the flat – massimo carasi, Milan

3, Via Paolo Frisi, 20129 Milan, Italy



Sauro Cardinali's (1951, Italy) works ranges from painting to photography from the production of small objects to large installations. The autobiographic datum used by this artist becomes a leit motiv that Cardinali uses, through the skilled  manipulation of heterogeneous materials  that he search and transforms, in order to get an emblematic representations of the meaning of existence. 

The kind of materials used are numerous, they range from resin to iron, from wood to paper. The aspect of these works is always new and unexpected, some may appear very sinuous, other ones, very rigid and squared, all encased in forms that hide and reveal at the same time the very message that the artist intend to bring to his public.

Paolo Cavinato (1975, Italy): Through a variety of expressive techniques, Paolo Cavinato creates multi-sensory spaces in which images of reality converge as rational constructions and emotive projections. His research starts from the physical space of everyday life, to arrive at an abstract and absolute space; a philosophical journey made with order and stringency, drawing the viewer into the works.

Paolo Cavinato creates synaesthetic, traversable spaces, where the perceived reality is questioned. In these art works the spectator finds himself in a sort of limbo, between the finite and the infinite time. The room, the installation or the object, is often the concentration of a constantly changing empty space. This space appears in the works as changing, suspended and eternally fleeting.

Michelangelo Penso's (1964, Italy) works are always inspired from the branch of scientific -biological study; Indeed, they represent microscopic exoskeletons of bacteria.

Human beings have an internal skeleton, while in micro dimension many of these beings have an external skeleton. Penso's artworks draw inspiration from this aspect and the artist  makes  his works using rubber, which is highly deformable even once the piece is fully accomplished. In nature exoskeletons can effectively deform in their vital environment, moving  and floating in the void. When Penso started to be interested in this dimension of scientific research, found some very unusual new forms, completely new incentives, but what he liked the most is definitely the idea that something, comparable to a tiny grain, if implemented and defined, might grow  a great social and political worldwide revolution especially in the field of a forthcoming new medicine.

Sauro Cardinali, Nestore, 2017, Lacquered beech wood, 220 x 151 x 30 cm
Paolo Cavinato, Wing #1, 2017, Copper plated brass, 19 x 60 x 13 cm
Paolo Cavinato, Continuous City #5, 2016, Acrylic paint on fluorocarbon line, wood frame, aluminium backboard, Plexiglas, 50 x 100 cm
Paolo Cavinato, Continuous City #5 (detail), 2016, Acrylic paint on fluorocarbon line, wood frame, aluminium backboard, Plexiglas, 50 x 100 cm
Paolo Cavinato, Hidden Steps #3, 2017, Lacquered wood, 190 x 85 x 76 cm
Michelangelo Penso, Colonne sonore, 2015, Bassano ceramic, steel wire, 300 x 13 x 13 cm (each)