Angelo Trimarco

  • Gaetano Sgambati

    It was a kind of artificial forest. The gallery was transformed into an itinerary delineated by oily-gray columns, and there was also a stainless steel bar, flanked by stools that could be reached only with a certain effort. Gaetano Sgambati put the ball back in the viewer’s court, constructing an unusual and surprising set in which the everyday and the unreal, the banal and the disturbing, met and exasperated each other.

    But let’s begin at the beginning. One hundred polyurethane columns made expressly for this exhibition, according to the artist’s design, were placed in the rectangular space of

  • Maurizio Colantuoni

    The propagation of energy is the secret design that guides the path of Maurizio Colantuoni in this recent exhibition, which was comprised of six white fiberglass sculptures. Five sculptures hung on the walls, while the sixth rested on the floor, acting as a counterpoint to the lightness of the others. Over the last ten years, Colantuoni has passed through various phases of fascination for different materials, reversing, following, and changing artistic direction according to their fragility or their consistency. He has used iron or tufa to indicate primordial energy and the possibility of

  • Sergio Fermariello

    Exhibiting works that are emblematic of his artistic activity over the past two years, Sergio Fermariello declares, in this show, an end to the phase of his career during which he used “signs of warriors.” Now he has turned to the topoi of the imagination and to the (no less archetypal) figures of the hunter and the prey. He contrasts a work covered by a dense, obsessive accumulation of a repeated warrior motif with a less-crowded weave of images scribbled in a childish hand—a tree, a hut, a road map, and an image of Vesuvius. Though the child’s scrawl is barely articulate, it is the matrix of