This is a project that links four Italian artists with different approach and style with the intention of showing the process of transition of Italian contemporary painting. In particular the booth will focus on how these 4 artists express their personal relationship between the historical tradition of painting and the need of a contemporary expression.
108, alias Guido Bisagni (Alessandra, 1978. Lives and works in Milano).
He graduated in Architecture in Milano, where he came into contact with the avant-gardes of the early 20th century and decided to change his name into a number with esoteric meanings. Influenced by artists like Kandinsky, Arp or
Burri, for the research they conducted on the relationship between form and color, 108 also makes reference to more distant sources in time and space, such as the expressive sign of cave paintings and the magical attributes of shamanism.
He has participated in the main international festivals on new mural painting, while getting involved in sculpture, sound and installations in dozens of solo and group shows, while continuing his research on form and color in non-commissioned works.
El Gato Chimney (Milano, 1981. Lives and works in Milano) started his career as a self taught artist, developing an early interest in graffiti that made him pursue a successful journey into street art. As the years went by, the artist began to prefer to work in his studio, dedicating his time to an introspective research to depict immaterial things, such as emotions and inner visions. Currently, El Gato Chimney's studies range over a wide variety of subjects, such as alchemy, ancient and modern art, magic, mirabilia, occultism, popular folklore, primitive art and spiritualism. The universe he portrays is dual and deceptive, like a good nightmare: a world constantly split between a daytime Arcadia and an inhabited and unquiet night, where the dividing line is clearly visible and easy to cross, both a danger signal and an invitation to disobedience. A magical and religious syncretism is what livens up the inhabitantants of these lands, a well-turned mixture of cultures and eras, as the artist wants to assert that celebrating life and escaping death is what joins all beings.
Fulvia Mendini (Milano, 1966. Lives and works in Milano) studied graphic design and Illustration at the European Institute Of Design in Milan.
Her painting, characterized by a frontal and hieratic setting, filled with erudite citations, is the result of a refined mixture of graphic and artistic styles. If in her modern Madonne the influence of Renaissance painting – from Giovanni Bellini to Piero Della Francesca, from Pisanello to Paolo Uccello – is undeniable, in the most recent portraits, besides the obvious influence of Pre-Raphaelite and Symbolist iconography, emerges, for the first time, the
interest in the natural landscape, where the artist reinterprets the lesson of the Douanier Rousseau, positioning it in an Arcadian dimension populated by nymphs and fairies.
Giuliano Sale (Cagliari, Italy, 1977. Lives and works in Milano) is a painter with doubts, who investigates the psychological dimension of portraiture, emphasizing the disorientation and moral uncertainty of his subjects by breaking down their physiognomic features. In his paintings not only anatomies but also environments and spaces are subjected to radical dissolving of form, a fragmentation that bears witness to the confusion of the existential condition
today. Far from fashions, rigorous but also irreverent and caustic, Sale explores the ambiguities of our time with a magmatic, fluid language in which the chaotic elements of the post-Cubist grammar achieve unprecedented dramatic tension.