Nel libro collezionare opere su carta di Nicola Maggi e Sandro Naglia sono pubblicate una serie di mie opere realizzate su carta. Una guida idealmente rivolta ai neofiti, ma forse utile anche ai collezionisti che non abbiano avuto tempo o occasione per approfondire l’argomento.

Autori: Nicola Maggi e Sandro Naglia

Acquistabile su questo link:

https://collezionedatiffany.com/…/collezionare-opere…/

https://collezionedatiffany.com/…/collezionare-opere…/

Brutal or beautiful, oil on canvas, cm 100×100, 2023

Brutal or Beautful_arancio, olio su tela, cm 80×80, 2023

“In costruzione”, olio su tela , cm 100×120, 2014

Dal 9/3/2024 fino al 9/9/2023 il dipinto sarà presente nella mostra “Fuorilegio Italiano – Artisti invitano Artisti” nella sede del museo Mo.C.A di Montecatini

_”Fuorilegio Italiano – Artisti invitano Artisti”

Da Michelangelo alla contemporaneità | THOMAS GRÜNFELD
werden. from Michelangelo to…
Tiroler Landesmuseum Ferdinandeum, Innsbruck
| 03.12.2021 – 18.04.2022

Studio Tito Conti, oil on canvas, cm 20×30, 2017

Naturale/artificiale (particolare), oil on canvas, 2018

Naturale/artificiale, oil on canvas on wood, cm 200×125, 2018

Cava/Montagna III, oil on photographic print, cm 29×39, 2017

Frammento II, oil on marble, cm 57x87x3 2017

Una montagna, oil on photographic print, cm 55×230, 2017

Momento zero | 7 ottobre-18 novembre | White Noise Gallery | Roma

Curated by Eleonora Aloise e Carlo Maria Lolli Ghetti

http://whitenoisegallery.it/en/mostra/momento-zero-en/

Reviews:

http://www.collezionedatiffany.com/autunno-galleria-ottobre-2017/

https://artecracy.eu/pietro-manzo-momento-zero/

https://romaitalialab.it/terra/pietro-manzo-scenari-senza-traccia-umana

MOMENTO ZERO

The new project shown by Pietro Manzo at White Noise Gallery will push to the very limit his research on environment and its relationship with the viewer’s mind.

The views populating his works seem absolute and universal, almost dystopian. They reflect the look of modern urban conglomerations and feel like déjà-vu: familiar but sinisterly indefinable.
Images that go from microscopic to monumental format, created to be observed from afar, sometimes even protected with actual nail trenches. Post-cards of places where everybody went but no one has ever lived.

The result of the research that Pietro Manzo is presenting for his exhibition is as important as a revolution, conceptual more than stylistic. Instead of portraying city views, where human beings added structures creating a new paradigm of natural morphology, the artist recreated uncontaminated landscapes.

Starting from images of places where human intervention was strong to the point of being invisible –marble mines, bridges, viaduct- Manzo intervenes taking the views back to their moment zero.
Layers of oil panting on top of photographs get deposited with the sole intention of erasing human intervention on the environment. The artist restores a millenary balance hiding the painful traces of our passage under veils of colour.

What is astounding about Pietro Manzo’s works is the ambiguity -eco of the interventions of Land-Art from the1960’s- that exists between artificial gesture and natural state. The side of a mountain seems like an unnatural screen on top of the majesty of a marble cave. Each work on show is the discordant portrait of an uncorrupted nature, almost unbelievable because of the lack of any kind of civilization, an inconceivable condition for the modern man.

The relationship of Pietro Manzo with the territory is always more tight, physical, to the point of becoming not only an aesthetical connection but also tangible. Like Richard Long’s stones, the artist brings in the gallery the same stone fragments he takes from the gutted mountains. Oil paintings on marble sheets, cave scraps or forensic proofs of murders accomplished in utter indifference.

The project room hosts a sequence of fractals, on which is painted the image of the mountain where they come from. A synecdoche, single drops of blood that contain the whole DNA.

Reviews:

http://centropecci.it/it/mostre/tu35-2016

http://www.artribune.com/dettaglio/evento/56715/tu35-2016/

http://atpdiary.com/tu35-open-call/

Reviews:

http://insideart.eu/2016/07/11/bocs-art-cosenza-2016/

Da un idea di Lorenza Boisi e Andrea Bruciati, Arte Fiera Verona, Verona, 2014

Reviews:

curated by Gino Pisapia,

Galleria Fuori Campo, Siena

Group show:

Pietro Manzo, Giovanni Oberti, Sara Enrico, Helena Hladilov

Cilindro, oil on resin panel, cm 200×300, 2013/2014

Cilindro, details

Text by Carlo Falciani

Solo show:

Accademia delle Arti del Disegno, Firenze, 2014

Grand tour, oil on canvas on resin panel(variable shape), cm 800×200, 2013/14

Esterno/Interno, oil on canvas, cm 35×50, 2014

No more title, oil on canvas, cm 40×30, 2014

Premio Combat 2013

Livorno Museo Civico Giovanni Fattori

Full space,  oil on canvas, cm 200×300, 2012

La Rincorsa della Lepre 2012

un progetto di Massimo Ricciardo

Brolo/Piraino/Ficarra/Sant’Angelo di Brolo

PRIVACY
Asilo Nido/Gliaca di Piraino Italy
Group show:

Gedske Ramlow, Pietro Manzo, Vincenzo Estremo, Adriano la Licata, Flash15 Renato Leotta/Fabbrizio Cosenza

ENG/ Without mystery you are like all the others, drawings on the wall, 2012.

The project created for the exhibition “Privacy”, explores the relationship between space and memory.

How many times have we revisited a place years later and everything seemed different, smaller, larger or stranger? The memory of a place that is imprinted in our minds becomes autonomous from reality and our “visions” are a reconstruction that no longer matches the real physical space.

“Without mystery you are like all the others” comes from the desire to remake a path, a personal journey into space and the stories that map a route through life. The areas of investigation are the beds where the artist slept and created a link with a specific location, making it a sort of temporary home. Drawings made from memory become a means to rebuild and rethink what has remained alive in my personal history.

ITA/Senza misteri sei come tutti gli altri, disegni su carta montati su muro, 2012. Il progetto realizzato in occasione della mostra Privacy, indaga il rapporto spazio/ricordo. Quante volte abbiamo rivisitato un posto a distanza di anni e tutto ci è sembrato diverso, più piccolo, grande o estraneo? Il ricordo di un luogo che rimane impresso nella nostra mente, spesso è autonomo dalla realtà, e le nostre “visioni” sono una ricostruzione che non corrisponde con lo spazio fisico.

Senza misteri sei come tutti gli altri, nasce dalla volontà di rifare un percorso, un viaggio personale tra spazi e storie che sono la mappatura di un tragitto “deciso dalla vita”. L’area di indagine sono i letti dove l’artista ha dormito e creato il legame con un preciso luogo, facendolo diventare una sorta di casa temporanea. I disegni realizzati a memoria diventano così un mezzo per ricostruire e ripensare a ciò che rimane vivo solo nella nostra storia personale.

Two beds and Albert Einstein, pencil on paper, cm 35×50, 2012

54°Biennale of Venice Padiglione Accademie, 2011

a cura di Vittorio Sgarbi

Group show, Lo stato dell’arte/Artisti dalle Accademie d’Italia

Venezia 2011

Souvenir/ why here

Oil on canvas cm 85×230

Post card stand with 64 paintings oil on aluminium, cm 10×15 and 15×10.

The post card stand focuses on images tha I have accumulated over a period of two years. The building sites are all under judicial seizure (frozen) for various irregularities in Campania, Calabria, Toscana, Lombardia.

The canvas subject focuses on a place under construction with stopped works from several years.

Group exhibition, Utopia, Palazzo Corsini, Firenze, 2011

Why here, olio su tela, cm 85×230, 2011- chiodi su pavimento, superficie cm85x230

ENG/The subject of the work refers to a large area under construction near Florence. The School for Police in central Italy. For several irregularities the entire site was placed under seizure(frozen). The installation is a reflection on the image and its hypothetical reflection.  Below the painting in exposure, a portion of the floor (with the picture size) was occupied by about 1000 nails with the tips pointing upwards. The result was a “wound”. An inaccessible area that prevented the approach to the work and the people were physically forced to stay out of it.

ITA/Il soggetto dell’opera riguarda una grande area in costruzione nei pressi di Firenze. La scuola per Carabinieri del centro Italia. A causa di irregolarità l’intero sito è stato posto sotto sequestro giudiziario. L’istallazione è una riflessione sull’immagine e il suo ipotetico riflesso. Sotto al quadro in esposizione, una porzione di pavimento delle stesse dimensioni, era occupata da circa 1000 chiodi con le punte rivolte verso l’alto. Il risultato era una “una ferita”. Un area inaccessibile che impediva l’avvicinamento all’opera e obbligava fisicamente a rimanerne fuori.

Solo show, Pah! Project, Rue de Zaehringen Ch-Fribourg, 2011

ENG/The work was created in a forest of Fribourg and It’s derived from pratices observed on places under construction. They bind some parts not yet stable during the building construction. During the exhibition there was written on the wall(left image) the address that led people to this place. In this case( right image) is bound a stone, a static element. This reversal was created to be  a symbolic element of a constriction that cities and places suffer during the continuous changes.

ITA/L’intervento è stato eseguito in un bosco di Fribourg e deriva da pratiche osservate nei cantieri edili. Si legano alcune parti non ancora stabili degli edifici durante la costruzione. Tra le opere esposte vi era scritto sulla parete(imm.I) l’indirizzo che conduceva lo spettatore in questo luogo. In questo caso (II) a venir legata è una pietra-elemento statico- proprio questo rovesciamento vuole essere simbolico di una costrizione che anche le città e i luoghi subiscono durante i continui mutamenti.

Archive of a trip lasting two years/Archivio di un viaggio durato due anni

Series of paintings placed on corbel, oil on metal, wood and paper, variable dimensions, 2010/2012

Serie di dipinti su metallo legno e carta poggiati su mensole, dimensioni variabili, 2010/2012

*(detail), oil on aluminum, cm 10×15, 2012

Eng/Souvenir, post card stand with 64 paintings oil on aluminium, cm 10×15 and 15×10.

The post card stand focuses on images tha I have accumulated over a period of two years. The building sites are all under judicial seizure (frozen) for various irregularities in Campania, Calabria, Toscana, Lombardia.

Ita/Espositore con 64 dipinti, olio su alluminio, olio su cartoncino, cm 10×15 e 15×10, 2010-2011

Il lavoro riunisce una sequenza di immagini tratte da sopralluoghi in cantieri posti sotto sequestro giudiziario in Campania, Calabria, Toscana, Lombardia.

Where we are going from here, (detail from Souvenir), oil on aluminum, cm 10×15, 2011