fabio romano - luisa catucci gallery · 2018. 5. 30. · fabio romanos’ sculptures could be seen...

Luisa Catucci Gallery / Allerstr. 38 / 12049 Berlin / [email protected] / +49 (0)176.20404636

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Fabio Romano


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Solo Shows

2017“Find the Balance II”, Luisa Catucci Gallery, Berlin 2016“Find the Balance I”, Galerie Nardone, Brussels, Belgium“Decostruzioni”, Die Mauer – Arte contemporanea, Prato, Italy“Off Course Young Contemporary ART FAIR”, Galerie Nardone, Brussels, Belgium

2015“Level 7”, Bi-Box Art Space, Biella, Italy

2014“The invisible cities”, Zenone artecontemporanea, Reggio Emilia, Italy. Curator: Sebastiano Simonini“Fallout”, Archaeological Museum, Gela, Italy

2012“Fallout”, Adiacenze, Bologne, Italy. Curator: Enrica Bulzoni

Group shows

2016“Il velo di Maya”, Evolve studio legale – BiBox art space, Bologne, Italy“Autoselbstfahrer”, Rompone Kunstsalon, Köln, Germany“Relazioni”, Art White Night, Adiacenze, Bologne, Italy“Setup Art Fair”, Bi-Box Art Space, Bologne, Italy

2015“Academy Now”, Galleria Vannucci, Pistoia, Italy. Curator: Laura Tori Petrillo“Academy Now”, Spazio 9, Bologne, Italy. Curator: Laura Tori Petrillo“The Others”, Bi-Box Art Space, Turin, Italy“Off Course contemporary art fair”, Academy Now, Brussels, Belgium. Curator: Laura Tori Petrillo

2014“Academy Now I”, Art Defender – Arte Fiera Off, Bologne, Italy. Curator: Laura Tori Petrillo

2013“Academy Now I”, Hanmy Gallery, London, UK. Curator: Laura Tori Petrillo“E quindi uscimmo a riveder le stelle. L’approdo”, S. Fedele Gallery, Milan, Italy. Curator: Ilaria Bignotti“Art Code Factory”, S. Maria in Chiavica Church, Verona, Italy. Curator: Sara Belladelli“Migration”, Officina delle Arti, Reggio Emilia, Italy “Premio Samp” Art Off, Academy of fine Art, Bologne, Italy

Born in Gela, Italy in 1978, Fabio lives and works in Bologne. After his studies in psychology, he enrolled and graduated from the Academy of Fine Arts, Bologna. He has Been teaching “preparation for the exhibition space” since 2013. Fabio also participated in various collective exhibitions in Italy and abroad since 2007. His first solo show “Fallout” was in 2012 at the Adiacenze spaces, Bologna, followed by others in Reggio Emilia, Biella, Prato, Brussels, Berlin. He won several awards, such as the National Arts Award organized by the Ministry of Education MIUR in 2010, the Zucchelli Award for two consecutive years in 2010 and 2011 and the Making Art Award in 2011. His works are part of several public and private collections.


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2012“Hic sunt leones”, Sala Museale Baraccano, Bologne, Italy. Curator: Giovanni Mundula e Maurizio Giuffredi“Contemporary party” Art Off, via De Musei, Bologne, Italy. Curator: Simona Gavioli“The Samp Prize” Art Off, Academy of fine Art, Bologne, Italy

2011“Festival della creatività”, MIUR, Florence, Italy“Premio Opera”, Chiosco Biblioteca Oriani, Ravenna, Italy“Contemporary party” Art Off, Duse Theather, Bologne, Italy

2010“Ortofabbrica”, Fabbrica, Gambettola, Italy“Relation Landscape”, Re Enzo Palace, Bologne, Italy“Contemporary party” Art Off, Re Enzo Palace, Bologne, Italy

2009“Open 12”, S. Servolo Island -Venice, Italy. Curator: Massimo Pulini“Premio Samp” Art Off, Academy of fine Art, Bologne, Italy“L’Accademia per Enzo Biagi”, Pianaccio, Italy. Curator: Rinaldo Novali

2007“Sinestesie”, Palazzo delle Esposizioni, Faenza, Italy. Curator: Paola Babini

Prizes

“OFF COURSE et Anouk & Co”, The Public Prize 2° classified, Brussels, Belgium“Academy Now I”, The Public Prize Arte Fiera Off – Art Defender, Bologne, Italy. Curator: Laura Tori Petrillo“The Samp Prize” 4° classified – Bologne, Italy“The Zucchelli Prize” – Bologne, Italy“The Arte Fare Prize” – Bologne, Italy“The National Art Prize”, MIUR – Naples, Italy“The Zucchelli Prize” – Bologne, Italy


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FIND THE BALANCE

FIND THE BALANCE II | 2017 | installation view | size space

Always creating his works according to the space of their exhibition, Romano’s working method contains in itself a direct reference to that aesthetical dimension of “living” which is at the core of his artistic vision. Far from that typically Cartesian idea of space as ether where all the things are immersed, Fabio Romanos’ spaces are rather the result of an open dialogue where the body covers an important role in the process of re-defining the limits of the first.Inviting the spectator to move around a space in-between a “prescribed” and “not prescribed” nature, the artist manifests an attempt to physically involve them to play with it, to explore the unwritten possibilities that lie behind its mere formal organization. Suggesting a visual experience where the spectator’s body has to zigzag between the different elements as well as their eye is forced to oscillate constantly between a vertical and horizontal dimension, the exhibition space becomes the perfect field for the observer to experience that alienation effect, always present in the artists’ apocalyptic landscapes.These are desolate sceneries that never allude to a specific time or space, where reality and creativity intertwine themselves in a never-ending game of creation/destruction that closely recall the mechanism of memory.At the core of an artistic vision that has its strength in the association between different media, words also play an important role. Placed on the walls around the artworks, they prefer to surround rather than overwrite them, by insinuating gently inside that invisible space which keeps the sculptures suspended and almost separated from their surroundings.

As an “art of time”, poetry succeeds to set in motion the sculptures in the room, supporting the iconic power of both the verbal and the artistic language, in an attempt to reveal the mystery of the invisible. If, as Roger Callois suggests, poetry is what “gives to anyone, in the space of a second, the perception of an enigma”, words become here a sort of magic device, able to guide the viewer in filling the spaces left to their own imagination.

Chiara Fileccia


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SKYLINE # 10 carbon pigment on burned wood 2017

SKYLINE # 10 | OTHER VIEW carbon pigment on burned wood 2017

SKYLINE # 1 | DETAILcarbon pigment on burned wood 2017


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SKYLINES

Romano’s research focuses on space perception, time and memory in the landscape and it’s relation to human beings (could use humanity or the human experience), his practice incorporates sculpture, installation and photography. He attempts to make views and/or visions of crystallized places, lifeless landscapes where human presence is constantly evoked by geometric residues, through little wooden structures and the implementation of occurrences that refer to catastrophic and natural events. Places and silent spaces in which the event becomes pure poetry. Referring to his work as a process in which destruction and creation are ineluctably related, his constructions and deconstructions introduced Romano to a technique consisting of two phases: the production stage, assembling the elements in a kind of landscape, and the destructive one, in which he destroys parts of the architectures with combustion, lime and pigments. An introspective and philosophic voyage which shows man in his fragile and ended condition, as Marc Augè said “The man discover to belong to nature only when he has to get away from sites that he was supposed to control”. His sculptures are covered with dust, a motionless material that “metaphorically preserves the mark of all it was, without losing anything, like a wide store or a huge virtual matrix reconstruction” (Paulo Barone). Mnemonic containers where the dust grants textures and thickness also to the absence.

” The man discover to belong to nature only when he has to get away from sites that he was supposed to control”

M. Augè

© Fabio Romano, Skyline #2, 2016


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SKYLINE # 1 carbon pigment on burned wood 16,5x173x9,5 cm | 2016

SKYLINE # 2carbon pigment on burned wood 28,5x192x7,5 cm | 2016

SKYLINE # 4carbon pigment on burned wood 20x76x7,5 cm | 2016


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SKYLINE # 6carbon pigment on burned wood 6x185x7,5 cm | 2016

SKYLINE # 8carbon pigment on burned wood 11x132x8 cm | 2016

SKYLINE # 7titan white pigment on wood and organic materials 12x10x100 cm | 2016


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SKYLINE # 9carbon pigment on burned wood 15×102,5×5 cm | 2016


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DECOSTRUZIONI

Carbon pigment on burned wood and organic materilias 27x26x25 cm | 2016





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CATHEDRAL

CATHEDRAL # 1 carbon pigment on burned wood and organic materials 13x45x8 cm | 2016

CATHEDRAL # 2 titanium pigment on wood 27x14x7 cm | 2016

CATHEDRAL # 3titan white pigment on wood 32x26x13 cm | 2016


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LEVEL 7

LEVEL 7 | 2015 | installation view | size space

Fabio Romano creates sceneries, apocalypses of urban landscapes where man is not a tangible presence except from the relics, the architectures and the empty spaces left by his transition.These are collapsed worlds, ruins that ask not to be contemplated, but rather to be looked at in the attempt for the subject “to make experience of the time, the pure time”, as suggested by Marc Augè. The time and space evoked by Fabio in his works cannot really be traced. What we understand from the ruins of the cities he creates is that they all seem to have returned to a state of nature, while maintaining a direct bond with history.What we think of when we think about abandoned cities are in general places where a catastrophe occurred, like Cernobyl or Fukushima and what we ask ourselves is: could it happen again? The fear of nuclear disasters and atomic attacks can never be prevented and the destruction of our precarious tranquillity hides always around the corner.Fabio Romanos’ sculptures could be seen as an alternative archaeology of our everyday life or even a consideration about memory and the role memory has inside our increasingly technological society.As, to quote the very well-known biblical saying “Thou shalt return to the dust from whence thou came from”, the origin of man seems to be mythically related to dust, Fabio Romanos’ sculptures are covered with this inert material “which preserve the mark of what was before without having loosed anything, like an immense deposit or a virtual matrix of reconstruction” (Paolo Barone).If the huge dust cloud provoked by the collapse of the Twin Towers were, in fact, the Towers themselves, the dust that covers the works of Fabio Romano is what gives consistence and depth to what is no more there.

Irene Finiguerra


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LEVEL 7 # 1 carbon pigment on burned wood and organic materlias 18x50x60 cm | 2015



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LEVEL 7 # 4carbon pigment on burned wood and organic materlias 100x40x125 cm | 2015


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THE INVISIBLE CITIES

THE INVISIBLE CITIES | 2015 | installation view | size

It’s not easy to define in words the poetic of a very complex and original artist like Fabio Romano. In the attempt to uncover the mistery of the cities, Fabio discovers a very delicate level of expression, able to stimulate the observer’s emotions without the urge to hurt their sensibility. Fabio’s works are kind of indefinable sculptures, silent structures and landscapes which become part of a complex and multiform art, very personal and difficult to categorize.As results of an intense process of construction/deconstruction of materials, these only apparently “residual” cities emerge from the dust showing a semblance of perfect equilibrium and extremely refined elegance. Like Italo Calvino’s invisible cities, these places recall us a deep sense of finiteness, a sense everyone is surrounded by in the “normaliy” of our everyday life.

Sebastiano Simonini, 2014


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THE INVISIBLE CITIES carbon pigment on burned wood and organic materilias 22x60x65 cm | 2014

THE INVISIBLE CITIES | DETAIL carbon pigment on burned wood and organic materilias 22x60x65 cm | 2014


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THE INVISIBLE CITIES carbon pigment on burned wood and organic materilias 22x60x65 cm | 2014

THE INVISIBLE CITIES | DETAIL carbon pigment on burned wood and organic materilias 13X120X20 cm | 2014


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THE INVISIBLE CITIES carbon pigment on burned wood and organic materilias 10X35X50 cm | 2014

THE INVISIBLE CITIES | DETAIL | carbon pigment on burned wood and organic materilias 10X35X50 cm | 2014

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fabio romano - luisa catucci gallery · 2018. 5. 30. · fabio romanos’ sculptures could be seen...

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