AAC Gallery - Ionone
- 2014 - 2015
- Franco Mazza and Filippo Lo Presti
- Pierluigi Mattiuzzi
- Guido Moretti
- Giuliana Geronazzo
- Giacomo Filippini
- Zaven Karapetian
- Amedeo Modigliani
- Ugo Nespolo
Between 2014 and 2015, Architectura Arte Contemporanea (AAC Gallery) in Brescia, Italy, emerged as a profound hub for exploring the symbiotic relationship between architecture and contemporary art. Under the stewardship of Franco Mazza and Filippo Lo Presti, these exhibitions transcended mere visual displays, transforming into dynamic spaces for interdisciplinary storytelling and critical reflection.
Franco Mazza and Filippo Lo Presti Architects demonstrated extraordinary curatorial sensitivity during this period. Incorporating themes of materiality, urbanism, and spatial awareness, their work blurred the distinctions between architecture, sound, and visual arts. Each exhibition was thoughtfully orchestrated to engage the audience in a thematic journey, transforming the gallery's space into an active participant in storytelling. The curators expertly leveraged AAC Gallery's architectural context, creating an intimate and dynamic interplay between the works and their environment.
This curated series left an indelible mark on Brescia's art scene, redefining the potential of galleries as spaces for intellectual and artistic experimentation. Mazza and Lo Presti's work at AAC Gallery continues to inspire practitioners who seek to explore the intersections of architecture and contemporary art.
These exhibitions not only enriched Brescia's cultural landscape but also positioned AAC Gallery as a beacon of interdisciplinary innovation, demonstrating the transformative power of thoughtful curatorial practices. A true testament to the idea that art and architecture can transcend boundaries, creating dialogues that resonate with audiences long after the gallery lights dim.
Franco Mazza and Filippo Lo Presti Architects demonstrated extraordinary curatorial sensitivity during this period. Incorporating themes of materiality, urbanism, and spatial awareness, their work blurred the distinctions between architecture, sound, and visual arts. Each exhibition was thoughtfully orchestrated to engage the audience in a thematic journey, transforming the gallery's space into an active participant in storytelling. The curators expertly leveraged AAC Gallery's architectural context, creating an intimate and dynamic interplay between the works and their environment.
This curated series left an indelible mark on Brescia's art scene, redefining the potential of galleries as spaces for intellectual and artistic experimentation. Mazza and Lo Presti's work at AAC Gallery continues to inspire practitioners who seek to explore the intersections of architecture and contemporary art.
These exhibitions not only enriched Brescia's cultural landscape but also positioned AAC Gallery as a beacon of interdisciplinary innovation, demonstrating the transformative power of thoughtful curatorial practices. A true testament to the idea that art and architecture can transcend boundaries, creating dialogues that resonate with audiences long after the gallery lights dim.
Pierluigi Mattiuzzi
Il suono di una mano sola
Der klang von einer hand allein (2015)
Exhibition and catalogue curated by Architettura Arte Contemporanea and Ionone. Over 100 paintings and sculptures, many never exhibited before, featuring Mattiuzzi’s signature vibrant, chaotic compositions merging street art, Jugendstil, and Eastern spirituality. Mazza and Lo Presti framed Mattiuzzi’s work as "visual scores," inviting viewers to "play" them through their gaze—a clever nod to the exhibition’s debut during the 30th Meraner Musikwochen (Merano Music Weeks). The sidewalk installation outside Merano’s Kurhaus, transforming public space into an extension of the exhibition’s anarchic energy. This intriguing showcase likely explored themes of solitude, introspection, and the resonance of individual expression through art. The exhibition have been documented in a catalog titled "Il suono di una mano sola" published by Architettura Arte Contemporanea and Ionone in 2015.
A deep poetic and philosophical curation by Mazza and Lo Presti, where auditory and spatial themes intertwined to challenge the boundaries of artistic experience.
Der klang von einer hand allein (2015)
Exhibition and catalogue curated by Architettura Arte Contemporanea and Ionone. Over 100 paintings and sculptures, many never exhibited before, featuring Mattiuzzi’s signature vibrant, chaotic compositions merging street art, Jugendstil, and Eastern spirituality. Mazza and Lo Presti framed Mattiuzzi’s work as "visual scores," inviting viewers to "play" them through their gaze—a clever nod to the exhibition’s debut during the 30th Meraner Musikwochen (Merano Music Weeks). The sidewalk installation outside Merano’s Kurhaus, transforming public space into an extension of the exhibition’s anarchic energy. This intriguing showcase likely explored themes of solitude, introspection, and the resonance of individual expression through art. The exhibition have been documented in a catalog titled "Il suono di una mano sola" published by Architettura Arte Contemporanea and Ionone in 2015.
A deep poetic and philosophical curation by Mazza and Lo Presti, where auditory and spatial themes intertwined to challenge the boundaries of artistic experience.
Guido Moretti
Guido Moretti (2015)
Exhibition curated by Franco Mazza e Filippo Lo Presti. A production by Architettura Arte Contemporanea and Ionone. "Riflessioni sull'arte" by Guido Moretti explores artistic reflections and insights, likely showcasing Moretti's unique perspective and contributions to contemporary art. You can find more about this production on YouTube
Guido Moretti - Riflessioni sull'arte
Guido Moretti is the second of three sons, was born on 12 August 1947 at 20 Via Gramsci, Gardone V.T. His father Luigi was a carpenter and used part of the hallway of the house as his workroom. Later, he was able to set up his own furniture factory. Guido much preferred his father's carpenter's shop to school desks. Guido completed the senior section at the main school in Brescia, where he discovered and was captivated by the beauty of analytical geometry. Then he entered to the Faculty of Engineering at Padua University in 1967. There he created his first sculptures in plastiline. Completed first two years of university, Guido switched to the Faculty of Physics and moved to Milan. In that time he was considering teaching as a carrier. During this time in Milan his sculpting output increased. In 1973, he settled in Brescia and graduated in Phisics. In the beginning of 1974 Guido started to teach in various schools. He became involved with the Loggetta artistic group and followed various courses in drawing and ceramics. In 80s his creativity knew no bounds: from stratifications he moved on to rotations followed by orthogonal intersections. He created a set of sculptures of orthogonal intersections with various optical illusion shapes and impossible figures. Photos of his sculptures were published in several Italian magazines. Also his sculptures are part of collections of various museums. Since 1996 he has worked with Anna Canali's Milan gallery Arte Struktura.
Exhibition curated by Franco Mazza e Filippo Lo Presti. A production by Architettura Arte Contemporanea and Ionone. "Riflessioni sull'arte" by Guido Moretti explores artistic reflections and insights, likely showcasing Moretti's unique perspective and contributions to contemporary art. You can find more about this production on YouTube
Guido Moretti - Riflessioni sull'arte
Guido Moretti is the second of three sons, was born on 12 August 1947 at 20 Via Gramsci, Gardone V.T. His father Luigi was a carpenter and used part of the hallway of the house as his workroom. Later, he was able to set up his own furniture factory. Guido much preferred his father's carpenter's shop to school desks. Guido completed the senior section at the main school in Brescia, where he discovered and was captivated by the beauty of analytical geometry. Then he entered to the Faculty of Engineering at Padua University in 1967. There he created his first sculptures in plastiline. Completed first two years of university, Guido switched to the Faculty of Physics and moved to Milan. In that time he was considering teaching as a carrier. During this time in Milan his sculpting output increased. In 1973, he settled in Brescia and graduated in Phisics. In the beginning of 1974 Guido started to teach in various schools. He became involved with the Loggetta artistic group and followed various courses in drawing and ceramics. In 80s his creativity knew no bounds: from stratifications he moved on to rotations followed by orthogonal intersections. He created a set of sculptures of orthogonal intersections with various optical illusion shapes and impossible figures. Photos of his sculptures were published in several Italian magazines. Also his sculptures are part of collections of various museums. Since 1996 he has worked with Anna Canali's Milan gallery Arte Struktura.
Giuliana Geronazzo
Giuliana Geronazzo: Vetro (2015)
Exhibition curated by Franco Mazza e Filippo Lo Presti. A production by Architettura Arte Contemporanea and Ionone. This exhibition showcased Geronazzo's innovative work with glass, highlighting her ability to transform this delicate material into expressive and dynamic sculptures. Her creations often explore themes of transparency, light, and form. You can find more about this production on YouTube
YouTube Giuliana Geronazzo: vetro
Sculptress and painter: born in Bergamo, Giuliana Geronazzo lives and works in Brescia, with her own open art studio. After her early studies and exams at Liceo Artistico of Venice, Giuliana starts her personal quest in matter of sculpture: terracotta, bronze, wood, glass resin, raku and glass are the materials and techniques she is nowday engaged in. From 1986 to 1988 she specializes with internships in raku and ceramic technique in Faenza, with Prof. Galassi Mariani Cimatti. In 1990 in Germany she attends internships of glass fusion techniques. From 1995 collaborates with Museo Preistorico dell’Alto Mantovano: excavations and teaching activities. In her laboratory and in the museum, where a specific path has been set up, Giuliana collaborates at courses of clay modeling also for hyposeeing and blind people: this project is done with a specialized team. At present she organizes several didactic projects with schools. “Under, above and inside glass” is the emblematic title Giuliana Geronazzo uses to present her glass works at Villa Pomini in 2001 ...
Exhibition curated by Franco Mazza e Filippo Lo Presti. A production by Architettura Arte Contemporanea and Ionone. This exhibition showcased Geronazzo's innovative work with glass, highlighting her ability to transform this delicate material into expressive and dynamic sculptures. Her creations often explore themes of transparency, light, and form. You can find more about this production on YouTube
YouTube Giuliana Geronazzo: vetro
Sculptress and painter: born in Bergamo, Giuliana Geronazzo lives and works in Brescia, with her own open art studio. After her early studies and exams at Liceo Artistico of Venice, Giuliana starts her personal quest in matter of sculpture: terracotta, bronze, wood, glass resin, raku and glass are the materials and techniques she is nowday engaged in. From 1986 to 1988 she specializes with internships in raku and ceramic technique in Faenza, with Prof. Galassi Mariani Cimatti. In 1990 in Germany she attends internships of glass fusion techniques. From 1995 collaborates with Museo Preistorico dell’Alto Mantovano: excavations and teaching activities. In her laboratory and in the museum, where a specific path has been set up, Giuliana collaborates at courses of clay modeling also for hyposeeing and blind people: this project is done with a specialized team. At present she organizes several didactic projects with schools. “Under, above and inside glass” is the emblematic title Giuliana Geronazzo uses to present her glass works at Villa Pomini in 2001 ...
Giacomo Filippini
Giacomo Filippini: Ferro (2015)
Exhibition curated by Franco Mazza e Filippo Lo Presti. A production by Architettura Arte Contemporanea and Ionone. Filippini's exhibition focused on his mastery of iron, blending strength and elegance in his sculptures. His works often juxtapose the raw power of metal with intricate designs, creating pieces that are both striking and thought-provoking. Both exhibitions celebrated the unique artistic visions of these talented sculptors. You can find more about this production on YouTube
YouTube Giacomo Filippini: Ferro
Born in Brescia, Giacomo Filippini grew in close contact with art, wandering in the laboratory of his mother, Giuliana Geronazzo, famous artist from Brescia. A vantage viewpoint, a living room where he could understand the movements and personalities that have built the history of contemporary art of Brescia. It is precisely in the workshop in via Quinzano that Giacomo takes his first steps, building his first works with glass. Teacher of art and life Gero was an indispensable starting point from which Giacomo began to build his identity. Through time Giacomo experiments new techniques, including ceramics and raku. Finally, the first sight with iron. First is the iron combined with glass. The strength of iron is opposed to the more fragile exists in nature fascinates Giacomo. The antithesis is the synthesis of these works: energy versus frailty, the metal that does not leave pass light against the transparency, the colour black approached with which glass is painted . The figure of Giacomo in the contemporary artistic scene, however, is defined with his iron works, which are also the biggest part of its production.
Exhibition curated by Franco Mazza e Filippo Lo Presti. A production by Architettura Arte Contemporanea and Ionone. Filippini's exhibition focused on his mastery of iron, blending strength and elegance in his sculptures. His works often juxtapose the raw power of metal with intricate designs, creating pieces that are both striking and thought-provoking. Both exhibitions celebrated the unique artistic visions of these talented sculptors. You can find more about this production on YouTube
YouTube Giacomo Filippini: Ferro
Born in Brescia, Giacomo Filippini grew in close contact with art, wandering in the laboratory of his mother, Giuliana Geronazzo, famous artist from Brescia. A vantage viewpoint, a living room where he could understand the movements and personalities that have built the history of contemporary art of Brescia. It is precisely in the workshop in via Quinzano that Giacomo takes his first steps, building his first works with glass. Teacher of art and life Gero was an indispensable starting point from which Giacomo began to build his identity. Through time Giacomo experiments new techniques, including ceramics and raku. Finally, the first sight with iron. First is the iron combined with glass. The strength of iron is opposed to the more fragile exists in nature fascinates Giacomo. The antithesis is the synthesis of these works: energy versus frailty, the metal that does not leave pass light against the transparency, the colour black approached with which glass is painted . The figure of Giacomo in the contemporary artistic scene, however, is defined with his iron works, which are also the biggest part of its production.
Zaven Karapetyan
Zaven Nevaz LIVE (2014)
Exhibition and catalogue curated by Franco Mazza e Filippo Lo Presti. A production by Architettura Arte Contemporanea and Ionone. This showcase highlighted his ability to delve into the depths of human nature and reflect on its essence through art.The exhibition featuring Zaven Karapetian, also known as Zaven Nevaz, was a profound exploration of the human soul through art. Presented by Architettura Arte Contemporanea in collaboration with Ionone, it showcased previously unseen works by the Armenian artist. The exhibition emphasized his ability to delve into the depths of human nature and reflect on its essence, creating a journey through the truth of art. The exhibition emphasizes his ability to "fold into the human soul" and reflect on human nature through art, using "the truth of art" (verità dell'arte) as a guiding path.
YouTube Intervista all'artista Zaven Karapetyan
It is a careful reflection on the world that Zaven translates into strength and therefore into color transmitted with the impetus of the gesture with brushes and spatulas, to capture that brief and interminable moment and fix the essence of the sign. The thickness of the material, in the interpolation between primary colors, mixes between overlapping layers, composing and recomposing itself until the point where the canvas becomes a place of creation and conception. That same gesture that exists between the canvas and the color finds its exact conformation when, fixing itself statically on the surface, it impresses it, like a photographic film crossed by light, thus allowing the soul to represent itself and make itself visible to the world that contains it. Color as words that speak and write sentences whose meaning reaches the inside from the outside, white from black. It is that inner part that speaks by telling the complex experience that separates microcosm from macrocosm, miniatures from powerful brushstrokes, a place where the measured and subtle gesture expands in the overwhelming impact of time. In this way, in Zaven's works, time and matter meet by crossing space to capture a fragment that tells the entire existence of that soul that struggles to be seen and recognized but instead speaks eloquently through the work of art. A perfect balance between figurative realism and abstract transformations culminating in a symbiotic language between the representation of an apparent world and its indefinite, intangible, constantly moving, ethereal and eternal profile.
E' una attenta riflessione sul mondo quella che Zaven traduce in forza e quindi in colore trasmesso con l'impeto del gesto con pennelli e spatole, per cogliere quell'attimo breve ed interminabile e fissarne l'essenza del segno. Lo spessore della materia, nell'interpolazione tra colori primari, si mescola tra strati sovrapposti, componendosi e ricomponendosi fino al punto in cui la tela diventa luogo di creazione e concepimento. Quella stessa gestualita' che intercorre tra la tela ed il colore trova l'esatta conformazione quando fissandosi staticamente sulla superficie la impressiona, come una pellicola fotografica attraversata dalla luce, permettendo cosi' all'anima di rappresentarsi e rendersi visibile al mondo che la contiene. Colore come parole che parlano e scrivono frasi il cui senso raggiunge l'interno dall'esterno, il bianco dal nero. E' quella parte interiore che parla raccontando il complesso vissuto che separa microcosmo da macrocosmo, miniature da possenti pennellate, luogo dove il gesto misurato e sottile si dilata nell'impatto travolgente del tempo. In questo modo, nelle opere di Zaven, tempo e materia si incontrano attraversando lo spazio per fermarne un frammento che racconta l'intera esistenza di quell'anima che stenta a farsi vedere e riconoscere ma che invece parla eloquentemente attraverso l'opera d'arte. Un perfetto equilibrio tra realismi figurativi e trasformazioni astratte culminanti in un linguaggio simbiotico tra rappresentazione di un mondo apparente ed il suo profilo indefinito, intangibile, in continuo movimento, etereo ed eterno.
Exhibition and catalogue curated by Franco Mazza e Filippo Lo Presti. A production by Architettura Arte Contemporanea and Ionone. This showcase highlighted his ability to delve into the depths of human nature and reflect on its essence through art.The exhibition featuring Zaven Karapetian, also known as Zaven Nevaz, was a profound exploration of the human soul through art. Presented by Architettura Arte Contemporanea in collaboration with Ionone, it showcased previously unseen works by the Armenian artist. The exhibition emphasized his ability to delve into the depths of human nature and reflect on its essence, creating a journey through the truth of art. The exhibition emphasizes his ability to "fold into the human soul" and reflect on human nature through art, using "the truth of art" (verità dell'arte) as a guiding path.
YouTube Intervista all'artista Zaven Karapetyan
It is a careful reflection on the world that Zaven translates into strength and therefore into color transmitted with the impetus of the gesture with brushes and spatulas, to capture that brief and interminable moment and fix the essence of the sign. The thickness of the material, in the interpolation between primary colors, mixes between overlapping layers, composing and recomposing itself until the point where the canvas becomes a place of creation and conception. That same gesture that exists between the canvas and the color finds its exact conformation when, fixing itself statically on the surface, it impresses it, like a photographic film crossed by light, thus allowing the soul to represent itself and make itself visible to the world that contains it. Color as words that speak and write sentences whose meaning reaches the inside from the outside, white from black. It is that inner part that speaks by telling the complex experience that separates microcosm from macrocosm, miniatures from powerful brushstrokes, a place where the measured and subtle gesture expands in the overwhelming impact of time. In this way, in Zaven's works, time and matter meet by crossing space to capture a fragment that tells the entire existence of that soul that struggles to be seen and recognized but instead speaks eloquently through the work of art. A perfect balance between figurative realism and abstract transformations culminating in a symbiotic language between the representation of an apparent world and its indefinite, intangible, constantly moving, ethereal and eternal profile.
E' una attenta riflessione sul mondo quella che Zaven traduce in forza e quindi in colore trasmesso con l'impeto del gesto con pennelli e spatole, per cogliere quell'attimo breve ed interminabile e fissarne l'essenza del segno. Lo spessore della materia, nell'interpolazione tra colori primari, si mescola tra strati sovrapposti, componendosi e ricomponendosi fino al punto in cui la tela diventa luogo di creazione e concepimento. Quella stessa gestualita' che intercorre tra la tela ed il colore trova l'esatta conformazione quando fissandosi staticamente sulla superficie la impressiona, come una pellicola fotografica attraversata dalla luce, permettendo cosi' all'anima di rappresentarsi e rendersi visibile al mondo che la contiene. Colore come parole che parlano e scrivono frasi il cui senso raggiunge l'interno dall'esterno, il bianco dal nero. E' quella parte interiore che parla raccontando il complesso vissuto che separa microcosmo da macrocosmo, miniature da possenti pennellate, luogo dove il gesto misurato e sottile si dilata nell'impatto travolgente del tempo. In questo modo, nelle opere di Zaven, tempo e materia si incontrano attraversando lo spazio per fermarne un frammento che racconta l'intera esistenza di quell'anima che stenta a farsi vedere e riconoscere ma che invece parla eloquentemente attraverso l'opera d'arte. Un perfetto equilibrio tra realismi figurativi e trasformazioni astratte culminanti in un linguaggio simbiotico tra rappresentazione di un mondo apparente ed il suo profilo indefinito, intangibile, in continuo movimento, etereo ed eterno.
Amedeo Modigliani
Amedeo Modigliani: L'occhio dell'anima (2014)
A production by Architettura Arte Contemporanea and Ionone. The exhibition "L'occhio dell'anima" was a tribute to Amedeo Modigliani's profound artistic legacy. It celebrated his unique ability to capture the essence of the human soul through his iconic elongated forms and expressive eyes. This exhibition likely highlighted Modigliani's innovative approach to portraiture, which continues to inspire and captivate audiences worldwide. This exhibition likely celebrated Modigliani's unique artistic vision, particularly his ability to capture the soul through his iconic elongated forms and expressive eyes in portraits. Modigliani's work is often described as a profound exploration of the human spirit, with his portraits reflecting an intimate connection to his subjects.
YouTube Amedeo Modigliani: L'occhio dell'anima
YouTube Amedeo Modigliani: AAC
Modigliani: The Eye of the Soul
Absent and boundless, the eye of the soul is suspended in void to map the infinity within—a path forged by the mind’s spirit. Art, moving through line and body, speaks the possibility of transmitting what lies beyond matter, probing (whether by drawing or its absence) the language of the soul. Those eyes, mere suggestions of two strokes, oblivious to the beauty they might hold, wait to be defined, to speak their truth; others gaze thoughtful and distant, others still, indifferent. What divides space lifts its surface, transcending to unveil the essence—the perfect matrix. The mark, heavy with life’s drama, etches and narrates the shadow that seals its being. Lost in the solitude of a dream where time and space unravel, planes fracture and melt to expose the shapes of existence. They whisper void and light as one.
L'occhio dell'anima, assente e smisurato, posto nel vuoto per descrivere l'immensità interna, è la via che è di noi spirito della mente. L'arte, attraversando disegno e corpo, racconta la possibilità di trasmettere ciò che è oltre la materia ed indaga, disegnando o astenendosi dal disegnare, aspetti del linguaggio dell'anima. Quegli stessi occhi, soltanto accennati da due semplici segni, ignari di cosa possa essere la bellezza dentro, sono in attesa di poter essere segnati e poter dire di se stessi; altri occhi pensanti e assenti, altri ancora indifferenti. Quello che divide lo spazio ne solleva la superficie e inizia a trascendere e svelare l'essenza, la matrice perfetta. Il segno, che porta con sè il dramma della vita, racconta e incide quell'ombra che ne determina il suo esistere. Abbandonati nella solitudine di un sogno dove tempo e spazio si spostano, i piani iniziano a frantumarsi e sciogliersi per svelare le forme dell'esistenza. Raccontano il vuoto e la luce come una cosa sola.
Modigliani’s "Eye of the Soul": A Philosophical and Artistic Exploration
Modigliani’s signature empty or pupil-less eyes—often reduced to almond-shaped voids or darkened slits—are not omissions but profound statements. As the text suggests, these eyes "describe the internal immensity," acting as mirrors for the unseen. The artist believed he could only paint a subject’s eyes once he had truly understood their soul, famously declaring, "I will paint your eyes only when I know your soul"*. This is exemplified in his portraits of Jeanne Hébuterne, the sole muse whose eyes he painted with pupils, reflecting their deep emotional connection .
The Brescia exhibition (Architettura Arte Contemporanea, 2014) featured serigraphs (1912–1919) where Modigliani’s "classic sense of form meets the lightness of gesture" . His rapid, incisive lines—like those in Nudo virile — dissolve physicality to reveal psychological depth, aligning with your description of art that "transcends and unveils the essence" . The show highlighted how his figures, suspended in silence, convey a "poetic abandonment" through stylized forms. The "indifferent" or "thinking" eyes mentioned resonate with Modigliani’s dual approach: some eyes are vacant, while others, like those of Survage, are split—one gazing outward, the other inward. This duality mirrors his belief that eyes could simultaneously perceive the world and the self’s hidden depths. The reference to "the mark carrying life’s drama" echoes Modigliani’s process. His portraits were often completed in one or two sittings, with sitters describing the experience as having their "soul stripped bare". The serigraphs in Brescia, crafted on Japanese paper, emphasize how material simplicity (like his stone sculptures) could evoke spiritual weight. The exhibition’s title "L'occhio dell'anima" frames Modigliani’s work as an exploration of "emptiness and light as one," as poetically noted. His figures, floating in undefined spaces, dissolve planes to reveal existential forms, merging the tangible with the ethereal. The 2014 Brescia showcase presented 11 serigraphs, free to the public, focusing on Modigliani’s graphic work as a bridge between drawing and soul-searching . "Eye of the Soul" aligns perfectly with Modigliani’s intent: to render the invisible visible, where eyes—whether absent or illuminated—become the "perfect matrix" of existence.
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A production by Architettura Arte Contemporanea and Ionone. The exhibition "L'occhio dell'anima" was a tribute to Amedeo Modigliani's profound artistic legacy. It celebrated his unique ability to capture the essence of the human soul through his iconic elongated forms and expressive eyes. This exhibition likely highlighted Modigliani's innovative approach to portraiture, which continues to inspire and captivate audiences worldwide. This exhibition likely celebrated Modigliani's unique artistic vision, particularly his ability to capture the soul through his iconic elongated forms and expressive eyes in portraits. Modigliani's work is often described as a profound exploration of the human spirit, with his portraits reflecting an intimate connection to his subjects.
YouTube Amedeo Modigliani: L'occhio dell'anima
YouTube Amedeo Modigliani: AAC
Modigliani: The Eye of the Soul
Absent and boundless, the eye of the soul is suspended in void to map the infinity within—a path forged by the mind’s spirit. Art, moving through line and body, speaks the possibility of transmitting what lies beyond matter, probing (whether by drawing or its absence) the language of the soul. Those eyes, mere suggestions of two strokes, oblivious to the beauty they might hold, wait to be defined, to speak their truth; others gaze thoughtful and distant, others still, indifferent. What divides space lifts its surface, transcending to unveil the essence—the perfect matrix. The mark, heavy with life’s drama, etches and narrates the shadow that seals its being. Lost in the solitude of a dream where time and space unravel, planes fracture and melt to expose the shapes of existence. They whisper void and light as one.
L'occhio dell'anima, assente e smisurato, posto nel vuoto per descrivere l'immensità interna, è la via che è di noi spirito della mente. L'arte, attraversando disegno e corpo, racconta la possibilità di trasmettere ciò che è oltre la materia ed indaga, disegnando o astenendosi dal disegnare, aspetti del linguaggio dell'anima. Quegli stessi occhi, soltanto accennati da due semplici segni, ignari di cosa possa essere la bellezza dentro, sono in attesa di poter essere segnati e poter dire di se stessi; altri occhi pensanti e assenti, altri ancora indifferenti. Quello che divide lo spazio ne solleva la superficie e inizia a trascendere e svelare l'essenza, la matrice perfetta. Il segno, che porta con sè il dramma della vita, racconta e incide quell'ombra che ne determina il suo esistere. Abbandonati nella solitudine di un sogno dove tempo e spazio si spostano, i piani iniziano a frantumarsi e sciogliersi per svelare le forme dell'esistenza. Raccontano il vuoto e la luce come una cosa sola.
Modigliani’s "Eye of the Soul": A Philosophical and Artistic Exploration
Modigliani’s signature empty or pupil-less eyes—often reduced to almond-shaped voids or darkened slits—are not omissions but profound statements. As the text suggests, these eyes "describe the internal immensity," acting as mirrors for the unseen. The artist believed he could only paint a subject’s eyes once he had truly understood their soul, famously declaring, "I will paint your eyes only when I know your soul"*. This is exemplified in his portraits of Jeanne Hébuterne, the sole muse whose eyes he painted with pupils, reflecting their deep emotional connection .
The Brescia exhibition (Architettura Arte Contemporanea, 2014) featured serigraphs (1912–1919) where Modigliani’s "classic sense of form meets the lightness of gesture" . His rapid, incisive lines—like those in Nudo virile — dissolve physicality to reveal psychological depth, aligning with your description of art that "transcends and unveils the essence" . The show highlighted how his figures, suspended in silence, convey a "poetic abandonment" through stylized forms. The "indifferent" or "thinking" eyes mentioned resonate with Modigliani’s dual approach: some eyes are vacant, while others, like those of Survage, are split—one gazing outward, the other inward. This duality mirrors his belief that eyes could simultaneously perceive the world and the self’s hidden depths. The reference to "the mark carrying life’s drama" echoes Modigliani’s process. His portraits were often completed in one or two sittings, with sitters describing the experience as having their "soul stripped bare". The serigraphs in Brescia, crafted on Japanese paper, emphasize how material simplicity (like his stone sculptures) could evoke spiritual weight. The exhibition’s title "L'occhio dell'anima" frames Modigliani’s work as an exploration of "emptiness and light as one," as poetically noted. His figures, floating in undefined spaces, dissolve planes to reveal existential forms, merging the tangible with the ethereal. The 2014 Brescia showcase presented 11 serigraphs, free to the public, focusing on Modigliani’s graphic work as a bridge between drawing and soul-searching . "Eye of the Soul" aligns perfectly with Modigliani’s intent: to render the invisible visible, where eyes—whether absent or illuminated—become the "perfect matrix" of existence.
artementenotizie.it
arte.it
artribune.com
Ugo Nespolo
Ugo Nespolo: Invenzioni Italiane (2014)
Exhibition and catalogue curated by .Franco Mazza e Filippo Lo Presti. A production by Architettura Arte Contemporanea and Ionone.The exhibition "Invenzioni Italiane" by Ugo Nespolo celebrated Nespolo's vibrant and eclectic artistic style, which often blends pop art, design, and cultural commentary. The exhibition marked the opening of the new AAC gallery space in Via Antonio Bazzini, 5/7, Brescia, and was inaugurated on May 8, 2014. Nespolo's works are known for their playful yet profound exploration of Italian culture and identity.
YouTube Ugo Nespolo: Invenzioni Italiane
Ugo Nespolo (1941–2024), a pivotal figure in Italian Pop Art and conceptual art, known for his playful, ironic works blending tradition and avant-garde. Invenzioni Italiane* (Italian Inventions) likely celebrated Nespolo’s signature style, vibrant, often satirical homages to Italian culture, design, and art history. Expect mixed-media pieces, perhaps referencing Futurism, Arte Povera, or consumer culture, rendered with Nespolo’s characteristic chromatic boldness and linguistic wit. As one of Nespolo’s last major exhibitions before his passing, this show underscored his role as a bridge between postwar neo-avant-gardes and contemporary Italian art. With "Invenzioni Italiane", the AAC-Ionone series gains a historical anchor, linking Italy’s 20th-century avant-garde legacies to contemporary experiments. A celebration of Italian creativity, this exhibition offered a vibrant exploration of innovation through contemporary lenses.
Exhibition and catalogue curated by .Franco Mazza e Filippo Lo Presti. A production by Architettura Arte Contemporanea and Ionone.The exhibition "Invenzioni Italiane" by Ugo Nespolo celebrated Nespolo's vibrant and eclectic artistic style, which often blends pop art, design, and cultural commentary. The exhibition marked the opening of the new AAC gallery space in Via Antonio Bazzini, 5/7, Brescia, and was inaugurated on May 8, 2014. Nespolo's works are known for their playful yet profound exploration of Italian culture and identity.
YouTube Ugo Nespolo: Invenzioni Italiane
Ugo Nespolo (1941–2024), a pivotal figure in Italian Pop Art and conceptual art, known for his playful, ironic works blending tradition and avant-garde. Invenzioni Italiane* (Italian Inventions) likely celebrated Nespolo’s signature style, vibrant, often satirical homages to Italian culture, design, and art history. Expect mixed-media pieces, perhaps referencing Futurism, Arte Povera, or consumer culture, rendered with Nespolo’s characteristic chromatic boldness and linguistic wit. As one of Nespolo’s last major exhibitions before his passing, this show underscored his role as a bridge between postwar neo-avant-gardes and contemporary Italian art. With "Invenzioni Italiane", the AAC-Ionone series gains a historical anchor, linking Italy’s 20th-century avant-garde legacies to contemporary experiments. A celebration of Italian creativity, this exhibition offered a vibrant exploration of innovation through contemporary lenses.
Curatorial Signature: Lo Presti and Mazza’s Vision
The 2014–2015 collaborations shared a distinct curatorial fingerprint.
Material as Narrative: Each exhibition centered on a specific medium (iron, glass, paint) to explore its symbolic and sensory potential.
Architectural Dialogue: As architects, Lo Presti and Mazza treated the gallery as a participant—e.g., Mattiuzzi’s sidewalk intervention or Filippini’s spatial ironworks.
Philosophical Undercurrents: Titles like "Il suono di una mano sola" and Riflessioni sull’arte revealed a preference for art that interrogates perception and existence.
Strengths: The AAC-Ionone exhibitions were notable for their cohesion despite diverse artists, unified by Lo Presti and Mazza’s architectural rigor and thematic depth.
Influence: These projects prefigured today’s trend of material-centric exhibitions, where medium and message are inseparable. A compelling chapter in Northern Italy’s contemporary art scene, where curation itself became an act of architectural storytelling.
The 2014–2015 collaborations shared a distinct curatorial fingerprint.
Material as Narrative: Each exhibition centered on a specific medium (iron, glass, paint) to explore its symbolic and sensory potential.
Architectural Dialogue: As architects, Lo Presti and Mazza treated the gallery as a participant—e.g., Mattiuzzi’s sidewalk intervention or Filippini’s spatial ironworks.
Philosophical Undercurrents: Titles like "Il suono di una mano sola" and Riflessioni sull’arte revealed a preference for art that interrogates perception and existence.
Strengths: The AAC-Ionone exhibitions were notable for their cohesion despite diverse artists, unified by Lo Presti and Mazza’s architectural rigor and thematic depth.
Influence: These projects prefigured today’s trend of material-centric exhibitions, where medium and message are inseparable. A compelling chapter in Northern Italy’s contemporary art scene, where curation itself became an act of architectural storytelling.
Artists
Pierluigi MattiuzziGuido Moretti
Giuliana Geronazzo
Giacomo Filippini
Zaven Karapetyan
Amedeo Modigliani
Ugo Nespolo
AAC Related links
ArtribuneExibart
Arte.it
Arte.it Modigliani
Artementenotizie
artribune.com
Brescia Today