VALLI ART Gallery, founded by international art manager, collector and dealer, Franco Valli, focuses to enhance the role and understanding of Contemporary Italian Art in the United States, introducing significant works by artists that originated new tendencies in Italian Art, from the Post-War era, a period when Italy reinvented the way of doing things, to the present. VALLI ART highlights Italian Contemporary Art precursors of varied genres or movements, later followed by new global generations, in addition to career and emerging international artists. The Gallery attends prestigious art fairs alongside leading galleries in the world, providing customized consultant services to its art collectors. The exquisite selection for Art Palm Beach includes remarkable works by masters and career artists: Turi Simeti, Agostino Bonalumi, Alberto Biasi, Cesare Berlingeri and Giuseppe Amadio, who were introduced in the 2016 exhibit ITALIAN MASTERS DO IT BETTER at our location in Wynwood Art District, Florida, to be followed by presentations at diverse sites in the United States. In conjunction with these Italian masters VALLI ART is presenting at Art Palm Beach the exclusive well-known artist from Spain, Javier Martin, together with impressive works by Italian celebrated creators Chiara Dynys and Gianfranco Meggiato.
Turi Simeti, b. 1929, Alcamo, Sicily, moved to Rome when he was about 30 years old. In the early 1960s, he intervened the traditional space of the canvas searching for a third dimension with repetitive textured applications, slightly ovoid shaped, on a monochrome surface. In 1965, Lucio Fontana invited Simeti to participate in the exhibition Zero Avantgarde at his studio in Milan, a turning point in his career. Simeti begun to show in Germany, Switzerland and later in Brazil, where he resided some time. Simeti well-known artworks are part of important international public and private collections. In his art the canvas is not a representative composition, but a place for events physically related with the third dimension. It becomes as a self-entity on an almost monochrome background through interventions above and below the surface creating a dialogue between the impulse of an internal structure and the elliptical shapes appearing outside. The shapes maybe relating to the orbits of the planets in the galaxy.
Agostino Bonalumi, b. 1935, Vimercat, d. 2013, Desio, Northern Italy, considered
courage not an act, but a way of life, based on thought, action and freedom. The foundation of his artistic research, on a process of analysis of surface, light and tension, leads to a physical analysis of the third dimension. The Imbottiture (Padding), then the Estroflessioni (Shaped Spaces), launch his experimentations towards the study of the real space and the annulment of the surface, monochrome and detached of the canvas-object. The Tele estroflesse (Shaped Space Canvases) of Bonalumi let forms overhanging and vaguely rounded emerge onto the surface of the support, creating an effect of construction of the third dimension. Bonalumi created overhanging plasticity with rounded forms, with different construction methods to produce diverse light and shadow effects depending on the angle of light sources. In 1966 he was invited to the 33rd Venice Biennale, and in 1970 at the 35th Venice Biennale. In 1967 he was invited to the São Paulo Biennial and the Biennial of Young Artists in Paris, followed by living in northern Africa and in New York. In 1986 he participated in the 11th Rome Quadrennial and the 42nd Venice Biennale. In the new millennium he continued his career with international important exhibitions.
Alberto Biasi, b. 1937, Padua, studied architecture and technical drawing in Venice. Neoplasticism, Futurism and Dada deeply influenced the young Biasi. His own artistic activity developed at the same time. He received the 1st prize at the 4th Cittadella Youth Biennial in 1959, first public award won by an artist young, but already developing. Biasi worked with the Group N in Padua until its dissolution in 1967. he exhibited in the 1960s with Manzoni and Castellani and the European artists of the New Artistic Conception group. he joined the Nuove Tendenze movement in 1961 and took part in the founding of the Arte Programmata movement in 1962 together with the rest of the Group N, and the Group T. Biasi has held over one hundred solo shows and taken part in countless group events, including the 32nd and 42nd Venice Biennial, the 10th, 11th and 14th Rome Quadrennial, the 11th Sao Paulo
Biennial and the most important international biennials of graphic art. His major international awards include a prize for the multiple Io sono in the 1973 World Print Competition held by the California College of Arts and Crafts and the San Francisco Museum of Art. The exhibition of thirty works in the Hermitage Museum, Saint Petersburg, in 2006, and the exhibition Kaleidoscope: from Patterns to Assemblages at the Museo del Palazzo Reale, Genoa, in 2009. Works by Biasi are in the MoMA, New York, the Galleria Nazionale in Rome, the Hermitage in Saint Petersburg, the museums of Belgrade, Bolzano, Bratislava, Buenos Aires, Ciudad Bolivar, Epinal, Gallarate, Guayaquil, Livorno, Lodz, Ljubljana, Middletown, Padua, Prague, San Francisco, Saint Louis, Tokyo, Turin, Ulm, Venice, Waldenbuch, Wroclaw and Zagabria.
Cesare Berlingeri, b. 1948, Cittanova, Calabria, is a natural heir of the Spazialist
movement initiated by Lucio Fontana, of which he is considered among its masters and founders. He has dared to violate the canvas to rewrite history, building on it something that becomes an unexpected and revolutionary space based on the real use of space, the research on the time and the analysis of the rhythm of the structures. The folded paintings by Berlingeri are unique and very look after for their esthetic purity and brilliant perfect color. His artworks have participated at solo shows in important museums and institutions in Italy and internationally, such as in the Museum of Modern Art of Rio de Janeiro, Brazil.
Giuseppe Amadio, b. 1944, Italy, a natural heir of the “physical revolution” of Azimuth, is an artist consistent with his thoughts and actions, capable of embracing the irrational, the challenge within him and the world. His shaped monochromatic canvases are irregular, lively, energetic and metamorphic, with points, lines, curves and angles on the surface that mark it in a prearranged manner. A visual plasticity made of internal and external energies, of a series of overhanging atypical and different arabesques with natural harmony that calls for a physical investigation of the space, intercepting, invading and transforming the canvas from an expressive surface to a self-existing volume.
Javier Martin, b. 1985, Ceuta, Spain, and today established in Miami, FL, has
developed his Blindness Collection for more than 10 years, using beauty to attract the viewers’ eye and, while captured, he sends them his message. By combining painting with collages of models-symbols of today’s social standards of beauty and lifestyle, Martin explores perceptions of what is beautiful and valuable, also questioning the genuine, the reflection or the truth. He depicts the eyes, associated with the reflection of human emotions, under a glowing neon light that acts as a transmitter of feelings from the being’s inside to the exterior or vice versa. Appropriating the language of advertising, a strategy adopted by Pop Art, Martin creates subtle relationships of meaning that involve viewers in an unexpected connection with the works. But then, Martin deconstructs this perceived perfection to create a contrast between technology, collage and painting. Martins’ art – known for its thought provoking boldness also invites the viewer to question their own perspectives as well. The career of this multidisciplinary artist is in a constant ascension, as he is celebrated and collected worldwide. In his unique artworks, this talented artist shows his capacity to masterfully manipulate and relate materials
and situation in order to construct sharp visual metaphors. For him media and technique are unlimited and unimportant. His message is the focus of his work, in which interaction with the viewer is fundamental. His artworks, such as 100 DOLLARS, Uvi ink on wood with mirror, and L.V. Granade, a collage made with an original fabric handbag Louis Vuitton, become conversation pieces that attract the exited viewer, who wants to have a selfie taken in front of the Dollar bill mirror or own a Granade made with a Vuitton fabric that plays a metaphor between status symbol and power. Javier Martin confront us with the drama of immigration, war, weapons’ increasing global market, brands as social status symbols, superficiality as a dominant attitude in today’s society, money as key human pursuit, political strategies and games, banks controlling individuals, advertising creating erroneous standards of well-being and beauty, rampant consumption or the destruction of our planet by man’s abuse of natural resources. His varied artistic approach by means of a diversity of media, from painting, photography and collage, to sculpture, performance and installation, launches a message intended to create a reaction that will conduce his viewers and followers to reflect and take responsible action when confronting our times’ beliefs and goals.
Chiara Dynys, b. 1958 Mantua, engages emotionally the viewer with her artistic creations that change the perception of space. Her progressive increase in the size of installations and the importance of light, an element that is indissolubly linked to the vision, as well as the contact with the observer is essential, the artist says: “I often use the word passage to talk about my work. In fact, what is common to all my work is the sense of the crossing.” Dynys declares that she doesn’t pursue any specific style, as she seeks a conceptual approach. Choosing from a variety of materials she questions the world we live in through the language of art. The artist frequently uses transparent or reflecting surfaces in order to either stimulate or destabilize the viewer’s look. Recent solo exhibitions include: 2008, ZKM – Museum für Neue Kunst, Karlsruhe, 2009; Galleria Marie-Laure Fleisch, Rome, 2010; Archivio Centrale di Stato, Rome, 2010; Centro Italiano Arte Contemporanea, Foligno, 2010; Italian Embassy, Damascus, 2011; ZKM | Center for Art and Media, Karlsruhe, 2012; Museo Poldi Pezzoli, Milan, 2013; Spazioborgogno, Milan, 2013; Galerie Hollenbach, Stuttgart, 2014.
Gianfranco Meggiato, b. 1963, Venice, says: “Like on a misty day in the Venetian lagoon, where water blends into the sky and becomes impossible to see the thin line that separates the two elements, my work have a Venetian impalpability and ethereal quality, in which the material almost dissolves, fusing into space and light. By using polished bronze and geometrical forms, my sculptures favor void over solid and appropriate the biological material as a metaphor of man’s research within himself, recalling the brain and muscles under strain. A gilded sphere as their heart is a sort of imaginary point of arrival. It lies beyond black parts that metaphorically represent the course of our life, which may at times be dark and intricate, always essential for achieving inner advancement. I like the contrast between the dark and the brilliance of the mirror-polished bronze that gives a unique, warm light, which I feel, helps conveying my formal and spiritual research, overcoming all cultural and religious barriers, in order to attain true essence.” His art is defined by critics as: “Liquid sculptures, where air plays a leading role to define the dynamic course of bronze that explain and sing the praises of the non-visible in a poetic manner.” Meggiato has participated at the Venetia Biennale. His art is in public collections, such as in Montecarlo.
VALLI ART GALLERY