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art Karlsruhe
An event presented by

GALLERIA STEFANO FORNI Club Grafica SARL

Piazza Cavour, 2, 40124 Bologna
Italy
Telephone (+39)051 225679, (+39) 3201575216
Fax (+39)051225679
arte@galleriastefanoforni.com

Location

  •   dm-arena / H4/G25

Contact

Silvia Forni

Phone
+393667206888

Email
arte@galleriastefanoforni.com

Our Artists

Artist details

Category: Classic Modern, Contemporary Art

Luciano Ventrone

Luciano Ventrone was born in Rome in 1942. He is regarded by the Italian art establishment, museums, curators and critics as one of the leading exponents of his genre. He lives and works in Rome and Collelongo (L’Aquila), Italy.

His paintings ‘invite a mood of pure contemplation’ from the viewer; they are works of masterful skill and supreme aesthetic beauty. Though he admits sharing a strong affinity for the work of Caravaggio, Ventrone does not consider himself a realist painter in the traditional sense. He paints real objects but, because of his utilisation of certain contemporary techniques as part of the artistic process, the objects depicted are transported into a metaphysical, hyper-real context. What we see in a Ventrone painting is not ‘real’ because it is not what we would see were we to look with the naked eye - We see more. Ventrone shows us things more fully and more clearly than they appear to us in reality; everything is in focus, everything can be scrutinised.  Thus, what Ventrone shows us is, in his own words, a ‘Mondo Parallelo’ or ‘Parallel World’; a Universe that shares the same starting point but a different system of evolution to our own.

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Category: Classic Modern, Contemporary Art

Edite Grinberga

Edite Grinberga (1965) was born in Riga, Latvia. She was a student at Janis Rozentals Riga Art School from 1975 until 1982 and studied painting and textile design at the State Academy of Art in Riga as of 1983Since 1990 she has lived and worked in Berlin. In 2011 she spent some time at the Santa Fe Art Institute in New Mexico, USA, in connection with a scholarship.

Light and shadow in their ever-changing dialectic are the core theme of Grinberga’s paintings. In her depictions of interiors and still life motifs, Edite Grinberga conjures up quiet moments recounting various trips and the past with with the aid of a painting that search light through the shadows. The paintings suggest a human presence only metaphorically, but the persons outside the picture-space and the events occurring before and after the depicted moment are the real protagonists of her work. It is through the medium of light that the flow of time is visualized.

The manner in which light seems to fall accidentally is part of her meticulously planned composition. Everyday objects, such as a chair, a book or a piece of clothing, are showcased completely in line with the tradition of Dutch 17th century paintings but nevertheless in a contemporary fashion. The objects shown in an imaginary space are pretexts for a tale, they stimulate us the memory of our experiences, our dreamlike fantasies.

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Category: Classic Modern, Contemporary Art

Giorgio Bevignani

Giorgio Bevignani (1955), a multi-faceted artist working with unconventional materials across various formats including painting and sculpture. Italian-born Giorgio Bevignani currently lives and works in the countryside near Bologna, where he molds and forms diverse materials into distinctive conglomerations, round-like forms, that aggregate into larger constructions, relating the smaller elements to the larger form which are arranged and mounted together to create a larger, cohesive work. His creativity, which is considerable, emerges in the elegant combination of technical skill and conceptual knowledge.. Using special patinas, phosphorus tints, and colours, his idiosyncrasy of composition and form, both so playful and magical, combined and merged with a certain charm, create something new to the world. Bevignani’s work has a real presence, his connection to nature and culture, his organic plasticity, his use of positive and negative spaces, filled with awareness of form, create a body of work that seems to float, that go beyond our understanding of gravity, time, space, light, and balance.

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Category: Classic Modern, Contemporary Art

Alfredo Casali

Alfredo Casali was born in Piacenza in 1955. After various artistic experiences ranging from painting to visual poetry, and up to philosophical studies (under the guide of Luciano Anceschi, in the Bologna of the 1970s), he finally arrived at a language based on a few archetypal elements repeating themselves throughout various cycles of works. Houses, tables, trees, clouds and black- boards: these are the permanent references of a rarefied and es- sential poetics.

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Category: Classic Modern, Contemporary Art

Alberto Zamboni

Alberto Zamboni was born in 1971 in Bologna, where he continues to live and work today. Born into a respected family of artists, his creative inheritance was further nurtured by the vibrant artistic environment of his home city – the birthplace of Annibale, Agostino Carracci and Giorgio Morandi. As well as the countless artists who have lived and worked in Bologna over the centuries, Zamboni’s work is buoyed by references to history’s most innovative practitioners. The skilful juxtaposition of light and shadow in Zamboni’s creations is reminiscent of Whistler’s hazy views of the river Thames and the nocturnal seascapes of Turner. Yet literature also plays a pivotal role in Zamboni’s creative process - especially authors such as Edgar Allan Poe, Herman Melville and George Simenon. Zamboni is fascinated by tales of adventure and the great unknown, and strives to capture this sense of odyssey within his misty landscapes. The current body of works is a summa of his inspirations. Uninterested in the representation of reality per se; the human figure becomes the pretext to create an oneiric depiction of reality, imagined through the prism of his remembrances. Zamboni tackles the canvas with a simple yet subtle technique; the canvas is applied directly with layers of oil, which is then carefully diluted. The subjects are lightly traced on the canvas, conferring a distinctive non-finito touch, further enhanced by the lack of a final varnish. Zamboni has participated in a number of international art fairs and competitions, such as the prestigious Premio Cairo and the 2011 Venice Biennale. His paintings, aside from being privately collected, feature in some of the most prominent Italian corporate collections including Unicredit Bank.

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Category: Classic Modern, Contemporary Art

Gianricardo Piccoli

Gianriccardo Piccoli, born in Milan in 1941, trained at the Academy of Brera under the guidance of Pompeo

Borra and obtained a diploma in 1964. In this same year he began to live in Sarnico, on the Bergamo side of

Lake Iseo. His first one-man exhibition, dedicated to drawings, took place during the years of “existential

figuration” (1963, Milan, Galleria Celiberti).

In his 1966 exhibition, at the Permanente, Milan, he offered an original interpretation of Lombard informal

painting, placing at the centre of his reflections the object which “however much it may be dissolved and

lacerated, never abandoned its own presence, was never con- tent to leave just a shadow or traces, but

remained like a heart beating inside the painting. And it remained thereafter like something inalienable, a

preliminary assumption, almost like a pledge of reality” (Roberto Tassi, 1974). The three years from 1967 to

1969 were years of crisis and experimentation. During this period Piccoli attempted a sort of organic

abstraction reminiscent of Graham Sutherland and the photography of Man Ray. This phase was short-lived

and has not significantly influenced his artistic outlook. He overcame the crisis of 1968 through a singleminded

re-examination of his Lombard roots. The example provided by Ennio Morlotti played a significant role

at this stage.

During the 1970s, Piccoli deepened his investigation of everyday objects and of the landscape, themes and

subjects that were to recur during his later production. Particularly important, in this phase, were the

exhibitions of 1972 at San Se- condo Parmense, of 1974 at the Galleria Mosaico of Chiasso and, also in 1974,

at the Galleria Correggio of Parma.

Public recognition of Piccoli’s work grew

over the next decade, with the Premio Feltrinelli in 1984, the one-man exhibition at the Teatro Sociale of

Bergamo and his participation in the Venice Biennial of 1986. He also exhibited in the public spaces of

Wiesbaden in 1988 (Brunnenkolonnaden am Kurhaus) and held two retrospective exhibitions in 1990, at

Tenero (in Switzerland, at the Galleria Matasci) and in Monza (at the Civic museums at the Serrone di Villa

Reale).

In the exhibition in Bergamo, the city where he had lived since 1968, he exhibited works of large dimensions in

which the intimate subjects achieve lyrical heights through their restrained gestures. His works were now

characterized by a grandeur that conferred on them a new visionary and dramatic dimension, where the

principal role is played by light. The vast retrospective at Tenero (where works were shown dating from 1964

to 1990) revealed, in his most recent work, the dramatic aspect of his production, as in the dark, bituminous

series freely inspired by Arnold Böcklin. This exhibition provided an opportunity to draw some preliminary

conclusions on an activity that had by then covered almost thirty years, characterized by an illuminating

declaration by the artist: “I have always considered myself a figurative painter, and for a simple but

fundamental reason: I can’t conceive – and still less paint – except in figurative terms, that is to say with a

strong physical sensation of our corporeal presence on the earth. In this sense I feel that all my forms, even

apparently informal ones, have a logical figurative interpretation”.

At the exhibition at Villa Reale, Monza, Piccoli’s works expanded still further, creating a dialogue with the

historical rooms of the palace. The colour range became lighter and he embarked on new

experiments with gauze, paper and collages (the monumental Trittico del centro, the hub of the exhibition, was

later placed in the original offices of the BPU of Bergamo).

Independent drawings are a constant in Piccoli’s work. Examples are the exhibition curated by Mario De

Micheli for the Galleria delle Ore, Milan (1983) and the broad selection gathered into a volume by Stefano

Crespi (1962-1987). Definitely influential on Piccoli’s painting was a trip to the United States in 1984 and his

reflections on certain episodes from the past, from the Lombard 17th century to Arnold Böcklin’s imagery. The

drawings that followed in these years constitute a fine testimony to this interest, which was to assume a central

role in his work during the 1990s.

The one-man exhibition in Basle in 1991, organized by the Galleria Carzaniga + Ueker, resulted in a lasting

friendship with Arnaldo Carzaniga. It also announced in no uncertain terms a new direction in technical

experimentation, research on materials – with abundant use of gauze and of acetates – and study of light.

Piccoli now created large-scale paintings by superimposing gauzes and acetates on the canvas. He also used

industrial paints, alongside the more traditional oils and tempera, giving birth to images of great visual impact,

but also of unexpected lightness.

He was by now a regular presence at the major European art fairs (Basle, Bologna, Cologne). He held oneman

exhibitions in Parma (1993, Galleria Sanseverina), Milan (1994, Studio Reggiani), Düsseldorf (in which

city he lived and worked during 1995, during the exhibition at the Galerie Winkelmann). His research into light

gradually gained intensity during the 1990s, as lucidly described by the artist

himself: “Light has always been a fundamental element in my work: from the natural transparency of pastel

interiors to the X-ray-style diversification of the thicknesses of the materials in my diptychs. It has guided my

painting right up to the exclusive orchestration of my most recent canvases: a rethinking of light in the classical

sense as an absolute value of immateriality”.

In 1995, the 14 canvases and gauzes dedicated to the Stations of the Cross were exhibited in the Church of

Sant’Agostino in Bergamo, curated by Mario Botta. Two years later, two monographic exhibitions were

mounted contemporaneously in Bologna. The first was dedicated to Porte (Doors) (Galleria Otto), the second

to prints and engravings (Stamparte). Themes and content entwined in these two Bologna exhibitions ranging

from intimate reflections on recycled materials (re- presented by “doors and windows of the memory”) to

themes of civil commitment in Bersagli (Targets), which echoed the Balkan tragedy close at hand.

The experience gained with the Doors cycle was shared with the patients of the Fondazione Emilia Bosis of

Bergamo (an institution dedicated to the treatment of pathologies linked to mental illness) through intense

laboratory work. The result of this collaboration was exhibited for the first time at the Teatro Sociale of

Bergamo in 1997 and, later (on the theme of the Stations of the Cross), at an exhibition in Venice mounted in

1999 in the Church of Santo Stefano.

The Diocese of Bergamo commissioned a monumental work from Piccoli for the Jubilee in 2000, exhibited

during that year in the Cathedral of Sant’Alessandro. Beginning in 2003, Piccoli stayed for long periods in

Basle, where he occupied a house-studio in Klybeckstrasse,

the subject of an exhibition at the Galerie Carzaniga (2004). New materials were tried, such as beeswax, wire

or copper, always forming part of pictorial combinations that summed up the themes of his life’s work: “I try to

recompose everything in a fragile drama of light, soaking the gauze in natural wax and leaving parts of the

canvas open to evoke memories”. During 2007 the Galleria dello Scudo of Verona organized a monographic

exhibition of Piccoli’s most recent work (2001- 2007) and the Museo Adriano Bernareggi of Bergamo invited

him to inaugurate a new space dedicated to contemporary art (the ex-Oratory of San Lupo). On this occasion,

the artist took inspiration from the Book of Ecclesiastes to create a work specifically conceived for the spatial

environment in which it was to be located. In 2009 the Villa and Collezione Panza of Varese mounted a oneman

exhibition dedicated to Piccoli (Stanze per Villa Panza).

In 2010 the artist undertook a project in Roma and at Caravaggio, entitled 1610 Roma 2010. Omaggio a

Caravaggio. For this occasion he created paintings of large format inspired by subjects and inventions of

Caravaggio. In that same year he made a significant number of D’après, taken from the old masters, exhibiting

them in Basle (Galerie Carza- niga). In the same spirit he organized, the following year, Il tempo ritrovato

(Bergamo, Palazzo Credito Bergamasco).

In 2011 he worked at Portoviejo, Ecuador, where he created a monumental Pentecostés. Closely linked to the

current project is Libro di Spese Diverse di Lorenzo Lotto, a monographic exhibition mounted in 2013 (Basle,

Galerie C).

In 2012 he started the collaboration with Galleria Stefano Forni of Bologna that organized a personal exhibition

Tracce da un filo in 2014 and promoted him in Italian and international art fairs.

 

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About us

Gallery profile

Located in the heart of Bologna, Galleria Stefano Forni was founded in 1996 after 20 years of the owner’s activity in the art print sector. The gallery hosts artists of national and international fame. Every year there is an ample programme of both solo and collective exhibitions of all art categories including painting, sculpture, prints and photography.

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Company data

Foundation

1996