ for the Jameel Prize, Sakip Sabanci Museum in Istanbul, Turkey.
‘Le Salon’ for the Jameel Prize, Sharjah Museum of Islamic Civilisation, UAE.
‘Arabicity’, Beirut exhibition center, Lebanon.
‘Le Salon’ for the Jameel Prize, National Museum, Beiteddine Palace, Beiteddine, Lebanon.
‘Collective Design’, Albareh Art Café, Manama, Bahrain.
‘Always Moving Forward’, Gallery 44, Toronto, Canada.
‘Le Salon’ for the Jameel Prize, National Museum, Damascus, Syria.
‘Le Salon’ for the Jameel Prize. National Museum, Riyadh, Saudi Arabia.

‘Le Salon’ for the Jameel prize, V&A, London, UK.
‘Icons Reloaded’, Elysee Arts, Liege, Belgium
Exposition VII Art Collection Luxembourg
‘ReOrientation’ European Pairlement, Brussels, Belgium.

‘Mediterraneo’ a Sea that Unites‘ Italian Institute, London, U.K.
Exposition VI Art Collection Luxembourg.

‘Contemporary African Visual Arts’, Painting & furniture. British Museum, London, UK.

’Black British Style’, clothing from 1950s till now, Victoria &Albert Museum, London, UK.
’Graffix From The Souk’, Artisania, Rabat, Saler. Morocco.

‘Graffix From The Souk’, as part of the 5th Festival of cultural diversity, Institute Francais, London, UK.
‘Graffix From The Souk’, Part of Moroccan Cultural Week in Covent Garden, London, UK.


Le Salon, Play Ground, New Walk Museum & Art Gallery, Leicester, UK.

Le Salon, Les Veillées du Ramadan at the Institut des Cultures d’Islam, Paris, France.

Le Salon, The Liverpool Arabic Arts Festival, Bluecoat, UK.
Le Salon, The Chapter Gallery, Cardiff, Wales, UK.

Le Salon, The Liverpool Arabic Arts Festival, Bluecoat, UK.

Road from Marrakech to Penzance, part of social systems, The Exchange, Cornwall, UK.
Arabise Me, Madrid, Spain.
Tut’s Tearoom, 02 Centre, London, UK.

Arabise Me, at the Victoria&Albert Museum, London, UK.

Le Salon for Meltdown – Patti Smith at the Royal Festival Hall, London, UK.
Sounds Africa, Part of African year Installation, Starbucks in Camden, London, UK.
Fashion in Motion’, V&A, London, UK.
Salon Afrique, Royal Festival Hall, London, UK.
Le Salon, Africa Remix, Hayward Gallery, London, UK.

Interior design, Andy Wahloo Bar, one of Mourad Mazouz’s establishments in Paris, France.


Bike helmet, Japan Show, Apart Gallery, London, UK.

Paintings used in Ungaro Perfume Advertising Campaign and featuring in Corresponding.
Documentary on Paris–Mode TV fashion channel.


Jose James BlackMagic-Brownswood Recordings UK (Photo: Hassan Hajjaj / Artwork: Robi Walters)
Hindi Zahra, handmade –EMI-France / Oursoul records – (Photo: Hassan Hajjaj / Artwork: Marc Borgers)
Hindi Zahra, Beautifull Tango /single cover – EMI-France / Oursoul records – (Photo: Hassan Hajjaj / Artwork:
Marc Borgers)

One night at Momo’s: Kemia Bar, Most Records / Rasa Music (Photo: Hassan Hajjaj / Artwork: Melody Sere @

Painting used on Blur’s website to coincide with Think Tank album release, recorded in Morocco. EMI, UK.

Design concept/painting featuring on Pino Daniele Medina album cover, BMG, Italy.


‘Le Salon’, Institut Des Cultures d’ Islam, Paris, France
‘Nido Bouchra’, Wedge collection, Wedge curatorial projects, Toronto, Canada
‘Jama Fna Angel’s and ‘Saida Green’, Victoria and Albert Museum, London, UK
‘Ilham’, Kamel Lazaar Foundation, Tunisia
Virginia Museum of Fine Art, Richmond, Virginia, USA
Farjam Collection, Dubai, UAE
Barjeel Collection, Shrajah, UAE


Frame Magazine (frame 34) Arabian nights recycling, Paris, France.
French award ’Fooding 2003’ for the best restaurant design granted to Andy Wahloo Bar, Paris, France.


Contemporary Practices – UK – Oct. Volume VII, Cover & pg 158-165.
Zoom -special Issue on Portrait no 100, Autumn – pg 54-59.
Brownbook- Dubai – North Africa Rising, Jul- Cover & pg 40-41.
ZAM Africa Magazine – Netherlands – Kesh Angels – 3rd issue – cover & Pg 44 – 49.
Marrakesh MAG – Hassan Hajajj – Portfolio – May – 1st issue – cover & pg 50-61.
Art Quarterly – UK – The Magazine of the art Fund – Spring – cover & Pg 38 – 39.
Arise -Double Exposure – Apr – Issue 9 – pg108-113.

Sotheby’s -Contemporary Art including Arab and Iranian Art – London Oct.
Evening Standard – UK – V&A Donor’s £25,000 Prize for Islamic Art -26 Jan – pg 17.
Harper’s Bazaar – Dubai- Meet the Moroccan Warhol, -May – pg 147.
Bamako Encounters African Photography catalogue – Published by Acte-Sud – France.

Sotheby’s, Modern and Contemporary Arab and Iranian Art, London Oct 2008.
Ich & Kar’s Dairy, Momo’s, Paris, France.
Inside Out, Candid Camera, March – pg 106–109.
Modern Painters, Who’s the Noss? Dec 07 / Jan 08.
The National, Art Paris – Abu Dhabi, 17 Nov – Cover & pg 5.
ArtCo – Art Dubai – pg 140–147.
Art Investment – Hong Kong – Art Dubai, -pg 83–89.
Brownbook, Making Pop Art for the Middle East, November–December 2008, pg 32–33.
Alef, Technicolour Dreams, Winter 2007/2008, pg 58–69.
Canvas, Street Chic, July 2008, pg 148–155.
Modern Ethno Interiors -Published by Daab – Germany – pg 66 – 71.

Time Out Dubai, Half Life, 22 November, 2007, pg 63.
Canvas – Dubai -Oct – Pg 68.
Emirates Today -Hassan Links East and West with Art – 5th Dec.
Gulf News – Moroccan Mosaics -30 Nov – pg 17–19.
7 DAYS – Dubai – Proving Faux Can Be Fun – 27 Nov – pg 22.
Alef – Dubai – Maroc Moderne – Autumn – pg 172–82.
L’ officiel – Middle East – Dec – issue 33 – pg 116-118.
L’ officiel – Middle East / Homme – Nov – Issue 23 – pg18.
Brownbook- Dubai – Making Pop Art for the Middle East – Nov/ Dec – Pg 32-33.
Christies Auction – Dubai, International Modern and contemporary Art -1 Feb 2007 – 7370.
Casa Da Abitare – Italy – Feb – pg 122-129.
Marie Claire Maison –France- Oct – issue 416 – pg 160 -166.
Boutique – Moroccan Roll: the Beautiful world of Hassan Hajjaj (by Kathy Battista) – Jun/Jul – pg130-136.
Elle – France – The Studio, London – Apr – Issue 260.

New Bar and club design – by Bethan Ryder – Laurence King publishing ltd UK – p44-45.

Chill Out Space- by Ana G. Ganizares – Loft Publications – Spain – pg 56-61.

Fame 34 – UK- Sep/Oct – pg108-113.

Ivana Spinelli

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Ivana Spinelli was born in Ascoli Piceno in 1972. After having won the New York Prize in 2005, she moved to Berlin, where she currently lives and works. Selected recent group exhibitions: 2011 Ente Comunale di Consumo (Galleria Nazionale Palazzo Arnone, Cosenza); Global Fight club, (Meinblau, Berlin); Non tutto è in vendita, (Galleria OltreDimore, Bologna); and in 2010 Il Caos#2, (San Servolo, Venezia). In 2007 she presented her solo show Global Pin-Up Fetish Party at Museo Laboratorio Di Arte Contemporanea in Rome.


Degree, Academy of Fine Art, Macerata

University of Luton, United Kingdom, Erasmus bursary

Ursula Biemann workhsop, 1:1projects, Rome

Franko B workshop, ABA, Macerata


Global Pin-Up Fetish Party, MLAC, Roma

Global Pin-Up Bazar, Galleria Fuorizona artecontemporanea, Macerata

Global Sisters, Italian Accademy of Columbia University, New York

Chez Moi. Questo rosa è una messa in atto, Studio Mascarella, Bologna

Werttransport, WBM Gallery, Berlin

Ente Comunale di Consumo, Complesso del Vittoriano, Roma
Ente Comunale di Consumo, Galleria Nazionale Palazzo Arnone, Cosenza
Premiata Officina Trevana, Palazzo Lucarini Contemporary, Trevi
Global Fight Club, Meinblau, Berlin
Non tutto è in vendita, OltreDimore Gallery, Bologna

Ente Comunale di Consumo, Museo CIAC, Genazzano Rome
Il Caos#2, San Servolo Venezia
Natura Cultura, Santa Maria de’ Armenis, Matera
The Wall, FAC Room, Milano
F.A.M.venti6, Fondazione Merloni, Ancona
Marche Centro d’Arte, Galleria Franco Marconi, Cupra Marittima (AP)

The Sequel (part II), Cinque Garzoni, Venezia
Krise. Einübungen in den Ausnahmezustand, Villa Ichon, Brema
Clandestinità @ Privat Flat, Firenze
Das 2. Dragoner Regiment im Jahr 2009, Atelierhof Kreuzberg, Berlin
The Aesthetics of Terror/Embedded Art, Akademie der Künste, Berlin

Tutto in un giorno, Sala delle Colonne, Milano
Primavere del Bianco, Rabindranath Tagore Centre, Calcutta, India

Primavere del Bianco, Lalit Kala Academy, New Delhi, India
L’invenzione dell’arte, MAC, Marotta di Mondolfo (PU)
Mani d’artista, Galleria Fuorizona artecontemporanea, Macerata

Crosswork, Complesso di Santa Cristina, Bologna

Marche Campo Giovani, mostra itinerante

PEAM 2004, Museo Laboratorio, Città Sant Angelo (PE)

Pink&Bloody, Centro Luigi Di Sarro, Rome


GPU Sfilata Autunno/ Inverno 2006 – performance, Accademia di Belle Arti, Rome



Crescere con l’arte, with Erewhon association, Museum of Lissone-Milan

GPU Female Bag Narrativity – workshop, Casa della Donna,  Pisa

2008  Io sono un Brand – lecture, Università IUAV,  Treviso


Premio New York, Italian Academy of Columbia University, New York
Pagine Bianche d’autore/SEAT (Mention)


Spinelli Fronte grigio-bianco - Copia


January 20, Galleria OltreDimore opens in Piazza San Giovanni in Monte in Bologna the solo exhibition of Ivana Spinelli entitled Loverrs/Fuckerrs edited by Raffaele Gavarro.

After the project Global Pin-Up, a dummy meta-brand which proceeds between simulated representation and real production, through the employment of different medias (installation, drawing, video, dress-code, accessories), Ivana Spinelli’s imaginary is every time more fluid, soft, irrational.

The woman’s body is an excuse to speak about something else again. It becomes a pincushion in the social and politic dimension of personal relationship, even those that are filtered by the media. The artist’s approach is critical but not cold and remote, indeed deeply involved and surrounded by the images that are proposed by medias, revised as mental and emotional reflection of a visual impression, a simulation of subjective way of perceiving the world.

Starting from the Global Sisters’ project drawings, abstract figures of kamikaze women in alluring poses, Ivana Spinelli shows new visual suggestions: video and video-installations, a ceramic sculpture, images taken by internet, paintings, an emotive but not casual jumble that creates a kind of panopticon of impossible, where we can penetrate and recognize a course made of cultural and emotional references of all personal.

Through the artist’s words, “Loverrs/Fuckerrs is a little dipper theatre. A narration that doesn’t start from the beginning but maybe from the middle. Endurance competitions, fights, killings, without signs of pain, appears just to escape. Big and invisibles actions, stabbing smiles, impractical kisses. Break on through to the order side.”

AURS AL ARAB (OURS?) The Wedding Party!

Invito Al-prova FRONTE BUONA

27 gennaio 2012 h 18.00

27-30 gennaio 2012 h 18.00-24.00
MENOMALE – Via De’ Pepoli 1/a – Bologna

The title of the exhibition AURS AL ARAB (OURS?) The Wedding Party! is inspired by the installation of Sami Alkarim, a great Iraqi artist now living in the U.S.A. as a political refugee.
AURS AL ARAB is an international Arabic expression which means “The Wedding Party of the Arabs”. In a subtly ironic way, Alkarim refers this joyful expression to an installation: a map made out of a carpet, an immediate symbol and par excellance icon of the Arab world, which becomes sculpture and represents the idea people have of the Middle East.
At a first superficial glance however, the Middle East map turns out to be different. In fact, only at a deeper look one realizes that it is mirror-inverted. The East becomes the West and vice-versa.
The work embeds a video at its center, in which images of the Egyptian revolution are displayed. Two side videos showing puppet dolls indicate that the revolution is false or, according to someone, guided and directed by religious powers. That’s why the revolution becomes a feast!
For a verbal consonance, the English term “OURS?” was added to the Arabic title AURS AL ARAB, implying an immediate question referring to our wedding party or our Revolution.
The discussion with all the other artists lights up, becoming larger, given the events that are touching global economies and Italy itself. THE PARTY IS OVER!

curated by Gaia Serena Simionati




The Gallery OltreDimore has changed skin. On 22th October 2011 at 5pm opened the new space which literally “go through” a seventeenth-century building in the heart of Bologna. Two entrances, the first in Via Farini 33 and the other  in Piazza San Giovanni in Monte 7, for the 400 square meters on two floors which the contemporary art gallery shares with the well-known interior design shop Dimore. Two souls, for a unique sensory trail that will guide the visitor from the propositions of design to creative ideas for the lifestyle and art , fashion and architecture catalogs to the site-specific installations and works of art displayed inside the gallery, and conversely.


OltreDimore’s season opens  presenting  the large format photographies of Roberto Kusterle(Gorizia,1948), who  presents  – incollaboration with mc2gallery- his Mutabiles Nymphae,  twelve women possessing an enigmatic, ambiguous, imperfect sensuality. Twelve portraits that show the metamorphosis between human and animal,natural and artificial worlds. If, in greek mythology, nymphs were equipped with powers or supernatural abilities, conversely in Kusterle’s photos everything is incredibly realistic: the artist, without digital manipulation , creates mise en scène (handmade photographic sets).

If is true that fashion is eccentric and mutable, it’s not strange that fin de siècle style clothes are enriched by organic living accessories and jewelry, that protect marine life’s  texture and sparkling. Crab claws as tiaras for  twenties hairstyles, fins and tentacles as extensions of the bodies restrained in victorian corsets.Octopus and little fishes could flick on retro draperies if they weren’t stuck in a black and white photography.

Morphing: mutable and multiple identity is the principal concept, it reflects itself on Dimore and OltreDimore philosophy for a dynamic contact between design and art.


invito eletronico

Friday, November 25, OltreDimore gallery presents the nocturnal, dreamy and intimate Beirut of Giulio Rimondi, who explore the metropolis where, after long wanderings around the world, he decided to live. Lebanese night reveals itself as sensual, quiet – melancholy sometimes – through reportage photographs permeated by an emotional filter focused on the human dimension of solitude.

Rimondi considers photography as an alibi to dive onto the lives of the others, trying to capture characters and senes of a Mediterranean culture in which he strongly partecipates. To represent this imaginary, he choose the form of the nocturne when, at twilight, the boundaries of the landscape dissolve in a different, liquid vision.

The project –here presented in Italy for the first time- has been exibited ( and will keep on beeing so) in public spaces and art galleries between Beirut, Paris and New York, and has been published as a volume by Charta (2011). Black and white pictures are accompained by the verses  of the lebanese poet and director Christian Ghazi, with whom Rimondi collaborated intensely before we lose all traces of him. This bond between word and image gives life to a new form of poetical caption, or – as Ferdinando Scianna says on the preface of the volume- to the uncommon genre of visual litterature.

Marcello Carrà

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Marcello Carrà was born in Bondeno (Ferrara) in 1976. After following a course of purely scientific studies, he graduated in Civil Engineering in 2003.
Parallel to his studies, in self-taught, he developed the passion for art, and especially for figurative painting, starting in 1998 with works in a metaphysical/ surrealistic style.
Since 2000, he has extended his production in a more personal style: using different techniques (acrylic, pastel, etching), but with a preference for oil on canvas and creating works characterized by an irreverent humor and sometimes by a subtle cynicism. On this line and with a particular interest in the concept of fragility, and from 2008 he dedicated himself to drawing with the pen, creating a cycle of works on large-sized paper on the topic of insects, of their ephemeral existence, and at the same time fascinating.

In 2005 he was finalist for the Prize “Arte Giorgio Mondadori”.
In 2008, he explores the ancient passion for insects.
He has exhibited in 2009 at the MLB Maria Livia Brunelli home gallery, the Museum of Natural History and the Museum Casa Ludovico Ariosto in Ferrara.


Nino Bandiera

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Nino Bandiera, from Bologna, has been a fashion and sport photographer since the 70s. In 1972 he created the Flag study and, between the 70s and the end of the 90s, several photos taken by him appeared on Il Guerin Sportivo, Resto del Carlino, Vogue, Vanity Fair, L’Illustrazione dello Sport, Max, Epoca, L’Hebdo, Il Fotografo, La Gazzetta dello Sport. Besides photography, more a passion than a job, he has always dealt with the different forms of visual communication. Art photography has always been for Bandiera a way of treating everyday life and actuality thematic. From the 70s up to today he has exposed in several collective and solo exhibitions, in Italy and abroad.


Victoria Perzan – The secret life…


Victoria Perzan was born in Gorizia, from a Slav mother and an Italian father, from Milan.
Young and unconscious of her beauty, she ran to Bologna, where she lived for many years, travelling all over the world. Today she works in London. She lives by the seacoast between Trieste and Slovenia, a place she deeply loves. During her life she has often changed name as job.
She passed from more serious professions to more innovative and modern activities – she has been a model and an actress, a mother, a friend and a lover, a decorator and a psychologist, initiator and magician…
… A woman of great taste and instinctively inclined to beauty, deeply aesthete, always searching for luxury as the unique source of her existence. An escape route from her past.
She discovered her passion for photography when she bought an old “Nikon” at a benefit auction. Before turning to hardcore photography, she took photos of Italy, the real Country seen by the eyes of a traveller; from Sicilian markets to the cinema and theatre actors…
I have met Victoria in another life and many springs have pasted since than. We have shared many things, loves, sadness, passions and exiting situations, we have had fun together by taking advantage of men’s luxury and by playing with the power of our beauty on them.

(Eva Robin’s)


Gabriele Lamberti

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Born in Bologna, 24 March 1957.

He graduated in Philosophy (Aesthetics) at the University of Bologna.

He got a Diploma in Painting at the Academy of Fine Arts in Bologna, and begins to exhibit on a national level since 1986. He participated in various group shows in Italy and some abroad, as well as in Milan and Bologna, he exhibited in Turin, Trieste and Alessandria. Some of his works are in private and public collections (Bergamo GAM). The artist has developed a research related to the public imagination, especially close to the world of childhood, seen with humor and always filtered by a thin streak of cruelty and wonder. His technique is to paint on canvas, but the painting is “only” the final outcome of a work that starts from the preparation of small sets consisting of dolls, ceramic or other trinkets of a low rank, which are then photographed and redact digitally to obtain the image from which Lamberti then takes the final result.

Lamberti lives and works in Bologna.





Flowers’ soups, bad dreams, H2O Art Space, Bologna, Italy

Bo-héme 2010, H2O art space, Bologna, Italy

Bad Dreams. Bad dreams soup, Galleria Paolo Tonin, Torino, Italy

Good night! Bad dreams, OltreDimore, Bologna, Italy

Ordinary Catastrophs, Studio Ercolani, Bologna, Italy
Toys Stories, Zanarini, Bologna, Italy

Sweet-and-sour productions, (insieme a Gianni Cella) Galleria Maria Cilena, Milano, Italy
In Pan’s dream, Studio Vigato, Alessandria, Italy

• Spring-Hearts
, Galleria Paolo Tonin Arte Contemporanea, Turin, Italy


Galleria Paolo Tonin Arte Contemporanea, Turin, Italy

• Trivial Speel
, Galleria Ruggerini & Zonca, Milan, Italy

• The Theatre of Memory,
Galleria Ruggerini & Zonca, Milan, Italy

Studio Carbone, Turin, Italy

• Lamberti and Renzini
, Studio Corrado Levi, Milan, Italy
• Lamberti and Renzini
, Studio Cristofori, Bologna, Italy

• Fabulae Fictae
, Azzurra show-room, Bologna, Italy





Another story. Italian art from the 80ies to the years zero (curator: Edoardo Di Mauro), Ex Church of San Carporforo, Milan
• 1000+1000+1000, project of Philippe Daverio, Palazzo Fava, Bologna, Italy

PLEASE ME FASHION. Fluctiation between art and fashion, Palazzo Ducale di Sabbioneta, Italy

ArTò Rom, stand of OltreDimore, Italy
Maria Cilena turns twenty years) of gallery! Studio Maria Cilena, Milan, Italy
Fashion Tech at Milan. The restored bicycles + art bar, Milano, Italy
Costoli, Conserva, Lamberti, Geppetti, Oltre Dimore, Bologna, Italy
Happy Christmas, Shopping Mall “al Battente”, Ascoli Piceno, Italy

Salver of art and artist’s recipes, Magi 900, Pieve di Cento, Bologna, Italy
Artist’s egg, Museo d’arte contemporanea Ca’ La Ghironda, Zola Predona, Bologna, Italy
• Biblioteca Borges, Casalecchio di Reno (Bologna), Italy
4 artists x 4 works (Benuzzi, Lamberti, Mastrangelo, Mazzzoni), ArtForum Arte Contemporanea, Bologna, Italy

13×17, curated by Philippe Daverio, Oratorio di Santa Cristina, Bologna, Studio Mic, Roma, Italy
• Evento collaterale alla LII Biennale di Venezia, Italy
Art Cover, curated by  Valerio Deho, Rocca di Bazzano, Bologna, Italy
‘900, ArtForum Arte Contemporanea, Bologna, Italy
Art & Design, La Collezione, curated by Laura Villani, Arte Padova, Padova Fair, Italy
The moral of a story, Casa Delfino, Cuneo, Italy

BonOmnia, curated by Philippe Daverio, Palazzo Fava, Bologna, Bologna
three of three, ’05 Associazione Culturale, Santa Croce sull’Arno (PI), Italy
Vespa – Italian Art, curated by Valerio Dehò, Chiesa e Chiostro di Sant’Agostino, Pietrasanta (Lucca), Italien

Interstate 60: games, dreams and conflicts, curated by Valerio Dehò, Galleria Mares, Pavia, Italy
Contemporary Bologna, Galleria d’arte moderna, Bologna, Italy
• The artist on the way to the gods
, Biblioteca Mario Marri, Monzuno, Bologna, Italy

The garden of the mistakables, curated by Maria Cilena, Galleria Peccolo, Livorno, Italy

Housework, curated by Valerio Dehò, Casa Bonomi, Varese, Italy
Forever young, curated by Valerio Dehò, Studio G7, Bologna, Italy
Magic lamp, video installation, Paggeria del Palazzo Ducale, Sassuolo, Modena, Italy

• Una babele postmoderna – Realtà e allegoria nell’arte italiana degli anni ’90
, Edoardo Di Mauro curator, Palazzo Pigorini, Parma, Italy
• The ritual of coffee,
Crestanello Gran Caffè Italiano, New York, USA

Figure del ‘900 – 2. Oltre l’Accademia, Accademia di Belle Arti, Bologna, Italy

Ironic, Flash Art Museum, Trevi, Perugia, Italy
The Castle of Wonders, V. Dehò curator, itinerant exhibition, Bologna and environs, Italy

Mitomoto. Artists and the Motorbike, Chiostri di San Domenico, Reggio Emilia, Italy
Marche Prize, Mole vanvitelliana, Ancona, Italy

• ‘Và Pensiero’. Italian Art, 1984-1996
, Edoardo Di Mauro curator, Promotrice delle Belle Arti, Turin, Italy

•  Triennal of Bologna. Lines of Artistic Research in Italy 1965-1995, Roberto Pasini curator, Villa delle Rose, Bologna, Italy

Representative Art, Galleria d’Arte Moderna di Bologna, Italy
Origins, Triennal of Milan, Milan, Italy

Medial Painting, Galleria Ruggerini & Zonca, Milan, Italy
Medialism, Flash Art Museum, Trevi, Perugia, Italy

Ottovolante, Galery of Modern and Conteporary Art, Bergamo, Italy
Medialisms, Villa d’Este, Tivoli, Roma, Italy
Images of Painting, Maria Luisa Frisa curator, Studio Cannaviello, Milan, Italy

Unexpected event, Castello di Volpaia, Radda in Chianti, Siena, Italy

New Bolognese Factory, Gallery of Modern Art, Bologna, Italy

Hommage to the Square II, Flaxman Gallery, London, UK
•  Italy 90. Hypothesis Young Art, La Fabbrica del Vapore, Milan, Italy





Vittoria Coen, catalogue of the exhibition I quaderni di San Sebastiano, Oratorio di San Sebastiano, Forlì, September-October 1988.

Vittoria Coen, Flash Art n°168 October-November 1990.

Roberto Daolio, catalogue of the exhibition Fabulae Fictae, Azzurra Show-room, Bologna, February 1988.

Roberto Daolio , Flash Art n°173 March 1993.

Gabriele Perretta, Flash Art International June-July 1991.

Gabriele Perretta, catalogue of the exhibition Pittura Mediale, Galleria Ruggerini & Zonca, Milano, March 1993.

Gabriele Perretta, volume Medialismo, Ed.Politi, Borgo Trevi, Perugia, June 1993.

Stefano Benni, catalogue of the exhibition Imprevisto, Castello di Volpaia, Radda in Chianti, Siena, September 1991.

Maria Luisa Frisa, catalogue of the exhibition Ottovolante, Galleria d’Arte Moderna e Contemporanea di Bergamo, 1992.

Maria Luisa Frisa, catalogue of the exhibition Incanto banale, Galleria Ruggerini & Zonca, Milano, May 1996.

Edoardo Di Mauro, catalogue of the exhibition Và pensiero, Arte Italiana 1984-1996, Promotrice delle Belle Arti, Torino, May 1997.

Edoardo Di Mauro, catalogue of the exhibition Simbolica, Doks Dora, May 1998.

Roberto Pasini, catalogue of the exhibition La Triennale di Bologna. Linee della ricerca artistica in Italia, 1965-1995, Villa delle Rose, Bologna, November 1997.

Valerio Dehò, Juliet, June-July 1999.

Valerio Dehò, catalogue Mitomoto. Artists and the motorbike. Chiostri di San Domenico, Reggio Emila, July 1999.

















Press release

Marcello Geppetti, born in 1933 in Rieti, starts in very young age to develop his passion for images and to work out his personal point of view about events, being valued not only for the quality of his photographs but also for his talent for photo chronicles.

He takes his first steps in the agency Giuliani & Rocca, moving then to work for Meldolesi-Canestrelli-Bozzer, one of the most important agencies of the ’50s and ’60s.

After that, he starts his free lance career, giving way to a co-operation with “Momento Sera” which will last for ten years. Being only twenty, Geppetti finds himself writing the new story of photography, dotted with “stars”, “divas” and with all the glamour that portrayed that era. This is the beginning of action photography.

The period of the Dolce Vita is the most profitable for the photographer’s activity. Roma turns out to be an open pit set: international stars walk along its roads, and Geppetti takes pictures that will represent and era, like for example the kiss revealing Liz Taylor betraying Eddie Fischer. Geppetti becomes very soon the forerunner of modern paparazzi, portraying all the most famous stars of that period.

His works hold a strong documentary value, and his name goes round the world: his pictures appear on Time magazine, Life, Vogue, Donna Karan and in important gallery expositions.

On February 27, 1998 he takes his last pic, bequeathing an immense gallery of more than one million pictures (ranging in every field of journalism), most of which unpublished, narrating with artistic strokes a very long period of our life and our history.

Among his favourite subjects, B.B. Two unmistakable initials, leaving no room for identity misunderstandings. Two letters straightaway meaning only Her: the divine Brigitte Bardot, who obtained her international consecration with the movie “Et Dieu… créa la femme”(1956); shot in a fishermen’s village unknown at that time…

The exhibition shows pictures from his personal record, portraying all the big names that characterized that era and were the icons of our times.



Invito elettronico Tutu

Press release

Dimore is pleased to present its first event dedicated to art: Ewa Bathelier’s exhibition in the space Oltre Dimore in 6 Urbana street in Bologna, from Saturday 29 November to December 12 of 2008.

Since over 12 years, the shop Dimore, realized by the architect Savin Couelle (famous for having built same mansions on Smeralda Coast in Sardegna), has distinguished itself in the urban context by innovation and creativity, working with the most prestigious European companies and designing furniture made by master crafts.

Moreover, Dimore offers targeted choice of fabrics selected for demanding and sophisticated customers, while the unique items is the result of a careful search around the world.

This year the creator of Dimore, Antonella Atti, all along careful in submitting news and updates in the field of inhabiting, with design, art and craft proposals, is turning her attention to cultural and artistic projects, reaching in this way a prominent position in Italian furnishings.

Wanting to establish a new type of communication with the public, she gave life to the Oltre Dimore project, a meeting point with art and where it is possible to propose objects with a strong aesthetic appeal.

Being a sophisticated atelier, this space conveys in itself all the boutique, art gallery and exibiton space characteristics. The goal is the creation and promotion of exhibitions and artistic performances, based on the free exchange of different experimental forms.

The first event of Oltre Dimore is Ewa Bathelier’s exhibition. Born in Varsavia, Ewa starts her artistic activity in France during the early 90s. her works of art are exhibited in galleries and collections around the world: Paris, Strasburg, Houston, New York, Los Angeles and in prestigious public places, as the Opera, the Citè de la Musique and the Danse in Strasburg. Her favourite subjects are dresses and ballet tutu, evocating ethereal female bodies, with airy and large but empty form; being the absence of bodies a way of strengthening the will to bring them to life. Texture and colours of these paintings transmit the sense of elegance, sublimed by a fine minimalism.




Review | Interview

Press release

The 16 exhibited images, selected among the 54 that compose the original cycle, constitute an evocative path through the image of Maria, leading sorrow and passion icon, as a celebration of womanhood in the more archaic and original sense of generator and bringer of live.

Vecchirelli’s works open a spiritual reflection on the woman’s essence, combining an ancient wisdom and fall into oblivion with a prospective without any doubt revolutionary: the original sense of womanhood is pose again in the image of the Mater, as a synonymous of generosity, love, beauty and also strength, braveness and determination, and is suggested by the artist as a new model for woman’s “revival” in contemporary society. The image of Maria, embodied in his works by Maria Buccellati, his inspiring muse, is revised by the artist through a game of constant and crossed references to paintings of sacred art as to portraits of queens of different origins and ages. In fact, Vecchiarelli in his works combines fragments of different cultures and spiritualities, with the aim at transmitting a universal image of the ideal woman, the mater one, at the same time strong and warrior, maternal and concrete, being able to take care of herself and of the others with the same intensity and passion.

The complex set of shoots, personally ideated and realized by Vecchiarelli and his collaborators, gives a majestic impression to the female figure. All the composing elements, from the architecture to the make-up, from the hair to the dresses, are the result of a thorough and detailed research, recalling photographic icons seen in the museum and maharajahs’ royal palaces visited during his many trips between east and west.

The work exhibited is the result of a seven year long research and an itinerary that is at the same time spiritual, nearly ascetic, with the will of celebrating the woman carrying a message of salvation in the contemporary world, and physical. In fact, all the images come from the artist’s many movements around the world, the places visited and the people met, that have deeply signed his personal and artistic growth. The work of art, conceived and realized as a stratification of signs, images, colours and smells, on one side keep their singularity, each one recalling different cultures and ages, and on the other side melt each one into the others, giving us unexpected but full of an aesthetical universal value settings.

MATER can therefore be thought and lived as a trip into the inner world of Leonardo Vecchiarelli, an aesthete that uses photography as a vehicle of spiritual message, far away from fundamentalist scruples and catechizing needs.



IO SO CHI SONO. Il massimo di Vittoria – NINO BANDIERA



Press release

18 photos sized 50 x 50 – including three large size photos – follow one another as in a black and white movie interspersed by flashes of colours and of extraordinary lights, giving life to an unforgettable experience; an exposition playing on the glamour of ambiguity and lust, through the reproduction between 1988 and 1989 of faultless films and today restored with the latest contemporary techniques, offering in this way a particular artistic effect.

Nino’s secret, kept hidden in a drawer for 30 years, is now been revealed publicly. Only one subject: Victoria, an elegant androgen model shown in sexy and winking poses, with strong challenge as also great aesthetic taste and exceptional poetry. Images realized in a unique and unrepeatable historic moment, the 80s. The spectator can recognize in this really unique exposition several cues from fashion, design and comic strips, just by “lending an ear” to each exposed work. The 80s, with their transgressions, excesses, ambiguities and fears, suddenly return to the heart of who has lived those years; an exciting blast from the past that only  Oltre Dimore could offer us.


But, who is Victoria? Is she simply a women or does she hide something more? A mysterious character that, through Nino Bandiera’s refined photos, shows us her naked body, as if made of china, and, in the last photo, she suggests us her precious secret…

Io so chi sono (meaning “I know who I am”): Victoria looks at us and speaks to us from within the photos, offering us the possibility of a real cathartic mantra, that can be found in a video production or in the paced succession of images from the precious file containing all the exposed photos, printed in a limited edition and signed by the author.

curated by Simona Pinelli




Press release

Nat Wilms is an experimental artist who uses different expressive languages, as sculpture, photography and video, and is able to integrate them within articulated works. Her creations are the result of raw material handling – wood, resin, bronze, copper, feathers, paper – as of photographic images or videos, elaborated through different types of editing. The artist enters the world with a social and anthropological approach, putting the experiences of her own life in relation with the common ones. This is maybe why in front of her works we feel we have to discover the history behind, know better the subject of her research, her protagonist. Sculpture and video-photographic documentary become, together, the opportunity for a narration able to lead thought to associations and memories, even personal ones, blending one with the other.

The exhibition presents three different sections in which the main theme is the artist’s culture, her visual and intellectual background, suggested by using images that do not bring directly back to her past life but reconstruct a full of suggestion imagery: from the 80s up to today, starting from East Germany, passing through Russian theatre and arriving at Italian art.

Therefore, the point of departure is the city of Halle, near Lipsia, where Nat Wilms was born and where, thanks to her mother who worked as a translator of German and Russian for the citizen theatre, she got in touch with the world of entertainment and ballet. Her special sensibility has allowed her to memorize colours, places, atmospheres of these passages and than reorganize and re-edit the lived scenes in new images. This is how “off-scene.on”, “backstage glamour”, “in-between me” were born.


“off-scene.on”: it pictures the interior of Walhalla Varietè, today Steintor Varietè, Halle/Saale’s theatre, with architectural structure and furnishing recalling German rationalist rigor linked to Bauhaus. The shots capture apparently insignificant details, as handles, chairs, posters, corridors, lights. Everything is “silent” and it emerges as if it has been left suspended in time. The artist does not want to simply show us the theatre’s spaces, as in reportage, but she carefully selects the shots and places side by side those taken in the same place, creating an “environment” putting all  together the images. The effect is that of a sentimental cataloguing, where the focused details fade into the environment, giving the effect of an abstract as pictorial image.

“backstage glamour”: it consists in four light-boxes and a video. The light-boxes are photographic triptychs coming from the video shoots of “Arabesk”, the 2006 biennial ballet and modern dance competition – carried out in the Russian city of Perm, where Nat Wilms’ family comes from. These photos show three images seen from the backstage of the empty stalls and of the dancers during the rehearsals, comparing moments and places that announce the final dance performance. The video “Seven minutes”, instead, is an extremely dynamic and harmonious editing, regarding the most significant moments of a dancing competition between some of the best and younger international ballet dancers, conscious about the importance of this competition for their carrier. The grace and the strength of dancing emerge in each of the artist’s choices: filmmaking’s point of view, bright and definite colours, editing rhythm and, concerning the video, the choice of the backing track, by Florent Constantin, French rock music composer, produced just for this occasion.

“in-between me : it is the most recent project within this exhibition and its arrival. After having investigated the places of performance, Nat Wilms, finally, stages herself, picturing herself in photo shots in which she is not always recognizable. But everything changes. In this work, the eye no more goes through the images of her childhood memories (as for “off-scene.on”) nor is captured by the ballet’s hypnotic magic (as for “backstage glamour”), but it finds itself into a dreamlike dimension, where it can come out of itself and look at itself from the outside within an unreal and together possible scenery, as only in dreams. The artist has created aluminium sculpture-objects, a boat and a satellite, which she plays with during the performance and than immortalizes in a photo. It is a magical, simply mental, trip, that can transport the viewer from one dimension to the other, from the sculpture-object to the desired location. It makes no difference if the trip starts from the tin boat-bathtub or from a sparkling satellite; here the power of fantasy controls the mind, the dream of a child becomes real in her imagination, so to go over the material obstacles and arrive to happiness. It is a magical, simply mental, trip, that can transport the viewer from one dimension to the other, from the sculpture-object to the desired location. It makes no difference if the trip starts from the tin boat-bathtub or from a sparkling satellite; here the power of fantasy controls the mind, the dream of a child becomes real in her imagination, so to go over the material obstacles and arrive to happiness.

ATTO ZERO is Nat Wilm’s rehearsal, the representation of the trip that led her here.

curated by Elisa Schavina

Vieni a vedere la mia collezione di farfalle? – MARCELLO CARRA’



Press release

The Oltre Dimore Gallery of Bologna will be transformed, from the 10th of December 2010 to the 8th of January 2011, in a cabinet de curiosités by the refined drawings of Marcello Carrà who, with the watchful eye of an entomologist and the precision of a miniaturist, will give life to a suggestive microcosm of insects – ants, grasshoppers, rhino beetles and gigantic weevils – drawn freehand using only a Bic pen. Amazing the dimensions of these drawings, that can be even four meters long.

The exhibition, provocatively called “Vieni a vedere la mia collezione di farfalle?”, organized by Maria Livia Brunelli, presents five works of art on large format paper and a new series on small format of the young artist from Ferrara – he is among the artist selected by Vittorio Sgarbi forthe Venice Biennial 2011, and next year will also be in exhibition at Arte Fiera and in New York – who has since two years been drawing only insects and only with a ballpoint pen. His attention towards these creatures started in his childhood and has developed into a reflection on the fragility of insects, that, magnified, reveal an extremely complex and fascinating aesthetic.

As the curator Maria Livia Brunelli underlines, “the amazing thing of these drawings is the dimensions, they can even be several meters long. In this way, the viewer is put in front of insects even as big as human beings. It is really impressive how superbly he draws, evoking the memory of Durer and Pisanello’s miniature precision. Carrà, as them, realizes each work freehand; he starts from a small photo often downloaded from internet, and draws it only using the squares on the paper. That is, he divides the photo of the insect in squares; this geometric line grid is scaled on the drawing paper and is used by the artist as a model for the enlarged image”.

Even the use of an apparently banal ballpoint pen is full of meaning. From when it was invented, in the 40s, the Bic pen has found several admirers among artists: within the Avant-guarde we can mention Arabic of Aldo Mondino, a circular wrought-iron chandelier decorated with the Bic pen instead of crystal pendants; the gigantic iper-realistic portraits of Juan Francisco Casas, realized only with the rollerball pen; and the drawings of the visionary theatre actor and director Jean Fabre, who shares with Carrà the passion for insects, being the grand-son of the famous entomologist Jean-Henri Fabre. Even Fabre, as Carrà, thinks that insects “have a lot to teach us”, so that on the stage insects go over the body of his actors, and his iridescent sculptures, obtained weaving hundreds of battles, now decorate the ceiling of the mirror hall of the Royal Palace in Bruxelles.

Transformed in monuments and transfigured as icons in front of which you must stop and think, each one of us carrying personal data and death causes, the insects are in this way for ones recognized in their uniqueness. The exhibition, therefore, is meant to homage these creatures and at the same to be a reminder of human fragility. Fragility that regards all the creatures, animals and humans without any distinction: just think how they both often loose life in the most absurd ways.




works against but mainly pro in an Italy just after the years zero but not yet at zero in spite of everything in a space where you can pass by, look at, drink, listen, speak, perhaps understand, certainly participate and good luck because we all need it also those that feel themselves and are far away and who think that roofs are only full of aerials while there is already more than someone who cries loud and clear that not everything is on sale and not everything is purchasable

Group Exhibition curated by Raffaele Gavarro



Marco Bonafè

Alessandro Brighetti

Gea Casolaro

Raffaella Crispino

Sandro Mele

Piero Mottola


Alice Schivardi

Ivana Spinelli

Giuseppe Stampone


Nat Wilms


Invito elettronico


“Scopa/Mi” (Sweep/Me as also Fuck/Me)


You must penetrate!

Sink, deeper and deeper, into the protruding, sharp but delicate numerous fibres of an abnormal womb.

Penetrating you break any particle.

Each fibre bounds, suffers and bears as much as it can, yielding, at the end, under the weight of the body.

Copulation is mandatory.

We are encouraged not so much by the title of the work, more assonant than tautological, as by the fact that the entire gallery is eaten up by this magma, which we rip up and in which we sink into. The soft beats of the mass, spread in front of us, opens to us her womb, researching a mutual pleasure, born from carnal union.

The artist, therefore, gives us a sensual and sensible matter to run across, in order to let us try a feeling of instability and to enter in contact with the artistic object. It has to do with a direct experience of the work of art, in which we are no more viewers, no more external agents able to shape it, but we become an integral part of it.

The clue moment is the union of the two bodies, the laceration of the inorganic fibre surface.

Only than we realize that the matter we are exploring is not organic and that the vibrations are not vital, but synthetic. They are just some blunt brooms! Endless strings of black plastic joined together. Therefore, we have been induced to deflower to understand, to discover that the matter with which we are joining is inorganic. All Francesca Pasquali’s art is in that feeling given from this meeting.

The inner of natural material and every element of it, cell, fibre, become extra-organic bodies that need to be investigated. The inorganic materials, the cold ones, the hard ones and the dead ones, hide their real nature assuming the role of alive, beating and soft organisms.

This blend of organic forms and synthetic materials gives life to the experimental form of “bio- morphism”, characterizing Francesca Pasquali’s art. But in truth, the natural fact is only an occasion for research of a new fabric, which becomes the principal artistic tool in the discovery of a new morphology and, way not, biology of life. This texture is the organic cultivation of the primordial sea, from which Francesca Pasquali’s creatures are generated. Only through the physical contact with these creations it is possible to notice that we are dealing with the softness not of an organism, but of polymers, gum and nylon.

The art of Pasquali is all in the de-contextualization of industrial material, in its fragmentation and reconstruction in phyto/biomorphic units. An approach to life that starts from a careful reflection on the state of nature’s organization. An analytic but not rigorous way of thinking, which is free to investigate the space-form-matter relation out of any cultural canon. Structures, sorry!, creatures arise, given to fantasy, to sensorial, perceptive and tactile stimulus, with all their being different, indefinable.

And all this happens under the constant testing of the most different industrial materials and the definition of their use according to their physical characteristics – flexibility, elasticity, transparency, etc. – in order to obtain nothing else but “spirit”.

Artist, viewer, environment and artistic object are the vital “organs” of  the individuated and studied organisms of the “industrial biology” characterizing the Totalkunstwerk in which Francesca Pasquali drops us.

After all, the vegetable physiology of Costructivism and the biotechnology of Poverism are only the subconscious memories of a modern world saturated by the already been, already experimented, already lived, that return to dissect their biogenesis.

curated by Denitza Nedkova




Press release

Starting with some questions and reflections on human been and its nature, Alessandro Brighetti has been curious and has desired to discover what is beyond human sight, he has meant to “capture”, in his one way, and lay bare the soul of a series of human typologies, and he has done it through an unusual technique, x-rays – normally used within medicine – therefore applying scientific tools to art.

In this way he can switch from the study of the submissive to the bipolar, from the shy to the climber without any moral scruple, from the depressed to the enlightened. Brighetti investigates typologies of contemporary personalities, deformed by the western society’s moral and cultural drift. However, no catastrophe can be found in his scanning of these characters: possibility of redemption and faith in humankind flourish when investigating other individuals, immune to society’s pathologies.

Joining art to science, painting to fine technology, this artist from Bologna aims at inviting the spectator to “self-knowledge”, to reflection on who he really is becoming in a society that steals our time, emotions and thoughts, and this aim is achieved by leading the spectator to dig his inner world and so reach his own soul.

The exhibition presents 13 works of art – x-ray photographic prints, sculptures realized from the assembly of organic and inorganic materials (the single personalities), then backlit in order to better capture and represent the elusiveness of soul, and an impressive installation, made of two big oracle-windows at the gallery entrance, symbolizing the beginning of each ones individual trip. Therefore, this is an emotional and physical experience, if considering that a trip in the inner of yourself is possible if you intellectually and physically question yourself, even through digital contact with several symbolic elements. Entering into the gallery, therefore, the viewer will feel as if entering into an x-ray department, where impossible x-rays are exposed, where x-rays capture soul giving it a shape.

The choice of this unusual technique, which brought him to work closely with radiographers and try to empathize with them and to be in their shoes, is due to his familiarity with medicine. In fact, Alessandro Bringhetti was born into a family of doctors and, therefore, has been used to deal with histology and biology since he was a child: I was greatly fascinated by the microscopic world – he says – I remember all the fantasies and lucubration on the possibility to observe what the human eye can not see, because of physiological limits…”. And this curiosity has become reality, through his works of art, in exhibition at Oltre Dimore gallery until the 16th of October 2010.

So, while the newspaper go on talking about “body-scanner”, airport and station machines that can take photos of our body with impunity, Brighetti is going to lay us bare with his “soul-scanner”, a scanner that scans our soul, hoping with this to help us to better contact our deeper inner world.

curated by Maria Livia Brunelli


Amici di Infanzia



Critic self interview of two editors discovering
By Elisa Schiavina and Simona Pinelli


April 2, 2010 – PetriPaselli bring Elisa and Simona to visit their childhood houses – in Vergato, Bologna district – a fundamental step in order to fully understand their work and their poetics, awaiting for the exhibition Amici d’Infanzia, edited by them both for the gallery OltreDimore of Bologna.

Amici d’Infanzia is a particular exhibition: it shows a series of photographic works immortalizing the toys the two artists have collected during all their life. During the outward voyage they told the editors about the project: it was idealized in 2007, after four years of researches and experimentations and, within the same year, it won the Iceberg Price.

But the two editors want to know more about it…they want to discover its “backstage”. Because Amici d’Infanzia seams a real cataloguing, which by typologies summarizes the fantastic imagery, full of tangible suggestions, in which PetriPaselli grew up.

When just arrived, PetriPaselli take the two editors for a guided tour. The two houses are close one to the other, just a fence separates the two gardens. Once in, Elisa and Simona literally face the same concept of “childhood friends”: those inseparable toys that seam so real as a child, fondness lively objects, from which it is difficult to turn away. The houses are hoarded and full off apparently simple toys, but that immediately, at a first look, are revealed as members of a community: dolls, puppets, plastic animals, toy soldiers, tin toys, gum insects…is it possible to recognize your own toys among those catalogued in PetriPaselli’s works?


E.S.: I have found one, among the dolls there is an uncombed Cicciobello that could have been mine. And some of the soldiers belonged to my brother’s platoon. It is a strange sensation. A mixture between nostalgic recognition and abyssal distance. Does it seam to me or do you also feel as if in front of a photographic album of old school friends to whom, instinctively, you can give a name even after several years?

S.P.: Yes! It really is a strange experience being in front of PetriPaselli’s works.  It is as entering in a Stargate, the space-time door that brings to different times and worlds. In fact, each work of PetriPaselli is a bit a Stargate in which you measure yourself with the distance from your game time – if you have ever had one – as from your way of playing.  But, I have to say that more than photos of old school friends it seams to me as a choice of two identities that have related out of all interpersonal systems – school, family, etc.- creating their own and unique personal relation. What do you thing about them being two different persons that have found a perfect meeting point in their works?

E.S.: I think it is not only a matter of meeting point in the work of art. I’ll try and better explain myself. Many artists collaborate and create works in two or more. In PetriPaselli what surprises me is the glimpsing, throughout their work, of a pre-existent symbiosis. It is as if the coincidence of their imagery pushed them to act together, becoming, in the work, and only there, a unique identity. As if they have always shared an emotional aspect that brings them to the same choices. The same thing happens to twins, they say. But the curious thing, more than the attraction to toys or objects linked to childhood – that can be found even in other artists – is the need of an order or division by typology or topic. I think the meeting point you mentioned before is actually the emotional orientation – in keeping, in not throwing away, in cataloguing – which precede and forestalls the same work. What do you think about this kind of collecting?

S.P. This concept of an emotional aspect orientating them towards the same choices within a unique collecting is very interesting… but in fact, have you noticed how involving they are while speaking about their work? And how involving is their same work?  I’d rather call this ability in transmitting such a passion “emotional symbiosis”, what do you think about this?

Anyway, coming to your question, obviously the re-ordering and cataloguing work is the central aspect of PetriPaselli’s  poetics. I think this work moves on two levels playing on the stratification of the two different memories of the two artists: the family line of Petri and that one of Paselli. They both come from environments where collecting, accumulating (even piling up) is something not only normal and natural, but has always been part of their everyday life. So, how can it be possible to not bring all this along with them in the following moments of their life? And than comes the other level, the collection typology. Petri has in her, I dare say, a more compulsive modality: if she likes something, she will research it a thousand times, in thousand typologies, as to always renew the first time she saw that object and like it. And there come the dolls, dozens of them, and the souvenirs and the small rocking horses and whistles, coffee grinders, advertising signs and… help me, I can’t even remember all of them because too many!!!! Paselli, instead, has had in front of her, let’s say,collections selected in more rigid categories, researching all what possible of them: so we have cats, that were so many that I wasn’t able to count them, “mug” cups, coca-cola marked objects and many other things with a funny aspect: the seasonality of collections. Exactly: at easter the house is literally invaded, in each ravine, by all types of eggs, little birds, hens, bunnies, as also at Christmas, Carnival, and so on.

In PetriPaselli’s “series” an original memory is continuously renewed…but do you think there is also a sort of obsession and/or work on stereotypes?

E.S.: How many questions! I’ll start from the first ones: I’ve always been struck by speaking with PetriPaselli and noticing that they both always get to the same conclusions, even if starting from different paths. But the nice thing is that their link is contagious, and it goes to who connects to them and their work. I have the impression that the strength of PetriPaselli’s work is in their ability in stimulating identification: among artists, between artists and the work, between the work and viewers. Now the last question: remembrance, and therefore memory, becomes the fundamental mechanism of this process that appears, you are right, as an obsession. I’m very interested in this word, normally used to indicate a pathology – You know that I found in the program “Thesaurus” of Word, at the voice synonyms, the meaning of “demoniac possession” or “diabolic possession” which seam to be appropriated definitions for PetriPaselli! – Have you ever seen them go mad for objects that could be part of their collections but that they still do not possess?  Joking apart, I mean that in PetriPaselli that force that moves to investigation, deep analyse, research is very important. This brings to the concept of stereotype, as you have rightly noticed. They try to find a perfect model, or at least observe it, through filings, serializations – between repetition and difference – and storage of all the models they have decided to exam. All this is added to the choice of the subjects, which are themselves stereotypes of the idea of “toy”, becoming in this way “icons of childhood” and loosing the more simple function of toys. There is always a sliding of meaning, a sort of elevation of context giving an aesthetic value to the more kitsch form. In this way, their collections of simple “things” become very precious. Rather, how do you see this relation between memories, sense of kitsch and aestheticization of everyday life?

S.P.: Well, this relation has already emerged. Obviously, the concept of “collecting” is directly linked to the meaning of kitsch. As Wikipedia says “a generic definition indicates as kitsch any object witch form does not come from its function”.

Through out the years, this word has evolved and today has become a real form of creative expression. So, I see it this way: the kitsch becomes a mean of expression – never an end or a goal – in order to connect sense of remembrance and everyday life.

But, you know what, why not ask this question directly to PetriPaselli? Call them in, come on, I’m really curious!


PePa: Hello!

E.S.: Hi! We are still on the way back, but we need to ask you something, as we can’t stop talking about what we have seen in your houses! In your work there is a strong relation between memories, sense of kitsch and aestheticization of everyday life. How do these topics come out from you?

PePa: Good question… We ought to say these topics are not born from us, but we were born in these topics! We have lived in socio-familiar backgrounds, based on accumulation, aesthetization of everyday life in the clue of vintage-kitsch. It is normal, funny and overall a (dangerous) game for us. We don’t think to be victims of consumerism. Not in the common sense. We aren’t absolutely linked to advertising mass-media and fashion products; rather the contrary. The fact of being collectors, searching for the most particular thing, is a way of being, a way to express ourselves. Rather, both our families are made of atypical collectors: they would never spend a capital for a missing piece, but they are able to wake up at three in the morning to go to the flea market and search a speciality before the others. This was how we have been educated: continuous research of motivations, of unusual objects, offbeat. Some things have incredible charm, experience and are surreal. Without mentioning all those memory “drawers” opening some objects, some colours, some forms. We suppose these are catalysts of memories and we are convinced that reminiscences of an individual often coincide with those of an entire society. In a second they bring us back in time – and so we remember thousand of things – though they remain simple and useless pieces of plastic or ceramic. It seams trivial, but many of us forget about it. It is undeniable that we all live surrounded by objects and so our experience and our passed life are indissolubly linked to those things.

Maybe in these nearly 30 years of existence we have hidden in ourselves and now we feel the need to re-ordinate everything through our works. Our projects are part of this operation consisting in putting order and shearing with others. Nothing more.


Elisa and Simona have left PetriPaselli in Vergato, while their tour has come to an end. Arrived home, they have only to see the exhibition installed: compositions formed by similar subjects, aseptically pictured in several shoots and than flanked into a net; still life dedicated to Giorgio Morandi’s work, potentiating, with a very colourful pop taste, the contrast between “smaller-bigger” typical of the deformed and alienating vision of children; lastly, jointed elastic games, able to bend and rise, here given in unique but moving images, thanks to the “overlap” on lenticular film of several shoots in successions. In this way, PetriPaselli change the destiny of these games; they don’t throw them away, they don’t close them in attics, they don’t forget them but they glorify them, as ancient hero that today deserve recognition. They immortalize them and, distancing themselves from them, they celebrate them.






Press release

“Mind the gap” is the ironic warning title of Giovanni Ruggiero’s installation, realized expressly for Oltre Dimore. The installation occupies the entire space of the gallery, obstructing it and creating within it a new and different environment.

Ruggiero’s work moves on a alienating as effective duplicity. The artist realizes an installation that is at the same time a real sculpture. He uses geometry’s rigor, but he lets the matter release into the less foreseeable formless. His work is abstraction and also the concrete realization of a mental imagine, unequivocally representing a human figure. It is together irony and dramatization, freeze frame and endless story with a circular structure. The duplicity finds its uniqueness into the monochromatic white structure and the following chiaroscuro of the relief.

This negative sculpture, sunken into the matter with a no less defined form than the everted and all-accomplished one, seams a sort of modus with which make a new beginning for the same sculpture. Giovanni Ruggiero tackles head-on the crisis of language, searching in it the linguistic, formal and visual, elements that will help finding a meaning to time being.

curated by Raffaele Gavarro




Press release

In this solo exhibition the young artist from Bologna previews for the Gallery in Urbana street a cycle of 16 photos around the doll image, as a sexual and ritual erotic mass game, inspired at the iper-realistic Doll Story product.

Entering into the gallery, the public will feel as if in front of a showcase of a luxury shop, able to offer an impeccable, perfect and immediately available product. The common denominator of the represented subjects is perfection, intimidating but at the same time drawing attention and triggering the slight voyeurism mechanism, the only possible way of entering in direct contact with these icy, equivocal and faultless figures.

The protagonists of this new series of works of Gabriele Corni are two precise types of sexual silicone dolls: on the one side the provocative, wrapping and polished one, welcoming the viewer with confidence, and on the other the more contracted, closed and drawn childish androgynous figure, in an inferiority and subservice position. They both represent the sexual female stereotype, reducing woman to mere body-object with the only goal of satisfying in every way her male referent.

These geisha wear a very sophisticated mask of make-up, in shades of white, read and black, becoming to all intents theatre subjects underlining the border and limit between their own face and the outside world. The effect of Corni’s figures in front position is hieratic, as if the same mythical Sphinx was depicted. In other images, on the contrary, the waiting takes over and becomes a moment of psychological suspension. The hovering between sensuality and eroticism, reality and imagination, puts each viewer in front of questions of great actuality, on personal, social, moral and ethic nature.

The roots are to search in the mechanisms of obsession towards unreachable aesthetic ideals, new needs of perfection and new consequent weaknesses, as the rational inability and the necessity of “resolving” everything without investing on the person and without awaiting. A world of today that sees in the use of androids a solution to its urgency and a country, Japan, that has realized this hybrid scenery between reality and fiction.

Gabriele Corni’s photos are highly refined and iper-realistic. The combination between photographic medium and digital painting realizes a slight game, confusing the viewer by showing the portrayed subjects in an unrealistic light, that adheres well to their underlying ambiguity. Precise anatomic details move the attention on the human aspect of the dolls, confusing the user and pushing him to obsessively observe the single anatomic parts, mistaking masks for faces and skin for china.

The final image, the result of a high quality and high definition digital photo treated by Giulio Giuseppe Pedaci, expert of post production, transforms to all intents these faultless women in furnishings, refined majolica, apparently delicate. Their evident absence of emotions is their only possibility of redemption, being in this way in another place, distant from the look and the judgment of the viewer and user.

Protected by the same lack of power that has generated them, the employable of Gabriele Corni go under a requalification process, being transformed in totemic muses and unworldly beings by their same aesthetic perfection.

curated by Elisa Schiavina




Press release

Since centuries the traditional Japanese dress stands the test of time, influencing the eastern society’s traditions, especially young eastern women of today, that have re-discovered the elegance of wearing it in a traditional way, as also the taste of the western world, leaving important traces in collections of leading designers.

In these scenery of renew interest for the dress, cultural icon and symbol of an entire society, we can find the Kimono of Ewa Bathelier. Her essential, but of great visual force and emotional impact, painting is all in this series of pictures, full of information on everyday and house life and careful in catching the different aspects of Japanese cultural reality.

The exhibition in the Oltre Dimore gallery concerns 15 works of art on canvas and on synthetic fabric panels of several sizes. The basic, and nearly always the same, shape of the kimono represented takes on different connotations according to the colour used, brought out by the transparency of support and by the light  dripping of pictorial material, which underlines the sense of solitude of the “non-body”, allowing the observer to imagine the body of who is wearing the dress. In this way, it is possible to express the paradox of the enhancement of female body sensuality through total absence of forms.

In fact, Ewa Bathelier’s pictures are focused on the kimono, always shown head-on and within no time-space context, clearly referring to the female figure. As the critic Alessandro Caiola notices: “(…) the evocation in absence of the woman finds its best expression in the kimono: the beauty hidden in the Japanese dress is part of the elegance of traditional kimono”.


During the inauguration of the exhibition, Friday January 22 at 6:00 pm, in Palazzo Rusconi’s court, Oltre Dimore will hold a performance of great visual suggestion, combining dance, music and material and drawn by three great international artistic personalities, that will interweave their artistic paths, dialoguing with Ewa Bathelier’s works inspired to kimono: the dancers Yutaka Takey and Jerry and the musician Paky Zannaro. The performance will be directed by Daniele Capriani and organized by Vittoria Cappelli.




Interview | Review

Press release

The national opening for a unique event in Bologna: the solo exhibition dedicated to barbarauccelli, performer from Piemonte but since years now on the international scene. After the success of his solo exhibition “Writers”, presented in Rome the previous October on the occasion of Contemporary Day, he will submit to our attention his new art project “Queens”.

Five Queens from the early Middle Ages to the Renaissance – that correspond to five different paths that come from performance and within the performance find their deep nature – present themselves in their lives as women in power, having been great sovereign in spite of their gender, real queens conscious of their destiny since very young.

The project rises from a studio on old portraiture, in which picture was both content and container and, besides the human figure, the other aspects of the work – jewels, animals, flowers, landscape, dresses – were all symbols, often even more important than features, for understanding the same physical characteristics of the person portrayed.

Therefore, a work of symbols that, together with the same symbols, creates the strongly emotional and visual performing path.

There are the five Queens, each one characterized by a specific colour, within the symbolic game reactivated by the artist: Bianca di Castiglia, Eleonora d’Aquitania, Elizabeth I, Caterina De’ Medici, Giovanna la pazza (the mad one).

The exhibition, as usual for the artist, is site specific, expressly studied for the Oltre Dimore gallery and presents five photo frames, in which the bodies of the queens block their movements in a glancing contact with the audience. In fact, the queens were photographed in the same spaces within the exhibition gallery, in order to give the idea of inhabiting the gallery, the historical places and walls, to give the impression of coming out from the same walls, imprinting the photos with the gray border of the walls within which they have been created as a work of art. Moreover, the gallery rooms are in a historical palace of Bologna – Campeggi Palace.

The five women constitute a continuous dialogue between old and modern, history of art and contemporary art, but above all recall power relationships between the character and the time of her existence, through the symbols hidden in the portrait: the story of the woman pictured in the photo is told through her personal life as through the history of the kingdom to whom she belongs.

The Queens are not represented in pompous Renaissance clothing, but their dresses as behaviours belong to today’s world: the symbols of their power are not only an emblem of ancient women’s power, but also show how that power has reached our world, different in form but not in substance. The actuality of this work of art lies right in bringing these symbols up to today, to our way of living, with the aim at showing how power does not have time, that supremacy and its characteristics do not change through the centuries; maybe names change, but not the meanings.

Looking at the sequence of the five portraits, it is therefore possible to notice that each object is a symbol and each symbol is an event of their lives. The portrait becomes again a table of elements, a page of instruction for the spectator, a notebook from which to start understanding the work of art. In this way, the work of art is self-explanatory.

From this point of view, we can say that the five big frames (cm 200X125) are linked to 10 diptychs 50×50 cm, that represent a zoom  of 10 symbols belonging to the main portraits.

The exhibition is completed by a video that “activates” a symbolic game between the all and the particular, game finding roots in the old Flemish art and inspiration in performance technique, and by a dress sculpture realized crocheting galvanized wire.

This is how photography becomes the means of the artist, and not his expressive technique, giving to the exhibition a performance sense, essence of Barbarauccelli’s art, through the use of video, objects, sculptures and, obviously, the artist’s direct interventions. This creates a sort of deep symbiosis between the artist and his characters, that allows him to express their souls, lives and symbols, transforming the work in a form of bovarism, in this case of the five queens.

curated by Simona Pinelli

Nat Wilms

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Nat Wilms was born in Halle/Saale, former East Germany, in 1976 where she grew up in a Russian-German family. In 2000 she moved to Italy where she enrolled in Sculpture at the Academy of Fine Arts Bologna. She graduated with her thesis “Circular and linear time in masks and icons” in Visual and Cultural Anthropology in 2006. Both during and after her academic formation she took part in video classes at the University of Art in Berlin and has participated in numerous workshops by international artists and theater directors in Germany and Italy.

She is an interdisciplinary artist, who moves easily between mediums; Mixing manipulating and elaborating diverse materials she is able to integrate her creations in well-articulated artworks. Light objects, installations and video-photographical documentaries emerge from a thoughtful social-anthropological approach which allows her to relate her own existence to that of the world at large. The process and product of fragmentation is questioned and materialized in an ongoing experimental and non-linear narration. She produces a very poetically dense but at the same time documentarial video art, creating dreamy atmospheres with pictorial elements through the abstraction of realistic shooting material.

The work of Nat Wilms can be interpreted as a journey towards the discovery of different dimensions of being which talk metaphorically about existence and absence. Her narrative is able to capture ones imagination through unexpected associations and memories, transporting the spectator in a given time which is, at the same time, timeless.

She collaborates with other artists, directors, musicians and designers as a video artist and as a video designer in theaters. Adding to and completing the playgoer’s experience through an experimental narration that increase the levels of perception by mixing different genres of art. Since 2009 Nat also works for the design project HILLSIDEOUT [antique art design] which she co-founded. The furniture of HILLSIDEOUT incorporates poetic narration through the use of light, writing, photography and video of landscape elements obtaining a result that lies somewhere between objet d’art and a functional sculpture.

(text by Elisa Schiavina, Simona Pinelli and Nat Wilms)


The complete CV of the artist may be found here



Leonardo Vecchiarelli

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Leonardo Vecchiarelli was born in Rome the 4th november 1974 from a very special family, all devoted to arts. His father, Francesco, has a strong passion for Photography and his mother, Elsa, is a very gifted and passionate painter. It is also thanks to their influence that the art of photography found in Leonardo a great help to education with studying cinematography, with specialization in photography and choreography at the “Cinematic Devises School” of Roberto Rossellini and the “National Academy of dramatic Art” of Silvio D’Amico, in Rome. In 1988, he obtained the “Vittorio Bachelet” Award, which was also his very first. Leonardo was never happy to do one thing only: while studying he was in fact already practicing photography at “Cinecittà”, the famous movie studios, where he started to capture images taken from the movie scenes, and sold the portraits to the stars. Meanwhile, he was on the stage of various theatres, shooting the scenes and the characters of the play, then used to promote the same scenes photographed in Rome. In 1990 Leonardo was chosen from the his school, to teach photography at the “Superior Institute of Photography” in Rome, for one year. In 1992 Leonardo did military service and became the official photographer of the Italian Marine. One year later, he moved to Milan, world fashion capital, and found his way working as the personal assistant of the famous fashion photographer Gianpaolo Barbieri. In 1995, Leonardo worked as assistant of Steven Klein and a few years later with Douglas Kirkland. Leonardo started very soon to work with some of the most representative magazines all over Europe, such as French Vogue, Harper’s Bazaar, Italian Elle, Italian GQ, German Glamour, Flux, Italian Marie Claire, Spanish GQ, Italian Vogue, just to name a few. He was also chosen to shoot some important Italian and international campaigns, such as Trussardi, Faj by Tods, Superga, Gian Maria Buccellati, Lion Track by La Perla, Penny Black and Penny Pull by Max Mara, Faber, Gas, and lately he is taking care of the collection of Piedras and MB Beach Couture by Maria Buccellati, and the collection of Baci & Abbracci, Leonardo has lived in and experienced the major fashion capitals: Milan, Paris and New York where he moved in 1999. He worked in the fashion world, to which he kept a constant and profitable link, and also entered the world of musicians and pop stars, achieving to make an entire Music Video for Sarah Carlson. He also curated the image for the singer Gala. In 2005 he filmed his first fashion TV commercial for the Swim Wear line by Maria Buccellati. In the same year he worked in Italy and in Miami for the fashion magazine “Vis.a.Vis” that won the award of “Best Fashion Magazine” during the MTV Music Awards and was also selected as the official fashion magazine for that event. In 2007 he started an artistic path, which brought him to realize the series Midrash Shekinah, Portraits (with portratits of Milla Jovovich, Kate Moss, Carla Bruni, Philip Starck, Pato, John Galliano…), Mater. During those years he collaborated with Marta Marzotto for fashion projects and afterwards with Christina Estrada Juffaly for the defence of women rights. In 2010 he won the first prize in the section ‘intersection’ at KunStart in Bozen and he started to work on a project called “La Grande Transazione”.



•  Mater Galleria The New Ars Italica, Milan (One-man show), curated by Mariasole Brivio Sforza andKristina Snajder, Italy
•  Mater Chiostri di S. Simpliciano Milan, curated by Vogue Italia andValue Retails, Italy
•  Fiera ARTVERONA, curated by Silvia Guastalla, Italy
•  Mater Galleria OltreDimore, Bologna (One-man show) curated by Elisa Schiavina, Italy

Portraits (casa decor Torino) Palazzo Pirelli, curated by Susan Tebaldi, Italy

Midrash Shekinah Montenapoleone Milan (One-man show), curated by Kristina Snajder e Mariasole Brivio Sforza, Italy
Portraits (casa decor spazio Garage Milan), curated Susan Tebaldi, Italy

Vogue Bambino. Triennale of Milan, curated by Franca Sozzani, Italy

Kartell Triennale di Milano, curator byFranca Sozzani, Milan, Italy

Giovanni Ruggiero

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Giovanni Ruggiero was born in Fontanarosa in 11.09. 1973. Today he lives in Faenza.
In 2002 he has been lecture for foundery techniques at the Academy of Fine Arts in Florence. Actually he teaches at the ISIA (Institute for artistic Industry) in Faenza.
Giovanni Ruggiero names his works INTRORILIEVI. Neither high relief, nor low relief, nor all-round sculpture but empty sculptures hung up to the wall or installed in the wall. Negative figures, dug to be hollow in the matter using very different kinds of materials and techniques. Ruggiero’s work starts from sculpture to deny sculpture itself and to model a language of absence, of gap, in search of the soul as a continuous essence of existence.



Mind the Gap curated by Raffaele Gavarro – OltreDimore Gallery Bologna, Italy

Libera lama del Pensiero curated by Massimo Bignardi – University of Siena, Italy,

Introrilievi curated by Giovanna Procaccini – gallery Overfoto Napoli, Italy

Cambiamenti di stato curated by Stefania Mazzotti – gallery lo sguardo dell’altro Modena, Italy
Il corpo dentro e fuori curated by Stefania Mazzotti – GAM gallery of Modern Art Faenza, Italy •

Scultura - gallery Comunale d’Arte Molinella Faenza, Italy

INTRO curated by Claudia Casali and Raffaele Gavarro – Showroom iblu Faenza, Italy

Fontanarosanum - Circolo degli Artisti Faenza, Italy



Award Fabbri curated by Seconda edizione, Bologna, Italy
Ora e labora curated by C. Casali – Ex Convento dei Cappuccini Modigliana, Italy

49° Award Campigna curated by C.Casali – gallery of contemporary art Vero Stoppioni Santa Sofia, Italy
• Award River – Palazzo Albertini Forli, Italy
Babele Luoghi della Contaminazione – Pieve di Cento, Italy

RAM 5° edizion – Museum of  Battaglie del Senio Alfonsine Ravenna, Italy

Un secolo di capolavori, della bottega Gatti curated by Gian Ruggero Manzoni – DA gallery Bologna, Italy

Award Quinto Ghermandi - Crevalcore, Italy
Recontre internazionale jeunes sculpteurs – permanent Istallation, organisation of the Echevinat de l’enseigiment et de la culture of Saint Gilles, Belgium



•  49° Award Campigna Residency for artists curated by C. Casali, Santa Sofia, Italy

Gabriele Corni

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Gabriele Corni (Bologna, Italy, 04.03.1972) is currently working and living in Bologna. On completing his artistic studies, Gabriele developed the technique of oil painting at Norma Mascellani’s art studio where he also developed the skill of composite balance. Gabriele then went on to experiment with the tri-dimensional, using metallic materials and he began collaborating with the sculptor Silvia Zagni. After this experience he began orientating himself towards photography which led him into the world of bi-dimensional. In doing this and thanks to the various available post production methods, like digital painting, Gabriele Corni once again returned to his primary subject, that of pictorial expression, which can be accentuated by plasticity. Gabriele collaborated with the post production expert Giulio Pedaci, developing his skills in digital alteration. With the project “Adoperabili”, first presented in 2009 at OltreDimore Gallery, he took part into exhibitions and fairs in Italy and abroad.


MIA_Milan Image Art Fair Milan, Italy

Adoperabili, Dream Factory Milan, Italy

AdoperabiliHôtel La Mistralée, Saint-Tropez, France

Adoperabili, Gallery Libertine,  Brussels, Belgium

Adoperabili, Gallery OltreDimore Bologna, Italy



Fondation Boghossian Brussels, Belgium

Gallery Spazio Arte Naples, Italy

Arte Padova 2010 Padova, Italy



Ewa Bathelier

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Ewa Bathelier, a painter and stage designer born in 12.04.1962 in Warsaw (Poland), lives in France since 1983.Graduated in medicine, she devoted herself entirely to art, pursuing a very personal and original path of creation, closely related to human problems and then to sensitivity. The loneliness is the main element of her painting. The artist uses her own emotions to a subliminal transliteration, often perceived as “absence – presence”: the body light and naked lies symbolically on deserts and gardens background and the clothes leave the imprint of the absent body. Ewa Bathelier has exhibited since the early 90s in many galleries and public places in France and abroad. Her works are displayed in many collections around the world. She has made sets and costumes for the theater, especially for Samuel Beckett’s plays.


College Doctoral Européen Strasbourg, France
Clinique de l’Orangerie Strasbourg, France
Council of Europe Strasbourg, France
ARTO’ International Contemporary Art Fair (with OltreDimore) Rome, Italy

Galerie Claudine Legrand Paris, France
JPB-Art Gallery (group show), Saint Tropez, France
Pyramide Strasbourg, France
Galerie K Strasbourg, France
Château de Thanvillé (group show) Strasbourg, France
OltreDimore (solo show: “Parure et absence”) Bologna, Italy

Galerie JPB-ART (group show) Saint-Tropez, France
Galerie Galya Neuchâtel, Switzerland
National Opera building Strasbourg, France
Le Génie de la Bastille/polish artists Paris, France

Galerie K Strasbourg, France
Galerie No Smoking Strasbourg, France
Eclectica Gallery Venice, Italy
Conservatoire National Strasbourg, France
Espace G Strasbourg, France

Anya Tish Gallery Houston, USA
Eclectica Gallery Venice, Italy
Fashion Design Biennale (group show) Arnhem, Netherlands
National Opera building Strasbourg, France
FuturArt (group show) Bruxelles, Belgium
Eclectica Gallery Venice, Italy

Galerie Claudine Legrand Paris, France
L’Appartement Strasbourg, France
City Gallery/Nova Polska (with Mikolaj Kasprzyk) Strasbourg, France
Eclectica Gallery Venice, Italy
Visions de Soi, artists and science (group show) Ribeauvillé, France
National Opera building Strasbourg, France

Clinique de l’Orangerie Strasbourg, France
Stimultania Gallery Strasbourg, France
Anya Tish Gallery Houston, USA
Polish Art Confrontations (group show) Los Angeles, USA

Burzym & Wolff Gallery Cracow, Poland
Galerie K Strasbourg, France

L’Appartement Strasbourg, France
Ost-West Gallery Basel, Switzerland
ZPAP Galery Cracow, Poland
Anya Tish Gallery Houston, USA


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barbarauccelli (Premosella, Italy, 22.05.1972) is a performer who uses photography, video, writing and sculpture to seal and immortalize her actions. She almost becomes the characters she performs, after studying them and psychologically sifting them out, obtaining a portrait, a symbolic summary which is embodied by her own figure. No matter if they’re queens or poetesses, she’s interested in the essence of the personality, the soul of someone who once made personal and aesthetic choices that changed the course of the political and cultural story of a certain society. Having no specific artistic background, barbarauccelli, very spontaneously, as if it was a necessity, chose to use her body to express her proneness towards art, becoming a creator of suggestions and symbols linked to the feminine world. In 2010 she had a solo exhibition with the project “Queens” in the gallery OltreDimore. barbarauccelli works, trains and studies in different expressive forms – art, dance, theatre and literature.Her artistic ability – symbolic use of the human body, use of the artistic multilingualism in a totally individual way – gives barbarauccelli the right to be enclosed within that extraordinary line that links great contemporary performers, from Gina Pane to Marina Abramovich, from Trisha Brown to Ann Halprin, and in which, quoting Roberto Daolio, there’s a natural extension of “the idea of art event with a complex form of “live” attitudes, requiring a different and direct participation from the public” and in which “the appeal of our sensory apparatus is enlarged, avoiding the supremacy of sight and expanding the exercise (aesthetic exercise – A/N) to all our senses”

A table set, performance di Barbara Uccelli, riprese per One minute video, 2007

CR performance di Barbara Uccelli, salone del Libro Torino, 2005

Fractal, performance di Barbara Uccelli, 2h17m, 2004

Primastanza, performance di Barbara Uccelli, 15′, 2006

Sarah, performance di Barbara Uccelli, 4′ 15″, 2009


FICTION | Location: ex-Jail Le Nuove, Turin | Lightbox 4×4 cm, led, filler, poster | 2011

Art, similar to prison has the altered reality, a game of different roles. In art, as within the prison the real life does not exist, but there is still a strive for representing it. In the former, it is about transcending the rules, in the latter it is about respecting them. The title Fiction underlines the ambiguity of the work of art as the representation of reality. But in the moment when the eyes transfer the image to the brain and it becomes  apprehensible  to us, it becomes the entire reality we need for emotion.  Therefore, the mere hole in the wall becomes enough for us to escape from the walls of a prison, a house, or a museum. Being here, and in the same time being somewhere else.


NO FLY ZONE | Project and performance by Barbara Uccelli | Duration: 6 hours; | Paper, permanent ink, 2011 | Photography: Cristina Uccelli

One white queen, one swing, a pile of paper. 10 actions per minute, 6 hours of performance, 365 paper airplanes. A white queen, similar to Alice in the Mirror, disenchanted, distracted and fundamentally good, because she is unable to have evil thoughts. Perhaps indolent, making paper airplanes. Written on each airplane are the names of people, from countries devastated by wars. Real people with parents, children. With past, with present ..  and sometimes a future. The No Fly Zone is made in order to preserve something precious. Sometimes monuments, sometimes people. The airplanes remain in space, some will be taken and brought to homes, while others will be stepped on. Many will remain without destiny, piled on each other.


SELF-PORTRAIT ON WALLPAPER | Project and performance by Barbara Uccelli | Duration: 18 hours | Technique: Permanent ink on wallpaper | Dimensions: 12 x 3 m |Year: 2011

Writing an autobiography, in order to remember what has been, what has been lived, what has been chosen and what has been thrown away. In order to say the story that is both real and fictive. The life lived has been mixed with fictive memories , in order to show to a person  that all of it is a whole. And the story has been written on the walls, until the walls are filled with words that run and overlap each other, coloring the entire room in black. Therefore, the things that have been written can no longer be deciphered, and heavy color is an obvious sign that the past cannot be changed, but only told over and over again. Artists need to make self-portraits in order to be sure of their existence, despite everything .. man is now able to understand that he is only one of the many, a creature so futile that he can play his role without any reasoning. As said by Francis Bacon.




“Sleeping-Beauty, the ladder”, permanent installation, Tenuta dello Scompiglio, Lucca

“Bedtime Stories I was never told”, three person exhibition, curated by Annalisa Bergo, Fabbrica Borroni



“The Empress”, solo exhibition curated by Raffaele Gavarro, GAS Gagliardi Art System, Torino

“Where is Barbara Uccelli?”, performance Fabbrica Borroni.

“Dalla parte delle donne”, collective curated by Chiara Canali e Federica Bianconi, palace Parmegiani, Reggio Emilia



Non tutto è in vendita, collective curated by Raffaele Gavarro, Artefiera Off, Bologna

Biennale di Fotografia, città di Alessandria, curated by Francesca Baboni and Stefano Taddei

AAM, gallery OltreDimore curated by Chiara Canali, Milano, April 2011

Officine dell’Umbria, Palazzo Lucarini, Trevi Perugia, May 2011

Relazioni interpersonali, curated by Angel Garcia Moya, Tenuta dello Scompiglio Lucca, September 2011

The Others, ex Carcere Le Nuove Torino, curated by A. Bruciati, gallery Oltredimore, menzione Smart Award.


2010 –

Solo exhibition “Queens”, gallery OltreDimore, Bologna, curated by Pinelli, Schiavina.


2009 –

Solo exhibition “Writers”, gallery Ingresso Pericoloso, Roma

Solo exhibition, installation and performance “11th commandment” Festival of Philosophy, Modena and  Carpi, curated by Baboni, Taddei.


2008 –

Finalist, Premio Terna 01 artwork “Conduttori”, curated by G. Marziani.

Finalist, Premio Celeste 2008 with the sculpture “IKI, KIMONO”, performance IKI at the opening of fabbrica Borroni, curated by Marziani and Canali.

Collective exhibition “La Sindrome di Icaro”, Association Seghetti-Panichi, Ascoli Piceno,  curated by M. Vescovo.

Collective exhibition “Unicef chiama arte” curated by S. Pinelli, S. Evangelisti, Bologna, Cà la Ghironda and Accademia delle Belle Arti of Bologna.

ArteFiera, Bologna 24-28 January, gallery Otto Gallery.


2007 –

Performance “E. I” Elizabeth I, Royal Stables of Torino, December 2007.

Festival delle Lettere, Milano October 2007 teatro dal Verme, performance “Postal Beijing”. Curated by Simona Pinelli

Performance “B.A.” – Finalist, BJCEM Biennale young European and Mediterranean artists.

Festival “Linguaggi” art director and performance selector, Pescara.

Performance “Post-it” , collective opening “Natura e Metamorfosi” CGAM of Spoleto, Spoleto Festival of Two Worlds, curated by Marisa Vescovo.

Performance “E.I.” Elizabeth the Queen &the King, Festival Insoliti contemporanei, Torino.

Performance “Post-it” for L’Inde Le Palais, for the event off ArteFiera 2007, gallery ArtSinergy, curator Simona Pinelli. January 2007, Bologna.


2006 -

Solo show with performance “post-it”, Zendai Moma, Shanghai, December 2006.

Collective exhibition of young Italian artists in China, Exibition “natura e metamorfosi” SHANGHAI, URBAN PLANNING EXHIBITION CENTER and Beijing, BEIJING CREATIVE ART CENTER, curator Marisa Vescovo.

Performance “C.R. studio di fattibilità”, festival Linguaggi, curated by Gabriella di Censo, Pescara September 2006.

Performance “Post-it” for the performance festival at the palace, curated by Department of Culture of Novara Province, councilor Marina Fiore, Novara Palazzo della Provincia, September 2006.

“C.R.” Festival Interplay, organized by Mosaico danza and Municipality of Torino, opening Salone del libro, Torino

Installation “Le cose accadono” and installation and performance “C.R. studio di fattibilità” festival Epi-démia within the premises of the University of Torino.


2005 -

OUTofBLU  installation/performance,  organized by the Olympic Committee Torino2006.

Took part in many festivals in Italy (Pescara, Roma, Milano, Torino, Novara) and abroad (London, Vienna) with productions Maison and Post-it.

May 2005 new production IKI mosaicodanza for Interplay torinodanza.

Primavera 2005 Si perfeziona with Mitsuyo Useghi in Paris, by Carolyn Carlson.


2004 -

POST-IT, installation and performance for Festival Interplay Torino.

Piattaforma 04, Torino.

University of Torino, docent for choreographic composition.

Festival Linguaggi of Pescara, September 2004.

Festival Marginalia, Torino.

Festival Eccentrico di Torino-Vallette, ottobre 2004.

Festival Dance of the Third Millennium at Teatro Due di Parma November 2004. Teatro Doninzetti, Bergamo and LaRinascente.


2003 -

University of Torino, docent for choreographic composition.

Performance Es Muss Sein per la Piattaforma, luglio 2003,

Performance Maison – MyZone primastanza  for iNsoliti contemporanei (Torino) and gallery LeonardiV-idea Genova, autumn 2003.


2002 -

Teacher in middle and high school, holds internship of choreographic composition.

Does research studies on the movement and contemporary art abroad: Vienna, Berlin and London.



S.P. sonnoprofondo , Festival Portovenere summer 2001, and exhibition Nuovi Percorsi in Milano.

Winter 2001: deepens her research on contact improvisation and fly low in Brussels with Crisha Parkinson and David Zambrano and studies with company Ultima Vez of Wim Vandekeybus. Teaches body language in schools (from elementary to high schools), using methods attained through her literal, theatrical and studies of choreography.


2000 -

Participates in exhibition Divine, organized by Teatro Settimo of Torino with performance S.P. uno studio.

May 2000 wins the award for best choreography at the Festival of Perugia for the outstanding choreography.

Spettacolo Manà , produced by Mediascenaeuropa, replica theatre Greco di Roma, at Crt di Milano and at TNT of Torino.


1999 -

Founded company ITT Independence Tanz theatre and began with real spectacle, with the exhibition curated by theatre Nuovo di Torino, May 1999.

Selected to participate at Biennale di Roma with a choreography executed by dancers of the Academy of Rome.

Festival of Genzano with work started at the Roma Biennale.

Selected by TanzWochen of Vienna for pro-series of theatre/dance held by Susanne Linke.


1998 -

Assistant director for Luca Ronconi for topic Questa sera si recita, produced by Theatre of Rome.

Selected to participate in the first European School for young theater directors organized at Costigliole d’Asti during July 1998, with the artistic director Giudo Davico Bonino and with three European directors as docents (Cesare Lievi, Giullermo Heras and Jacques Lassalle).

Selected for the Course of specialization for Ballet Choreographers of Rome held by: Dino Verga, Fabrizio Monteverde, Michele Abbondanza, Milena Zullo, Mauro Bigonzetti, Luciano Cannito and critics Testa, Bertozzi and Battisti.


1997 -

Graduated with maximum score at Faculty of Communication, University of Torino.