E3 arte contemporanea, Brescia
In this exhibition, the sequences of the holes appear in the form of codes, ideographic writings, numerical alphabets. The text is there and, at the same time, is missing. Riccardo De Marchi's modus operandi refers, rather than to a precise movement, to a line of artistic operations of thought that tends to the direct recovery of a non-subversive, avant-garde language, from the realistic utopian elaboration of a world organized according to the reason, determined by the relationship between space and sign. The result is works of great formal interest, full of charm almost magical, intersubjective linguistic hypotheses. They are works that, despite the apparent refusal of emotion, denounce abandonment, an intense poetic inspiration; the signs in question, take the odor of memory accumulations reduced to its subtlest and most minimal essence.
Riccardo De Marchi has taken part in very important museum exhibitions such as the Venice Biennale XLV, the Bevilacqua la Masa Venice Foundation, Macro Roma, Fortuny Venezia, Peggy Guggenheim Venice, Villa Pisani Bonetti, Veneto Villas, Mart Rovereto Museum, Casa Cavazzini Udine.
The Claudioadami "paintings are pages of 'Diary' are combined pure 'quantity' of meticulous work. Claudioadami is precise until beyond belief. Record the days of work as if they were a certain achievement, marking the time of their journey through the only meter that is allowed: that of setting the day, month and year. The rest remains unqualified, because it is the same track (less thickened, more extended) to reoccur each time identical, without any possible evolution: whether it covers a paper support, a wooden board, a series of canvases or a cardboard cloth. "Thirty-seven and a half a year we move forward," Beckett says, "it's right from left to right, we advance and everyone moves forward from west to east." He copies and at the same time cancels Beckett's texts. There is something that makes any progression slow and that shows the stages of Claudioadami's journey.
Claudio Adami has participated in exhibitions in important museums such as Mart Rovereto, Macro Roma Museum, Andersen Roma Museum, Triennale Milano, Kunsthalle (Austria), European Commission (Brussels).
Architect of training, artist, filmmaker (and actor), editor, musician, cartoonist, teacher, since 1960 Ugo La Pietra defines researcher in the system of communication and visual arts, moving simultaneously in the territories of art and design. A tireless experimenter, he has gone through different currents (from painting to conceptual art, from Narrative Art to artist's cinema) and used multiple mediums, conducting researches that have been realized in the theory of "Disequilibrating System" — autonomous expression.
He has proposed important sociological issues such as "The telematic house" (MoMA of New York, 1972 - Fiera di Milano, 1983), "Relationship between Real Space and Virtual Space" (Triennale of Milan 1979, 1992), "La casa neoeclettica" (Abitare il tempo, 1990), "Cultura Balneare" (Centro Culturale Cattolica, 1985/95). He has communicated his work through many exhibitions in Italy and abroad, and has curated several exhibitions at the Triennale di Milano, the Venice Biennale, the Museum of Contemporary Art in Lyon, the FRAC Museum in Orléans, the Ceramics Museum in Faenza, the Ragghianti Foundation of Lucca. It has always supported critically with works and objects, with the theoretical, didactic and editorial activity, the humanistic, signifying and territorial component of design. In this exhibition we propose works in methacrylate from the 60s and a very important and emblematic work of his research as the "Commutatore " Sistema disequilibrante.