ARCO

Luisa Rabbia (1970, Pinerolo, Italy) lives and works in Brooklyn, NY. She received her MFA from the Accademia Albertina di Belle Arti in Turin, Italy. The artist blends the distinctions made between the human and the natural, expressing solidarity with the cosmos through the organic, bodily landscapes of her expansive paintings. The scale of Rabbia’s paintings suits the themes she explores, oftentimes depicting overlapping abstracted figures joining and breaking apart, seemingly overcoming their physicality. She alludes to interconnected natural processes forming a thread between microcosms and macrocosms and interweaving them in a nebulous primordial state. Continually in flux and transforming, her forms created in expressive hues also evoke spiritual transitions. Upon closer viewing and bringing this substantial work to a more intimate level, her physical and intuitive process becomes visible with its rhythmically scraped paint, the stratification of pencil marks, and imprints of fingertips. Rabbia alludes to the minute traces that each person leaves over the course of a lifetime, yet simultaneously asserts an expansive and interconnected vision of a wider universe.

Among her solo shows: Collezione Maramotti, Reggio Emilia; Isabella Stewart Gardner Museum, Boston; Fundación PROA, Buenos Aires; Fondazione Querini Stampalia, Venice; Fondazione Merz, Turin. Among group shows: Magazzino Italian Art Foundation, Cold Spring, New York; Manifesta 12, Palazzo Drago, Palermo; Palazzo delle Esposizioni, Rome; Biennale del Disegno 2016, Museo della Città, Rimini; Lismore Castle; Shirley Fiterman Art Center, New York; Maison Particulière, Brussels; Carpenter Center for the Visual Arts, Università di Harvard, Cambridge; Museo del Novecento, Milan; MAXXI Museo nazionale delle arti del XXI secolo, Rome; Museum of Contemporary Art Shanghai.

Daria Dmytrenko (1993, Dnipropetrovsk, Ucraina) vive e lavora a Venezia. Dopo la prima formazione artistica a Dnipropetrovsk, ha frequentato i corsi di pittura presso l’Accademia Nazionale di Arti Visive e Architettura di Kiev (2012-15) e si è diplomata all’Accademia di Belle Arti di Venezia nel 2021. Attraverso la pittura, l’artista esplora l’espressione visiva del subconscio, utilizzando gli impulsi intuitivi come strumento per far emergere i ricordi più profondi e trasformarli in composizione. Tra le mostre in cui sono state esposte le sue opere: Journey to the center of the mind, Stems (Paris, 2024) What’s behind the gloom, Setareh (Düsseldorf, 2023), Degree Show II, Palazzo Monti (Brescia, 2021); Extraordinario, Vulcano agenzia VEGA (Venezia, 2020); 103ma Collettiva Giovani Artisti, Fondazione Bevilacqua La Masa, Galleria Piazza San Marco (Venezia, 2020); Spin Off, Calle Lunga Santa Caterina (Venezia, 2019); Speculum mundi, Davide Gallo (Milano, 2018); Upon a Time, Galleria Eduardo Secci (Firenze, 2022); Fluuuuuido, Cassina Projects (Milano, 2022).

Andrea Galvani was born in Italy in 1973. He lives and works between New York and Mexico City. Adopting a cross-disciplinary approach that often draws upon scientific methodology, Galvani’s conceptual research informs his use of photography, video, drawing, sculpture, sound, architectural installation, and performance. His work seems to heighten awareness, articulate and extend the limits of sensory perception. Investigating relationships between fragility and monumentality, temporality and continuity, visibility and invisibility, his projects are documents of interventions orchestrated on site. Modifying and distorting natural surroundings, Galvani transforms the environment into a laboratory for physical experiments, cerebral observation, and collective action.

Galvani has exhibited internationally, including at the Whitney Museum, New York; the 4th Moscow Biennial for Contemporary Art; the Mediations Biennial, Poznań, Poland; 9th Biennial of Contemporary Art of Nicaragua; Art in General, New York; Aperture Foundation, New York; The Calder Foundation, New York; Pavilion – Center for Contemporary Art and Culture, Bucharest; Mart Museum of Modern and Contemporary Art, Trento; Macro Museum, Rome; GAMeC, Bergamo; De Brakke Grond, Amsterdam; Den Frie Centre of Contemporary Art, Copenhagen; Sculpture Center, New York; among others. His work is part of major public and private collections in Europe, the Americas, Asia, and Africa, including: the Permanent Collection at the Dallas Museum of Art, Texas; Deutsche Bank Collection, London; Artist Pension Trust, New York; the Contemporary Art Society, Aspen Collection, New York; the UniCredit Art Collection, Milan; the Permanent Collection of the United States Library of Congress, Prints and Photographs Division, Washington, DC; the Mart Museum of Modern and Contemporary Art of Trento and Rovereto; the 500 Capp Street Foundation, San Francisco; MAXXI National Museum of XXI Century Arts, Rome; The Armory Show, New York and MACRO Testaccio, Rome.  He was a visiting artist at New York University, and has completed several artist residencies in New York, including Location One International Artist Residency Program, the LMCC Lower Manhattan Cultural Council, and the MIA Artist Space Program/Columbia University School of the Arts. In 2011, he received the New York Exposure Prize and was nominated for the Deutsche Börse Photography Prize. In 2016, the Mart Museum of Modern and Contemporary Art of Trento and Rovereto presented Galvani’s first mid-career retrospective in Europe. In 2017, his work was selected to represent the Deutsche Bank Collection at Frieze New York. In 2019, he was awarded the prestigious Audemars Piguet Prize.

Matthew Ritchie was born in London in 1964, graduated from Camberwell College of Art (BFA) in 1986 and emigrated to the United States in 1987. He lives and works in New York. His environmental installations of paintings, wall drawings, light boxes, games, sculpture, films and performance works are a continuous investigation of the idea of embodied information, explored through a shared universe of interconnected stories and images that draw from art, architecture, science, fiction, sociology, anthropology, mythology, history and the dynamics of culture, all unified by a unique, shared visual language. Ritchie describes the generation of systems, ideas, and their subsequent interpretations in a kind of cerebral web, concretizing ephemeral and intangible theories of information and time in a unique and recognizable gestural form that emphasizes the human trace.
In 1997, Ritchie began a series of paintings and installations titled The Main Sequence, which aimed to represent visually a theory of everything through a fragmented narrative. Each painting in the series developed as part of an interactive game that attempted to summarize an entire field of knowledge, such as physics and biology, into a multi-layered and immersive story. Ritchie is also committed to ambitious public art projects that can project complex ideas into shared spaces,  focusing on projects where the informational  content of the site can be integrated in to the architectural form of the work. Over the last several years, Ritchie also embarked on a project to chart a comprehensive visual history of the notational mark, or diagram. Divided into three parts, The Temptation of the Diagram, Surrender to the Diagram and The Demon in the Diagram, the ongoing project has thus far manifested in a series of paintings, performances, installations, and a publication that examines the influence on notational language on the systems and production of knowledge. Ritchie’s newest body of work, Time Diagrams, an ambitious one-hundred part sequence of paintings, floor, wall and performance works, seeks to examine the structure and informational language of history, in the same way The Main Sequence examined the informational language and structure of space.
Ritchie has exhibited internationally over the past two decades, including solo presentations at the Moody Center for the Arts at Rice University, Houston, TX (2018); Institute of Contemporary Art, Boston, MA (2014); ZKM Karlsruhe (2012); Barbican Theatre, London, UK (2012); Brooklyn Academy of Music (2009), NY; St. Louis Art Museum, MO (2007); MASS MoCA, North Adams, MA (2004); Contemporary Art Museum, Houston, TX (2003); and Dallas Museum of Art, TX (2001). He was recently the 2018-19 Dasha Zhukova Distinguished Visiting Artist at MIT Center for Art, Science & Technology. Ritchie’s work was included in the 1997 Whitney Biennial, the 2002 Sydney Biennale, the 2004 Bienal de Sao Paulo, the 2008 Seville Bienal, the Havana Bienal, and the 11th International Architecture Biennial, Venice, Italy (2008) as well as major exhibitions at the Solomon R. Guggenheim Museum, New York, NY; Museum of Modern Art, New York, NY and the San Francisco Museum of Modern Art, CA. His work is in the permanent collections of the Museum of Modern Art, New York, NY; Solomon R. Guggenheim Museum, New York, NY;  Whitney Museum of American Art, New York, NY; San Francisco Museum of Modern Art, CA; Collezione Maramotti, Reggio Emilia, Italy; and the MIT List Visual Arts Center, Boston, MA among others.

Radu Oreian was born in 1984 in Tarnaveni, Romania. He currently works and lives in France. He awarded his first degree in 2005 at the University of Art and Design of Cluj-Napoca and he continued his studies at National University of Art of Bucharest where he graduated in 2007. Radu Oreian’s practice has at its core the classical mediums of drawing and painting and explores the way history, ancient myths and archives shape our society and our understanding of humanity. His ‘Molecular Painting’ are a miniature-like format of works that pulsate with details and thus intend to draw the viewer’s eye deeper and deeper into the fabric of the paint and hopefully deeper and deeper into the nature and meaning of painting. The red thread that runs through Radu Oreian’s works is creating a new, meditative visual imprint of a peculiar density that appears to exist in a pulsing state of tension and relaxation. Radu Oreian has been the protagonist of several solo-shows: SVIT Gallery, Befriending the memory muscle (Prague, 2020, with Ciprian Mureşan), Gallery Nosco, Microsripts and Melted Matters (London, 2019), Gallery ISA, Farewell To The Thinker of Thoughts (Mumbai, 2018). Among his institutional projects: La Fondazione, Project Room (Roma, 2020, solo-show), The Last Agora, Plan B Foundation (Cluj-Napoca, 2019) and Chasseur d’Images, Musée de la Chasse et de la Nature (Paris, 2019). Among his group shows: One in a million, Gallery Nosco (Marseille, 2018) and On The Sex of Angels, Nicodim Gallery (Bucarest, 2017).

Kevin Francis Gray was born in Northern Ireland in 1972. He currently lives and works between London and Pietrasanta.

Kevin Francis Gray has generated bodies of work which address the complex relationship between abstraction and figuration. At the core of the artist’s practice is an interrogation of the intersection of traditional sculptural techniques and contemporary life. Rather than working towards ideals of beauty or memorial, Gray attends to the psychological effects, often relying on textural surfaces rather than facial or bodily expressions. Furthering Gray’s decade of working with marble, his new work pushes the possibilities of the artist’s sculptural practice into new territories of physical and psychological expression.

He received his BA from the National College of Art & Design in Dublin (1995) and the School of Art Institute in Chicago (1996), and then went on to earn an MA in Fine Art from the Goldsmiths College in London. He works closely with the Giannoni marble studio in Pietrasanta, renowned for its use of sculpting techniques that date back to Canova and Michelangelo. His works have been included in exhibitions at the Royal Academy, London, UK; Sudeley Castle, Winchcombe, Gloucestershire, UK; Museum of Contemporary Art of the Val de-Marne, Paris, France; Nieuw Dakota, Amsterdam; Palazzo Arti Napoli, Naples, Italy; Musee d’art Moderne, Saint-Etienne, France; ARTIUM, Centro-Museo Vasco de Arte Contemporáneo, Vitoria-Gasteiz, Spain; Tel Aviv Museum of Art, Tel Aviv, Israel; and Art Space, New York, USA.