GALLERIA GLIACROBATI – Prinp Editoria d'Arte

India Evans CORPI RITROVATI

Dario — Fri, 20 Mar 2026 13:03:19 +0000

India Evans’s collages are complex places, landscapes that generate both anxiety and desire, composed of bodies, fragments of images, architecture, and materials arranged like traces of a layered memory.
The female bodies that populate India Evans’s works come from clippings of old photographs and art books. The artist explains that it all began in Rome, at the Porta Portese market, with the discovery of a shoebox filled with black-and-white photographs of 19th-Century nudes—images that, in her words, “seemed to beg to be brought back into visibility”. From then on, even after returning to New York, the search for images became a constant practice for Evans: archives, libraries, and markets as places to intercept figures “waiting to be reinserted into the present”.

Fabrizio Molinario NAVIGANTI

Dario — Tue, 16 Sep 2025 09:24:58 +0000

“From the portraits to the crowds crammed on ships, Molinario thus succeeds in tracing a unified narrative, a kind of emotional map of contemporary man’s interior routes, where each painting corresponds to a surface traversed by tensions and anxieties that condense into indelible figures—difficult to forget. All of Molinario’s work is situated in a dimension where art is never experienced as a closed language obeying rigid formal codes, but as an imaginative activity acting from a direct relationship with reality: that collective reality of History and the individual reality of the inner dimension. Thus, his work restores to painting the function of a device capable of translating memories, impressions, and experiences into images. Unequivocal, forceful figures that the artist projects into a stripped‑down visual field, reduced to the essential”. (Ivan Quaroni)

AA.VV. SEMINARE NUOVI IMMAGINARI 2024

Dario — Mon, 08 Sep 2025 14:01:37 +0000

“Seminare nuovi immaginari – Edizione 2024” is a project of cultural and social inclusion and promotion with an interdisciplinary character, which since 2022 has used the language of the arts to disseminate ideas and gather the fruits of creativity in its various forms, fueling the dialogue between official and irregular contemporary art. It is a relational
research – active in the border areas between agriculture, art, anthropology, education, psychiatry, psychology, and psychoanalysis – that involves the interaction between the artist and local communities, territorial mediation, and the participation of the inhabitants.
The following people participated in the project (in alphabetical order): Irene Biaggi, Susanna Bobbio, Chiara Borgaro, Renaud Buenérd, Cosimo Cavallo, Collettivo Gliacrobati, Cora De Maria, Giulia Di Modugno, Gruppo Arte Pura, Gruppo Blu Acqua, Francesco Faraci, Gilda Genghini, Mauro Gottardo, Giuseppe Iacopetta, Alessia Isoardi, Chen Li, MrFijodor, Natalie Lithwick, Emanuele Marullo, Annamaria Nicolussi Principe, Abdel Karim Ougri, Irene Pittatore, Antonia Ricciardi, Massimo Ricciardo, Fabrizio Roccatello, Tea Taramino, Gaetano Verde, Federica Zanella.

Alessandro Monfrini VIA DI FUGA

Dario — Thu, 05 Jun 2025 16:05:31 +0000

Alessandro Monfrini is a “hidden” artist, shy, but his art is anything but silent. Born as a street artist, today he paints on wood, paper, recycled materials. His works are inhabited by ambiguous, melancholic figures, often tied together by ropes, wires, chains or severed wings. There is a poetics of limit and desire in every image: human and animal figures that soar, embrace, protect, hold each other. His world is made of simple but universal symbols: home, flight, loss, bond. Each work is a window onto a fragile and powerful elsewhere, in which we can all find ourselves.
Tea Taramino, in her critical essay, writes: “Monfrini’s works take us into a world, hybrid and nuanced, that yearns for freedom while also imposing chains that restrain us. A sort of oxymoron: to tie and to fly… What is aggressive becomes a friend, what is mechanical acquires the pulsating soul of a living being, what is clear becomes blurred and what is murky becomes clear. Monfrini was born as a street artist, but then invented a domestic method of urban art to accommodate his need to avoid public places and relationships with people without giving up spray cans. The subjects represented become dreamlike and blurred figures, digressions and fantasies with animals, children, adults, still lifes, machinery, portraits and self-portraits. By hybridizing figures, Monfrini reinvents and overturns reality.”

Evelyne Postic TRAME

Dario — Fri, 11 Apr 2025 18:07:04 +0000

“Stylization of humans and non-humans, hybrids, and an extensive repertoire of botanical elements, or more generally, organic ones. They intertwine, seem to transform into each other, derive from one another, but most of all, depend on one another. Metamorphosis without interruption when read diachronically; a necessary co-presence and coexistence when read synchronically.
A self-taught artist, Evelyne began drawing during her childhood, replacing a complex family reality with imaginative worlds. She escapes, through colors. Although her artistic career began in the 1990s with drawings, paintings, and polymaterics culptures, the works presented in this exhibition are all the result of a process that began in 2006, the year the artist moved to Lyon, and when the Dettinger Mayer Gallery exhibited her black-and-white drawings. Since then, Evelyne Postic has devoted herself exclusively to drawing, a medium that allows her total creative freedom and an expressive immediacy that can be realized at any time and place.” (from the text by Giorgia Alderuccio).

This volume has been produced by Galleria GliAcrobati, Turin.

Renaud Buénerd INVENTARE L’ESISTENTE

Dario — Fri, 20 Sep 2024 14:19:57 +0000

Tree bark, leaves, branches, bones, pine cones, flowers, stones, plastic waste, pipes, dead insects. To keep them together, woolen threads, metal rings, various types of hooks. And then acrylic colours, tempera, waxes, clay. Polymaterial, heterogeneous assemblies and combinations that are difficult to imagine. An artistic process of manipulation that starts from the material that Renaud collects during his walks. Poor material, therefore, which the artist then takes to his studio to transform it, giving life to something new. Subsequently, for each object created, he chooses a context, a setting to photograph it and capture it at the moment in which it takes on a role, as if to immortalize its performativity. Sometimes the new object immediately refers to something we know, which is familiar to us – as in the case of two teaspoons covered in moths immediately recognizable as glasses, although unusable as such. In other cases there seems to be no referent, and it is only through photography that we are able to construct meaning around the object, to invent a narrative.

The volume was produced by the Galleria GliAcrobati, Turin.

Giuseppe Iacopetta MATERIA E TRASFORMAZIONE

Dario — Fri, 26 Jul 2024 14:25:39 +0000

Giuseppe Iacopetta, who was a skilled barber and hairdresser, is obviously not an outcast but is, compared to the art system, an authentic “outsider” who cultivated his passion for sculpture as a complete self-taught, starting to model with clay and then discovering that with the more economical and ductile manipulation of papier-mâché he could achieve results of more personal expressive originality. (…) Iacopetta’s works may bring to mind the great protagonists of Fernando Botero’s paintings and sculptures, but the most pertinent reference seems to me to be that to archaic anthropomorphic vases such as the canopic jars of Etruscan Art. (from the text by Francesco Poli)

The volume was produced by the Galleria GliAcrobati, Turin.

Cosimo Cavallo VOLTI, PERCHE’ S’INCONTRANO

Dario — Fri, 03 May 2024 14:32:16 +0000

For over twenty years, Cosimo Cavallo has entrusted his deepest reflections on painting and the ultimate meaning of things to imaginary interlocutors. The recognisability of his works is mostly connected to intricate labyrinths created with pen on paper from which the eyes and mouths of severe and solemn faces emerge and float on the surface of the paper. But in addition to pen drawing, painting has always represented for Cavallo the expressive language with which to investigate color in its more specifically compositional potential: in his canvases, as well as in cartoons or wallpapers, faces of alien humanoids dialogue with the pictorial material creating suggestive overlaps between the layers of color. The energy that pulsates from his works is the same that passes through his acute sensitivity as an artist and human being capable of connecting with the deepest vibrations of reality, especially that which is not visible to the eyes.

AA.VV. SEMINARE NUOVI IMMAGINARI

Dario — Wed, 10 Apr 2024 16:06:24 +0000

The volume “Seminare nuovi immaginari” (Sowing New Imaginaries) documents a three-year
multidisciplinary project that moveson the boundaries between art, anthropology, psychiatry, psychology and psychoanalysis. Its aim is to develop singular and inclusive forms of creativity.
The artists who participated are (in alphabetical order) Giuliano Spasmo Addari, Mohammad Ariyaei, Samaneh Atef, Bahar H., Maura Banfo, Laura Biella, Enzo Bodinizzo, Chiara Borgaro, Sarah Bowyer, Paolo Campana, Fedele Canuto, Chen Li, Egidio Cuniberti, Cora De Maria, Francesco Faraci, Valerio Flumeri, Maria Teresa Frizzarin, Luigi Gallini, Paolo Grassino, Gianfranco (Sergio) Greco, Nicus Lucà, Massimo Mancini, Cristina Mandelli, Marco Fattuma Maò, Paola Mongelli, Lucia Nazzaro, Irene Pittatore, Petra Probst, Rudi Punzo, Elena Radovix, Massimo Ricciardo, Manuela Sagona, Luigi Sapetti, Francesco Sena, Enrico Solari, Giulio Squillacciotti, Luis Alberto Taffarello.

Fabrizio Roccatello LA MAGIA DELL’OCCHIO

Dario — Wed, 06 Mar 2024 14:32:55 +0000

The monograph documents the exhibition, set up at the Gliacrobati Gallery in Turin, dedicated to Fabrizio Roccatello, an artist who works by hand with traditional means and methods dictated by the ancient knowledge of the professional restorer: “My sculptures are composed of different essences: noble woods and poor. Walnut, cherry, pear and mahogany are considered valuable essences for their grain and their compact grain; beech, chestnut, oak, poplar, pine and fir are poor because they are resinous, soft and coarse-grained”.
The works, which at first glance seem playful, at a second glance reveal and convey the anxieties that inhabit the artist. They are frankly polychrome sculptures, masterfully polished, which seem to be partly inspired by pop culture and twentieth-century design, and at the same time endowed with a symbolic visual language that brings to mind neo-surrealism, but with some touches of noir.
They are works, contraptions, which invite us to think and offer themselves to interaction both through mechanical devices – which intentionally influence the posture of those who act – and through provocative messages made of sharp nails, inquiring glances, coming from objects, dolls and amputated dolls, denouncing the deprivations imposed by current generations on those of the future.

The volume has been produced by GliAcrobati Gallery, Turin.