ART GALLERY
ARTISTS
VETTOR DA MOSTO
RICCARDO PATERNÓ CASTELLO
ROBERTO JARDIM HUBER
GIORGIA SEVERI
FRANCESCO LO SAVIO
FRANCESCO CASOLARI
PINO PASCALI
SERGIO LOMBARDO
ALDO MONDINO
GIOVANNI RUGGIERO
GIANFRANCO NOTARGIACOMO
FÁTIMA SPÍNOLA
OMAR GALLIANI
PABLO ECHAURREN
GIOSETTA FIORONI
GIACINTO CERONE
GIANNI ASDRUBALI
.jpeg)
VETTOR DA MOSTO
Vettor Da Mosto was born from the union of his Venetian father with his South African mother. He completed compulsory schooling in England, passing through Oxford and Dover.
He then spent four months in Japan, studying the language and culture of the place. Upon returning to Venice, he sought a means to express his observations and reflections on the world. He found it in photography, and his first project materialized in “ Riflessioni Lagunari "
I was told by my grandfather and then by my father that our lineage has always been recognized in merchants and travelers.
The most famous is Alvise Da Mosto, who in the 15th century, at the age of 18, discovered the islands of Cape Verde located southeast of Madeira.
It is an honour for me to retrace the steps of my ancestor by showing my type of exploration, photography. In common is water, which for me, as for my ancestor, is the means to achieve our discoveries.
Of the “ Riflessioni Lagunari " collection on display at Salita Madeira, there are a dozen works. In addition to these, I have decided to include my new series of photographs entitled “ Metalli Acquatici "
In it, like my ancestor Alvise, I capture the philosophy of exploration in unknown waters. Works in colour and black and white, all within the theme of water reflections.
RICCARDO PATERNÓ CASTELLO
Riccardo Paternò Castello was born in Catania in 1980. After completing his studies at the Institute of Art in Catania in 1998, he moved to Rome to attend painting courses at the local Academy of Fine Arts. The following year, he continued his studies in Florence, and in 2001, he moved to Milan where, two years later, he completed his studies at the Brera Academy of Arts.
In 2002, he began exhibiting his works in Italy. In 2004, his first international solo exhibition was held at the Matisse Club Gallery in St. Petersburg. This marked the beginning of a journey that later led to his works being exhibited in Belgium, England, Japan and now in Portugal.
Since 2018, his work titled "View of Croydon" measuring approximately 8 square meters, has been permanently displayed at the Leon House tower in Croydon, England.
To date, he has exhibited in over forty shows, both solo and collective, in Italy and abroad.
ROBERTO JARDIM HUBER
When I saw Roberto Jardim Huber's artwork in his atelier, what struck me was its expressive immediacy, an "out of phase" but decidedly incisive immediacy.
I say "out of phase" because it comes before conscious thought, and I say incisive and immediate because his choice of action instantly precedes instinct.
This does not mean that it is an instinctive action for its own sake but rather that his choice is translated into an image even before having thought of it.
In agreement with the new neuroscientific theories in which the conclusion has been reached that thought is not primary but consequent to a neuro-neural choice that occurs first, several moments before it is translated into conscious thought.
This leaves one wonder if free will is so free after all.
Roberto Jardim Huber works in between the limits of what is and what is not yet thought.
He is aware of this and while we were in his studio he said to me: “ When I don't think I succeed .. When I know I already know too much and I lose the magic, I lose the breath of art ... there is no sacredness .... In short, if I know then it already becomes too much, a task ..... Art is a whole other thing! “
Gianni Asdrubali
GIORGIA SEVERI
It's a need, a fear, almost an obsession of care to me archiving endangered environments or places with no longer life, to keep safe memories and to keep them alive in some ways.
Each tree had a special meaning, a value, a power and a function in the human landscape untill last century.
There is no civilization where the natural environment is erased and there is no real life in a concrete desert.
Losing the balance the world is generating many ghosts.
Who is the ghost?
Erased landscapes? Settlers not belonging to the place or indigenous people left behind? Melting glaciers? Cleared forests or growing cities?
Just trying to bring awareness on some issues between our relationship with the environment, what the world population need to survive related to it, what we lost and what is going to disappear.
FRANCESCO LO SAVIO
Rome, 1935 – Marseille, 1963
Francesco Lo Savio was one of the most complex personalities in the Italian art scene. After graduating from the Liceo Artistico in Rome, he enrolled in the Faculty of Architecture, which he soon left to devote himself to design and painting.
In these years he comes into contact with the Roman artistic and cultural environment. In particular, he made a solid friendship with Toti Scialoja who in 1960 introduced him to the gallerist Liverani who later became his only gallerist.
In 1959 he abandoned his first experiences close to the informal, to devote himself to research focused on space. The result of this new experimentation is a series of monochrome paintings, in which the luminist variation of the color defines the structure of the surface and places it in a relationship of continuity with the environmental space
In November of the same year, he participated, together with Angeli, Festa, Schifano and Uncini, in the exhibition organized at the La Salita gallery in Rome by P. Restany, “5 painters. Rome 60 “. On this occasion, he presented his first Metals, the result of a greater adhesion to the constructivist lesson: bent opaque black metal plates placed on two-dimensional support.
From the beginning of the 1960s, an intense season of international collaborations and exhibitions began and he created Total Joints in which he isolated the space with cubes of white concrete, in some ways anticipating minimal art.
After his death, his work received numerous awards. In particular, the X Quadrennial in Rome, the XXXVI Venice Biennale in 1972, the retrospective curated by G. Celant at the Pavilion of contemporary art in Milan and the retrospective curated by B. Corà in 2004 at the Pecci Museum in Prato. His works are kept in numerous public museums and private collections, such as the National Gallery of Modern Art in Rome, the Civic Gallery of Modern and Contemporary Art in Turin and the Prada Foundation in Milan.
FRANCESCO CASOLARI
This anthological exhibition, which I present with great pride and pleasure at La Salita Madeira, fully illustrates my work as an engraver, more precisely as an etching artist, based on urban geography and on the implementation of a Mundi Imagines.
My artistic research is based on the construction of an imaginary Atlas of the international network of metropoles that hold the planet’s economic and social systems.
We are now hyper-connected, everything is now very quick or even instantaneous, cultures and continents merge in a whirlwind of information about fashion, art and design; nothing interrupts the rhythm of life anymore.
These cities are now social and subculture laboratories made up of tens of millions of citizens.
Every one of them carries a lifestyle message, and these areas of the world communicate continuously with each other, creating a social class of people who live everywhere and nowhere.
The future is already here, we are living it.
PINO PASCALI
Pino Pascali has crossed the history of Italian art as a dazzling meteor. Born in Bari in 1935 and died at the age of thirty-three in a motorcycle accident, he is considered with Boetti and Manzoni as one of the most innovative avant-garde artists of the Italian post-war period.
SERGIO LOMBARDO
He began his artistic journey at a very young age, specifically at the end of the 1950s; creating his first monochrome works, pieces of paper glued on canvas and painted with enamel layers. He made his debut in a group exhibition in 1958 at the Premio Cinecittà in Rome.
In 1961, Lombardo began creating the Typical Gestures series, initially painting in black and white and later in color, in a size larger than real life, some of the most important political figures of the time, highlighting their emblematic and evocative characteristics. During this artistic period, he joined the Piazza del Popolo School group, an artistic movement that included artists such as Mario Schifano, Jannis Kounellis, Tano Festa, Franco Angeli, Renato Mambor, Cesare Tacchi, who gathered in Rome around Caffè Rosati. In 1963, he exhibited at La Tartaruga Gallery with Renato Mambor and Cesare Tacchi, while in 1964 he participated in the collective exhibition Eight young Roman painters.
From the mid-sixties, he created the Supercomponibili series, which in 1968 he presented at the La Salita gallery in Rome and at the Salone Annunciata in Milan. These years marked a strong participation abroad in thematic reviews and group exhibitions, including in 1967 at the National Museum of Modern Art in Tokyo, in 1968 at the Jewish Museum in New York, and in 1969 at the Centre Georges Pompidou in Paris.
In 1970 at the 35th International Art Exhibition, the Venice Biennale he exhibited Sphere with Mermaid, an environmental work composed of seven spheres that emitted an alarm siren sound at the slightest movement.
From the eighties, he developed Stochastic painting, automatic procedures of artistic creation. He exhibited in numerous shows including the solo exhibition in 2004 at the Mudima Foundation in Milan and in 2011 at the collective Italian Masterpieces a look at the twentieth century at the Museum of Modern and Contemporary Art of Trento and Rovereto. In the '80s, he taught at the Academy of Fine Arts in Frosinone.
.
ALDO MONDINO
was an artist characterized by an ironic approach to art. He used a range of unconventional materials in his works, including caramel and chocolate, and pioneered the art of painting on linoleum. He is known for mosaics realized using chocolate, seeds, coffee, legumes and many other different materials.
GIOVANNI RUGGIERO
My work is a gesture, a trace of colour, something that it was, but it is not anymore; my work is a continuous development, it always change. There is a secret world that flows into the human existence: it is a infinite circular line that goes across Time and Space and reaches the Origin, the Divine flow that gave birth to life. It is the same line that we leave in the air and in the earth by crossing them; this line is composed by millions of cells that constitute our Cosmic memory, the existence of our divine DNA. The line crosses the space in which everything reconnects with itself, to its primordial creative power. We think that we are made of cells and matter, but during our own existence we generate an enegy, a light that is in relation with the universe. That’s the reason why we are immortal, besides our belief and knowledge ( which are very limited ).
The breath of the sea, the atomic nucleus of a star, the wind and the clouds, the stone and the spike are all living in us: we are the depositories of a trace of infinity. And with the word infinite I mean the whole, the whole that exists and that goes back to its unity: the unity of the whole as a generative principle of the cosmic existence of space and time.
GIANFRANCO NOTARGIACOMO
Storm and Assault is almost a statement. I exhibited the great paintings with that title, that title which has accompanied me ever since, in La Salita, the historic roman gallery of Giantomaso Liverani for the first time in 1980. Since the early 70s I have been looking for the way that would allow me to get out of the waves of conceptual art, which I considered mediated and indirect communication. I wanted a painting of impetus, a painting of gesture made by quickly entering the canvas, because it has always been like this: I thought of a painting and considered it done. The rest was just working...
It came naturally to me to go fast. Liverani understood this pace perfectly and so after the "Takète o della Scultura" exhibition, at La Salita in '79, it was the turn of "Tempest and Assault“ in 1980.
Today I imagine my artworks crossing the ocean moved by its dark waves to reach La Salita Madeira, which of La Salita is its confirmation and its future.
The title is, it can't be anything other than: Storm and Assault
FÁTIMA SPÍNOLA
Fátima Spínola has a degree and a postgraduate degree in Painting from the Faculty of Fine Arts of the University of Lisbon. Between 2012 and 2014 she participated in Madeira Island as a plastic artist and co- manager of the “Mad Space Invaders artistic collective” and since 2012, she has been co-manager of the “Espaço 116” project. Between 2017 and 2019 she developed curatorship and production projects, exhibitions and Urban Art and since 2000 exhibited in Portugal, Spain, Italy and Brazil, being represented in the Imago Mundi collection by Luciano Benetton (Italy), in the Périplos - Arte Portugués de Hoy collection at the Center for Contemporary Art in Malaga (Spain) and in private collections in Switzerland, France, Scotland, Portugal and Brazil
OMAR GALLIANI
Stolen kisses / Covid -19
The night they have separated our eyes, our hands,
our lips from their passionate or compassionate caresses, the stars of
an increasingly dark silent and distant sky began to shine
a remote light that we weren't prepared for, because we’re used to a smooth and monotonous transit always the same.
The everyday life of the gesture has turned into absence.
The greed of time was interrupted by removing us from the exercise of daily emotions
without knowing what would become of our bites, our kisses,
now interrupted, suspended, stolen by a messenger without name and form apparent.
An unknown intruder, ambassador of delusions and fears that
they seemed to belong to ancient tragic lists written with
inks
blue on tanned lambskin and which today is laid down in instantaneous alphanumeric lists their inauspicious seal.
So I thought about the denied sweetness of millions of kisses and lips closed, suspended in doubt
fear of contact and everything to which that simple gesture, but
universal had raised us from childhood to death through
love, dreams, emotions.
These "Stolen Kisses" designs begin on a journey I made in
my studio from the early days
of the Pandemic to get to this Madeira island until today
I don't know yet and that my works will see before
myself. Ambassadors of a firm belief that all this can
to be forgotten in the simple and eternal magical gesture of a "Kiss" fearless.
PABLO ECHAURREN
Collage
Having an exhibition is a good excuse to take a trip and visit a city or town, but not as a tourist.
For me it involves getting to know the residents, especially those interested in the art, and the area.
Once I reach my destination I enjoy collecting local materials such as maps and information to build my psychogeographic maps that show the places where I have been, which illustrate my physical and mental paths as portolans.
They are paper proofs of my movements, of my observations, of my casual encounters on the walls or on the ground.
Layers of feelings.
Alluvial layers on which the gaze has settled.
This time, however, it will not be so.
In the virus age of Covid 19, exhibitions travel without the accompaniment of the author.
The author stays at home, on the sidelines, as if he had already died.
It's a shame because I would have been happy to have a short holiday in Madeira, in Funchal.
But now I have to look at it on the internet, at least to realize it roughly.
Just as visitors to the exhibition will look at it on their computer screen or Ipad or smartphone or standing beyond the windows, aseptically, safely, without risk of contagion.
It is social and artistic distancing.
There is nothing that can be done, but it will still be as if I had been there.
And in truth I have been there, through interposed collages. They will be able to tell me.
GIOSETTA FIORONI
was born in Rome in 1932 into a family of artists: her father Mario was a sculptor, while her mother Francesca was a painter and puppeteer. She attended art school, studying with Giuseppe Capogrossi, and went on to study at the fine arts academy, where she met her professor Toti Scialoja, an important figure in her career as an artist.
At the end of 1958 she went to live in Paris, where Tristan Tzara sold her his studio. She met many artists in Paris, including Jean Paul Riopelle and Alberto Giacometti, as well as Samuel Beckett. In 1964 she met Goffredo Parise, her life-long partner; she surrounded and nourished herself with friendships with writers and poets such as Guido Ceronetti, Andrea Zanzotto, Cesare Garboli and Valerio Magrelli. She produced two big ceramic doors for the Nuovo Olimpia cinema in Rome.
She is the only female figure to be part of the Piazza del Popolo School with Mario Schifano, Franco Angeli and Tano Festa.
Fioroni was the only woman to take part in the Piazza del Popolo School with Mario Schifano, Franco Angeli and Tano Festa. An eclectic artist who liked to use a variety of different media, she went from the silver works of the sixties to canvases and drawings made with enamels and industrial paints to aluminium, experimentation with photography and, lastly, a vast ceramic production. Beginning in 1993 she produced her ceramics in Bottega Gatti in Faenza, also frequented by Mimmo Paladino and Luigi Ontani, creating works about fairy-tales, magic and fantasy worlds and holding solo shows in prominent galleries in Italy and abroad.
“All my work shares a sort of common theme, which is childhood: a very particular kind of childhood, spent among highly visionary elements. All this plays an important role in the choice of certain things, of certain frames, even of certain ways of imagining space. A space that is always very far away, as if it were taking place on a stage”.
GIACINTO CERONE
places himself in the panorama of contemporary art as a countercurrent artist, far from schematizations or collocations that recall belonging to contemporary groups and movements. Giacinto Cerone is a "solitary" sculptor conscious of his contemporaneity, far from telling the complexity of artistic and human events and the present and instead tended to anticipate the story of what happened and what will come. The artist is charged with universal and everyday passions that invoke the state of the future man and evoke the memory of the ancient one.
In the poetics of the author anticipation and memory chase each other, they do not recognize each other, sometimes they overlap and flow into a new language, but without ever losing themselves in the obviousness of mere and exclusive linguistic research. The artist travels along two parallel paths: sculpture as a narrative medium that goes beyond the descriptive statement to deliver itself to the conceptual act; drawing as a representation of an implacable truth, prompted by the physicality of one's body, a premonition of the final effigy.
GIANNI ASDRUBALI
There is great tragic tension in this artwork, a sense of a growing organism struggling against dissolution. The sign here has a particularly physical and iconic corporeality. It reminded me, even from afar, of Picasso’s Guernica.
Lorenzo Mango
Gianni Asdrubali was born in Tuscania in 1955, where he lives and works. In the early 1980s he established himself as the protagonist of a pictorial research that creates a reality generated by the tension of the void within its most extreme point, the beginning.