Antonella Cattani contemporary art

In presenting Angela Glajcar work we intend to show a selection of works from the series Terforation to the Wallpapers.  
The paper objects and installations of Angela Glajcar (b. 1970, Mainz) explore the way space is experienced. Finely tuned states of equilibrium of lightness and heaviness, materialness, and immaterialness, are intended to evoke in the viewer an emotional reaction to the inanimate objects.
Angela Glajcar transforms large sheets of paper into layered sculptures that hangs on the wall or are suspended from the ceiling to engage with light and perspective. These are born from her signature technique that she calls “Terforation,” a portmanteau of “terra” and “perforation. Her series “Terforation’’ consists of intallations of paper sheets with hand-torn sections, each one presenting a cavernous void that evokes natural landforms. Artworks from this series have been exhibited in international museums like the National Museum of Women in Arts, Washington DC, USA / 2019- in Powerlong Museum, Shanghai (CN) / 2016- in St. Augustin Coburg Kunstverein, Coburg D / 2015- in  MOCA Jacksonville (USA) and Gutenbergmusem, Magonza D.  The coming Solo-exhibition 24. 03. 2023 in the Museum Krems (A) is a further confirm of  Glajcar’s work.
Her works emphasize the materiality of paper while creating moments of dream that reveal themselves depending on one’s viewing angle. Glajcar was awarded with important awards for her innovative manipulation of paper, including the 2021 Paper Art Award 2021 – Berlin.

In presenting Giovanni Frangi we intend to show a selection of works 2022-23 ; these are paintings dealing with cosmos, space and the forces governing nature.
Giovanni Frangi (1959 Milan), began his exhibition career in 1983; in the essay by Achille Bonito Oliva, for the catalogue of his first one-man show in Milan, was then written: "It is a discipline of concrete sensation - less nostalgia and more life, less evocation and more colour, less I and more world."
Giovanni Frangi’s pictorial language has gradually reached an original perception of landscape, as a mixture of openings towards abstraction and particular tonal visions.
The proximity with the limit of figuration, the tension towards a pure formal image, realized from any merely representative link, still characterize his poetic.
Nature acts therefore as a kind of gravitational point that withholds the figure inside a continuous movement of dissolution and and quest for form.
The artist pushes the work on the image to the limit of its being recognizable, up to the threshold of the sinking in the informed. In Frangi's landcapes colour is the agent of transformation, the vehicle of the alienation process from naturalistic data and at the same time component of more than strong fascination.

In presenting Hermann Josef Runggaldier we intend to show a selection of recent works 2022-23. The sculptures with male or female figures, mostly nude, stand often upright, alone, as a pair, sometimes even in groups. Their faces, the signature of the individual, are expressive, their confrontational mirroring gaze mutely yet eloquently directing the viewers’ gaze back themselves. As viewers we share the solitude and intimacy of opaque figures that seem to be equidistant and unreachable.    
The moment of emptiness is the moment of the body’s truth. While the kind of approach to nature Runggaldier is seeking is shown by a series of works developed recently; these are relief sculptures, flat works, like panel paintings originated from the transformation of three-dimensional things into an image. Windows and grooves are worked into copper sheets into which pieces of dry roots are inserted. The roots, a symbol of life newly sprung up, are presented as if in a peep box.
Hermann Josef Runggaldier was born in 1948 in Ortisei (BZ).
After attending a course of sculpture and design at the Art Institute in Ortisei he learned and he perfected sculpture techniques in several craftsmen laboratories. In 1975 he obtained the title of “Master of sculptures”. With his sculptures, created in bronze, wood and stone, he has was awarded with important prizes.                                                                         

In presenting Antonella Zazzera's work ( Todi,1979) we intend to show a selection of works from the Armonici that take their place on the wall but even on the floor (looking at these sculptures one should have the impression of not dealing with a work of art in the strictest sense but, rather, with a work/event or with genuine installations) to the velvety Carte/Scultura, realized with copper thread and cellulose; the C/S are "three dimensional drawings", completed by the shadow cast on the wall.
The copper wire is the basic material that constitutes the most works by Antonella Zazzera, called Armonici.
The artist, who 2016 won the prestigious prize for sculpture Arnaldo Pomodoro, weaves the thread of her sculpture with her hands, trying to feel the harmoniuous point where the copper wire has to be inserted; the vibrating effects provoked by the multiplications of lines produce sculptures of high tension. The Naturalia on display are sculptures that represent a development of the bird's nests and are dynamic forms that extend through space through the shadow.
Zazzera's works are intended to offer a new vision of contemporary sculpture that reveals to have roots in art history.
The artist started to exhibit her works in the 1990s with solo shows, as well as participations in high level group exhibitions in public spaces and galleries, both in Italy and abroad. In 2005 she won the 1st Prize for Young Italian Sculpture established by the National Academy of San Luca in Rome. In 2016 she received the Arnaldo Pomodoro Sculpture Price, Foundation Pomodoro, Milan (I).

Contrary to the heaviness and the physical and environmental gravity of much contemporary sculpture, the aspiration of the italian artist Paolo Buzzi (Ferrara, 1965) is to express a sense of delicacy and evanescence, softness and lightness. He narrates the sensitive, euphoric quality of vegetable and its alteration, which is entrusted to his tactful, tender attention. These sculptures, that we intend to present at Art Luxembourg Art Week, give body to natural forms whose fascinating tactile presence create a luminous harmony in their context.
Certain qualities are revealed and various properties are used in Paolo Buzzi's work which, even while being part of nature, he has taken over as his own; he uses them in order to "form" her own creations.
It must also be said that the aim of his sculptural work is not only of a naturalistic kind but quite the reverse: it is to conceive, create, and place forms in space. We find on various oblong terracotta vases, either separately or gathered in groups, sculptures that vary in their vegetable materials, forms, and sizes. Every single element lives from its own life and at the same time contributes to designing a universe of forms that interact, alternating the shades of the brighter whites of enamels and resins, with the burnished tones of terracotta.
The vase imposes itself not only as a container but as an expression of an always unique and different form that welcomes the signs of a sometimes material painting.