Massimo Giacon could be considered one of the first and most authoritative Italian Lowbrow artists. Unfortunately, though, he began his work when the term Lowbrow hadn’t found its way into the art world yet. In 1982, at the age of 20, he showed work in the same spaces that presented early drawings by the still unknown artist Keith Haring, at the Triennial of Drawing in Nuremberg. Keith Haring later became very famous; Giacon, on the other hand, is still alive and full of good intentions.
 
Comics, illustrations, paintings on wooden panels, canvas, teapots, objects in porcelain and plastic, Alessi, Artemide, Memphis, fabrics, articles in glass, tumblers, shakers, soap dispenser, carpets, Swatch watches, chandeliers, graphics, never completed projects, finished ones, performances, concerts, songs, vinyl records, CDs, covers, graphic novels, music videos, animations, murals, digital images printed on photographic paper, sketches, ceramics, items for the holiday season, stickers, figurines, posters, T-shirts, neckties, candlesticks, calling cards, restaurant menus, postage stamps, sex, religion, flyers for clubs, plates, flatware, pen holders…
Who knows is something exists that Giacon has never designed? Of course, there must be many things: aircraft carriers, fighter-bombers, weapons, cages for animals, prisons, posters for election campaigns, religious biographies, churches, jackets for dogs…
 
This exhibition traces back through the work of Massimo Giacon over the last 30 years, without any attempt to construct a tribute or a chronological retrospective. Together with the artist, we have selected small and large treasures from his archives and those of various public and private collections, to make a map of his work, a map that also becomes a sort of travel diary of our history and the last 30 years in Italy, full of creativity, effort, frustration, flashes of insight, more or less brilliant ideas, optimism, pessimism, hope, dismay, bitter irony and gentle sarcasm, with the comic strip as the leitmotiv and tutelary deity.
 
“We constantly look at the world and our perception is dulled. But if we change our perspective, if we see it as if for the first time, it can still be breathtaking.”
Alan Moore: Watchmen - Dr. Manhattan.
 
During the opening the artist will do the performance “The Illustrated Man”.
 
Opening Thursday 6 June at 18.30
on view until 26 July 2013
Tuesday – Friday, 10.00-13.00 and 15.00-19.00 – Saturday 15.00-19.00
(closed on Saturdays in July)
 
Massimo Giacon was born in Padua in 1961. Since 1980 he has worked in Milan as a creator of comics, illustrator, designer, artist and musician. He was a leading figure starting in the early 1980s in the renewal of Italian comics triggered by magazines like Frigidaire, Alter, Linus, Dolce Vita, Cyborg, Nova Express. He also works as a designer, with prestigious studios and brands (Sottsass, Mendini, Alessi, Artemide, Swatch, Memphis, Olivetti). In 1990 he began to concentrate on art, leading to many solo and group shows in Italy and elsewhere. Since 1983 he has also organized various independent bands and solo music projects. Recently he has been singing, with the band Massimo Giacon & The Blass. Current activities include the creation of design objects, publishing projects (books, magazines, graphic novels), and ongoing work on art and performance.

La Galleria MARCOROSSI artecontemporanea ha il piacere di presentare la mostra personale di Roberta Savelli, una delle figure più sensibili del panorama milanese. L’artista, che collabora con la galleria dal 2005, anno della sua prima esposizione negli spazi di C.so Venezia, ha atteso il compimento di un nuovo importante ciclo di opere per riproporsi alla propria città con la consapevolezza di artista ormai matura.
Il lavoro di Roberta Savelli, infatti, in questi anni si è arricchito di contenuti che, pur mantenendo le caratteristiche formali legate alla figurazione, hanno certamente richiesto un approfondimento del pensiero.
Esercizi di matematica è il risultato di un anno di intuizioni trasformate in sperimentazioni e di confronti con argomenti e ambiti nuovi. La partenza di questo affascinante progetto è la passione letteraria della Savelli per l’Alice di Lewis Carroll, professore di matematica, che conduce l’artista “oltre lo specchio” per indagare il suo controverso rapporto con la matematica e con chi, come sua sorella, vive e lavora in questo mondo teso alla sintesi e alla ricerca di ordine. È da questo intimo e personale raffronto che l’artista va alla ricerca del legame della propria arte con il mondo della scienza dei numeri e delle regole che li governano e, in senso più lato, con una parte di sé che fino ad oggi aveva tenuto lontana. Partendo da un’ipotesi di lavoro, attraverso un processo di introspezione, Roberta Savelli ha applicato un metodo scientifico di semplificazione logica e funzionale, con veri e propri esercizi di disegno e di pittura mirati a perfezionare questa particolare relazione. Uno scambio di corrispondenza con matematici ed scienziati le ha, inoltre, fornito gli stimoli per approfondire e modificare la propria ricerca in corso d’opera, approdando ad una soluzione sicuramente diversa da quella supposta in partenza.
Il risultato di questa lunga equazione è una mostra nella quale le eleganti figure che contraddistinguono il lavoro dell’artista, si stagliano su fondi costellati di astri e definiti da un ordine meditativo assolutamente mentale, lo stesso che anima i nuovi paesaggi, essenziali e rigorosi.
Un’inedita carta da parati disegnata dall’artista stessa, è il fondale sul quale la sua morbida linea rossa scorre, disegnando figure nella sequenza delle posizioni yoga del Saluto al sole. Questa pratica che l’artista segue da tempo consente di aprire i propri centri all’energia solare, e a quella del cosmo in generale, e le ha fornito concentrazione e ispirazione per questo percorso metafisico tra terra e universo, realtà e immaginazione, pratica artistica e teoria scientifica.

The exhibition presents 15 paintings of medium and large size paintings created specifically in response to the gallery space.
Gregor Gleiwitz challenges the observer’s engagement and experience of painting through depictions of figures, shapes and body fragments that begin from dense areas without ever identifying themselves as definitively figurative. His painting are characterized by a dynamic interplay of forms that emerge on a common ground, yet, whose expression is to let our imagination wander and presuppose.
Faceless entities and undefined bodies appear to the observer, seemingly wanting to explode and going beyond the limits of the canvas. A depicted gestation of hybrid figures, between man and animal, vegetable and mineral forms defy any clear recognition and labeling. The images range between substantial and insubstantial, they remain suspended in a timeless interval between becoming and dissolution.
They are paintings that language fails to acutely articulate, the visual language has no distinctive element subject to any definitive correlation, objective categorization or definite conclusion. The images of Gregor Gleiwitz thus reveal nothing in our eyes, but persist in their manifestation.
 
Gregor Gleiwitz born in Poland in 1977, lives and works in Berlin. He exhibited in 2007 in Santiago de Chile Santiago de El poster Matucana 100 in 2008 in Cologne, Cologne Simultanhalle in 2009 in Berlin Hüttendong, After The Butcher, in 2010 in Dusseldorf and Mannehim Seb Koberstädt, Gregor Gleiwitz im Dok25 in 2012 im Reflex des Erkennens ist das Gegenüber sichtbar Manzoni Schäper at Galerie in Berlin, participates in the international exhibition MADE IN GERMANY ZWEI, international Kunst in Deutschland - Sprengel Museum in Hannover, the presented last two important group shows at the Galerie in Berlin Manzoni Schäper There is something between me and the outside world and at the Galerie Mikael Andersen titled Ikarier.