Caterina Molteni (Milan, 1989) is Assistant Curator at MAMbo Modern and Contemporary Art Museum in Bologna. From 2016 to 2019, she was in charge of Public Programs and Digital Contents at Castello di Rivoli Museo d’Arte Contemporanea Rivoli-Torino. In 2015, she collaborated with Fondazione Sandretto Re Rebaudengo, Turin.
In 2014, she co-founded Tile Project Space, project space dedicated to the research of a new generation of Italian artists, and in 2016 Kabul Magazine, which served until 2018. In 2019 she created the residency Bagni d’Aria.
Among the projects she curated: L’isola portatile, ADA, Roma 2018; String Figures. Narration Practices, Fondazione Baruchello, Roma 2018; Supercondominio, Castello di Rivoli, 2018-2019; Emilio Vedova from the Collections of Castello di Rivoli, 2018; Il miracolo di Benni Bosetto, Bagni Misteriosi, Milano 2019; with Carolyn Christov-Bakargiev, For An Imaginist Renewal of the World. The Alba Congress 1956-2019, Castello di Rivoli, 2019. Her essays appeared on Flash Art, CURA., Nero Editions, Kabul Magazine.
Bilancione (ragazze del blog), 2019
A3/iron structure, nylon cloth, 20 drawings A3 format | 140x110x80 cm
courtesy the artist, P420, Bologna and The Goma, Madrid
photo Roberto Ruíz
Riccardo Baruzzi (Lugo, 1976) lives and works in Bologna. His research is structured around the physical and poetic principles of drawing and sound. Flowers, pornography, Madonnas, placings, horses, divinities, abbots, are reworked by the artist in a process of pictorial sublimation that attempts to reveal the origin of images and their essence of sign. Among the references that define the artist’s imagination and language, there are constant links to the lagoon and flat landscape of his childhood, whose subtle sounds, the ornaments of the lagoon huts, fishing techniques and convivial rituals he reworks.
Desco Rosso, 2013
obsidian, silk, cotton, fish, iron
photo Dario Lasagni
Luca Francesconi (Mantova, 1979) lives and works between Mantova and Paris. His research moves from an interest on anthropological themes such as traditions and popular culture, to reflections that include food and the food production system, its distribution and the entailed human implications. Thanks to an investigation of biological cycles, e.g. digestion and productive cycles such as crop rotation, the artist brings attention back to a direct relationship with nature. His works develop from the partial modification of found objects and the representation of instruments, animals and plants from popular peasant iconography.
day-time exhibition view and detail at Giorgio Galotti, Turin, 2018
vicenza stone, semi-refractory ceramics, wrought iron, leather, oxidized brass, plaster, forest soil, rust and beeswax
courtesy the artist and Giorgio Galotti
photo Sebastiano Pellion di Persano
Andrea Magnani (Faenza, 1983) lives and works in Milan. His research delves into meaning-making processes, staging the overlapping of order and generative tensions. In his meticulously constructed environments, the viewer is haunted by a distilled reality where uncanny yet familiar objects participate in a sensual balancing act. Whether being unreadable drawings, “fake readymades” or non-spectacular performances, the dialogue among every part of a work aids to evoke non-verbal feelings. Erosive ambiences, where the boundary between reality (authenticity) and representation (art) is constantly shifting.