ART GALLERY is Hotel Annunziata’s cultural project, running since 2011, turning the hotel into a public art space with temporary exhibitions. Every two months, we host an artist whose works are physically displayed in dedicated areas, creating a fresh, inspiring experience that blends hospitality with culture and creativity.
Find out about the next exhibition and the past ones we have hosted.
January 10 – March 1, 2026
Opening Saturday, January 10, at 6:00 PM
The exhibition is open to the public free of charge daily at the Hotel Annunziata until March 1, 2026.
RAOUL BELTRAME arrives at the ART GALLERY at the Hotel Annunziata with his works.
Every day of the exhibition, in addition to the physical display of the works, it will be possible to watch digital images of the artist’s works projected on the digital wall in the hotel lobby. The projected images will be different from those physically exhibited, thus offering a unique perspective on the artist’s work. The screening times are as follows: 8:20 am | 10:20 am | 12:20 pm | 2:20 pm | 4:20 pm | 6:20 pm | 8:20 pm | 10:20 pm
The exhibition “(o)scuri” by Raoul Beltrame opens on January 10th at 6:00 pm at the Hotel Annunziata in Ferrara, Piazza Repubblica 5. The artist has worked with recycled materials since the beginning of his career, and this characteristic continues in the exhibition. The title plays on two terms: the term “scuri” refers to the support for the works—eight are actual window shutters, while the others have a dark background. The “oscuri” (dark) refers to the feelings the works seek to express. They represent the fear and wonder that occasionally appear in our daily lives. The project aims to explore the most intimate feelings, those that only the hands can express, delving into the depths of the soul and transcending the barriers of rationality. All the works are composed of abandoned materials, pieces of wood found on the beach, plastic collected on the ground, and waste materials from manufacturing processes. Gluing these scraps onto an exhibition surface (the garbage problem is a real problem for modern society) also represents an attempt to ennoble “waste” and give it new meaning. The paintings will remain on display until March 1, 2025.
The exhibition, organized in collaboration with Paolo Pallara, will be open daily until March 1, 2026.
Free admission.
Artist Biography
An architect by training, and a graduate of the University of Venice, the artist worked for many years as a safety expert on construction sites. At the same time, he developed strong manual skills, honed over time through the self-construction of furniture and the constant practice of “doing,” linked to the concrete resolution of everyday problems.
His artistic journey began in his later years, around the age of fifty, spontaneously and unplanned. In his garage, working with his partner’s daughter Lucia, he began constructing objects using wood and discarded materials. This experience sparked an increasingly conscious interest in the recovery of materials and the expressive potential of abandoned objects.
Through the practice of assembly and reuse, the artist explores techniques typical of contemporary research, discovering how elements derived from waste, appropriately reassembled, decontextualized with color backgrounds, and inserted into a space delimited by a frame, can acquire a new aesthetic value.
Waste immediately became the foundational material of his production. His research initially developed as a critical reflection on the theme of waste and the contemporary model of consumption: for millions of years, every scrap was a resource for someone else, while modern man produces waste that is no longer reusable, destined to accumulate and compromise the natural balance. The work presents itself as a symbolic attempt to “heal” this wound, restoring dignity and new life to materials destined for the landfill.
The early works feature recognizable subjects, tied to the real world, as in the Generali and Pesci series. Later, without any intentional conceptual planning, the research evolved toward a more abstract dimension, visible in the I Chiodi and Incastri series.
This transition marked a profound shift in the creative process. The artist discovered that manual labor became a vehicle for expressing emotional and interior levels, unmediated by rational thought. The hands assumed a central role, as a tool capable of accessing a more intimate and unconscious dimension.
While maintaining waste as the primary material, the work gradually shifted from the painting intended as an object to be hung to a more introspective practice. The work became a tool for self-interpretation and the exploration of personal identity. From this phase emerged the figure of the “iron man,” a recurring element that represents a symbolic synthesis of the artist’s journey.
The intimate and subjective dimension of the work ultimately offers a possible interpretation for the observer as well, invited to recognize in the works an opportunity for reflection on their own experiences and the relationship between matter, memory, and identity.
November 8, 2025 – January 4, 2026
Opening Saturday, November 8, at 6:00 PM
The exhibition is open to the public free of charge daily at the Hotel Annunziata until January 4, 2026.
CHARLIE DAVOLI arrives at the ART GALLERY at the Hotel Annunziata with his photographs.
Each day of the exhibition, in addition to the physical display of the works, it will be possible to watch digital images of the artist’s works projected on the digital wall in the hotel lobby. The projected images will be different from those physically exhibited, thus offering a unique perspective on the artist’s work. Screening times are as follows: 8:20 AM | 10:20 AM | 12:20 PM | 2:20 PM | 4:20 PM | 6:20 PM | 8:20 PM | 10:20 PM
ABSTRACT on the UTOPIA DIAGRAMS series
In the 19th century, the English poet George Gordon Byron stated, “I love nature, and in these conversations with her I free myself from all that I am and all that I was before, to merge with the universe.” These words reveal a desire to engage with the natural world, which is currently experiencing uncertain times, despite the emergence of an international policy aimed at environmental sustainability. However, there are lifestyles that can preserve it, and even narrating it visually is an act of love towards a reality that demands to be protected and discovered.
Looking at the works of artist Charlie Davoli is like rekindling within one’s own identity of solidarity with the environment, which has long been lost. In Davoli’s photographic works, the universe returns to being a place of shared coexistence where humans, nature, and urban reality peacefully coexist. Nature imposes itself with its lush energy, leaving little room for the human, who inhabits urban realities characterized by a sublime and surreal quality. The creative power of Davoli’s works lies precisely in this concept of dissonance, a sort of visual short circuit that develops an imaginative desire in the observer and opens the mind to dreamlike realities.
CONCEPT
Charlie Davoli conceives photography as a means of escaping and ironizing reality. Today, we live in the era of the myth of globalization and are faced with new and critical situations arising from the unhealthy management of the planet we inhabit. These considerations have led Davoli to create a series of images that represent dystopian visions of common spaces, reclaimed by nature. He does so in a forceful and indiscriminate manner, disregarding any rules of coexistence with humans, which ultimately lead to the subversion of those rules.
Visual dissonance is the starting point of his art: in the balanced juxtaposition of compositions, the element of visual paradox draws the viewer into alienating realities. Davoli brings out the narrative element, leading the viewer towards new paths and distancing them from the banal and obsessive repetition of reality. The photographs presented are part of a series dedicated to a dystopian vision of nature, according to which man coexists meekly with it.
Texts by Maria Vittoria Pinotti
September 5 – November 3, 2025
Opening Friday, September 5, at 6:00 PM
The exhibition is open to the public free of charge daily at the Hotel Annunziata until November 3, 2025.
ALESSANDRA CARDI arrives at the ART GALLERY of the Hotel Annunziata with her works.
Each day of the exhibition, in addition to the physical display of the works, it will be possible to watch digital projections of the artist’s works on the digital wall in the hotel lobby. The projected images will be different from those physically displayed, thus offering a unique perspective on the artist’s work. The projection times are as follows: 8:20 AM | 10:20 AM | 12:20 PM | 2:20 PM | 4:20 PM | 6:20 PM | 8:20 PM | 10:20 PM
Two things in particular are striking about Alessandra Cardi’s paintings. The first: a moderately broad color palette, composed primarily of whites, grayish blues, and beautiful browns reminiscent of earth and rust: colors that alone lend her works their recognizability. The second: a strong compositional balance of the elements on the canvas, the result—one might imagine—of the artist’s natural, almost instinctive talent for successfully combining expressive power and rational control of space.
The paintings of this Montebelluna-born artist, both welcoming and enigmatic, seem to rely primarily on instinctive gestures, on the suggestions offered by each new brushstroke, be it a sign, a line, or simply a color to be added. The artist accumulates a rich, often overabundant, amount of paint on the canvas, using brushes and spatulas, but also fingers and hands. Almost in a melee with the surface before her. Until a crucial choice is made: leave everything in its place, just as it emerged from the original creative impulse, or—most often a necessary choice—eliminate what the eye deems insignificant or useless at that point, and introduce a balancing element. A process of removal, in short, almost of cleansing; accomplished with limited corrections: enhancing a detail, clarifying a mark, or eliminating it because it’s too conspicuous. Few things, but essential. Once this phase is complete, the artist is able to decide that the work is finished and the piece can, or rather must, be abandoned and begin to live its own life. In Alessandra Cardi’s paintings, both of these elements are evident: the impulse that drove the artist to gestures that left those traces and no others, those lumps of color and those scratches; the need to introduce some element capable of ordering and defining. It’s a sign that her paintings are born from a profound, often unconscious, need, recognizable only in hindsight.
Anyone standing before a painting by Alessandra Cardi can only imagine the process involved in its creation. They can only rely on somewhat hasty and perhaps superficial impressions. Instead, her paintings, completely free from figurative constraints, require a willingness to approach them without prejudice or reservation. The first suggestion, then, is to take the time necessary to look at them carefully, to observe them thoroughly. A meticulous and attentive—one might even add, slow—reading of them can bring to light details that escape a hasty glance. After sweeping the entire perimeter of the canvas with a broad glance, the eye should patiently linger on the minute ripples of the paint, on the small eruptions of the brightest colors (red, especially); linger on the glazes, which suggest more than they conceal; and pay particular attention to the signs that repeat and recur, often with slight variations, to ultimately become symbols to be interpreted. Here, inside small windows or mysterious openings, appear small red hearts that can’t stay hidden, frail birds balanced on the thinnest of threads, small flags frayed by a mysterious wind, tiny silhouettes of an unlikely nativity scene, or even barely glimpses of landscapes shrouded in an indecipherable fog.
The painting thus comes alive, gaining depth and interest, thanks also to those few figurative elements you wouldn’t expect in a painting like Cardi’s, essentially abstract but always welcoming, open to incorporating different signs and materials, indulging in an almost chameleon-like attitude to experimentation, perhaps naive and instinctive, but always authentic and true. Each of Alessandra Cardi’s paintings ultimately becomes a snapshot of who she is at the moment she creates it, a mirror in which she can rediscover herself. A clear and generous, intimate self-portrait, in short, in which even the viewer can, if desired, see themselves reflected.
July 11 – August 31, 2025
Opening Friday July 11 at 6:00 pm
The exhibition can be visited free of charge every day at the Hotel Annunziata until June 29, 2025.
CARLOTTA LORENZETTI arrives at the ART GALLERY of the Hotel Annunziata with her works.
Exhibition curated by MARGHERITA FRANZONI
Every day of the exhibition, in addition to the physical exhibition of the works, it will be possible to watch the projection of digital images of the artist’s works on the ‘digital wall’ in the hotel lobby. The projected images will be different from those physically exhibited, thus offering a unique perspective on the artist’s work. The screening times are as follows: 8.20am | 10.20am | 12.20pm | 2.20pm | 4.20pm | 6.20pm | 8.20pm | 10.20pm
May 9 – June 29, 2025
Opening Friday May 9 at 6:00 pm
The exhibition can be visited free of charge every day at the Hotel Annunziata until June 29, 2025.
SABRINA BONAGURO arrives at the ART GALLERY of the Hotel Annunziata with her works
Every day of the exhibition, in addition to the physical exhibition of the works, it will be possible to watch the projection of digital images of the artist’s works on the ‘digital wall’ in the hotel lobby. The projected images will be different from those physically exhibited, thus offering a unique perspective on the artist’s work. The screening times are as follows: 8.20am | 10.20am | 12.20pm | 2.20pm | 4.20pm | 6.20pm | 8.20pm | 10.20pm
Sabrina, after completing her artistic studies at the “D. Dossi” Art School in Ferrara and the Academy of Fine Arts in Bologna, embarked on a path that touched and crossed various types of expression, including portraiture and figurative art using oil painting, chalk earths, and acrylic.
In the figurative, there were also some examples of author fakes, as well as some commissioned portrait subjects.
The chalk drawing technique led her to express herself as a Madonnara in various festivals and urban events, which gave space to her artistic expression on plywood or raw canvas supports.
The latest current that Sabrina is following is that of abstractionism, an avant-garde artistic movement born in the early twentieth century, for their painting made of light, pure colors, elementary forms not attributable to traditional figures and compositions, to quote the words of the founder Kandinsky: the pictorial representation must elevate the spirituality of each one, it must capture that interior and spiritual aspect that the chromatic element communicates.
The path of abstraction with the acrylic technique allows Sabrina to express herself in a new method, a free method that allows her to free her personality and creativity.
It is in this new guise that she proposes herself in the sale of her works.
EXHIBITION FROM 9 MAY TO 29 JUNE 2025
www.sabrinabonaguro.it
info@sabrinabonaguro.it
March 8 – April 27, 2025
Inauguration Saturday March 8 at 6:00 pm
The exhibition can be visited free of charge every day at the Hotel Annunziata until March 2, 2025.
WALTER ZAGAGNONI arrives at the ART GALLERY of the Hotel Annunziata with his works
Every day of the exhibition, in addition to the physical exhibition of the works, it will be possible to watch the projection of digital images of the artist’s works on the ‘digital wall’ in the hotel lobby. The projected images will be different from those physically exhibited, thus offering a unique perspective on the artist’s work. The screening times are as follows: 8.20am | 10.20am | 12.20pm | 2.20pm | 4.20pm | 6.20pm | 8.20pm | 10.20pm
LaMemoria dellaLuce
By now accustomed to the slow but systematic destruction by man of what nature has created and laboriously given to life over centuries of evolution, we are deserting the spectacular ability of nature itself to rise again. A spectacle that, through the lens of Walter Zagagnoni, allows our eyes to be moved and to attempt the same courage.
The artist chooses the subject through his innate ability to observe with excellent finesse.
This allows the work to shed the clothes of a simple photograph and almost take on the appearance of a real painting where the minimal variations of shadows and lights are captured that enhance the colors of wild plants, made vivid by recent rain or veiled by the light fog in the winter light that embraces the forest in a compassionate union and at the same time full of hope.
The memory of light is a work that plays at reconstructing beauty as it is scratched in our memories and makes us think of the beams of light as a fairy’s magic wand that takes us back in time, giving us the ephemeral illusion that grayness does not exist.
Chiara Fraternale
JANUARY 11 – March 2, 2025
Opening Saturday, January 1 at 6:00 pm
The exhibition can be visited free of charge every day at the Hotel Annunziata until March 2, 2025.
GUGLIELMO DARBO returns to the ART GALLERY of the Hotel Annunziata with his works
In the context of the undifferentiated aphasia of a society that gives the possibility of speech to anyone, who talks too much without saying anything, the painting of Guglielmo Darbo with its refined material and tonal modulations, with its semiological richness, hits us in a fraction of time. But in order for it to be understood and penetrated, grasped, there is a need for investigation and listening. The eye of the beholder must rest on the details, discovering each element, because everything “means”. The work is what happens where the visible and the invisible are given a voice, the unnamable is named and the formless is formulated, because in it the meaning of things is found. (Cristina Palmieri)
Every day of the exhibition, in addition to the physical exhibition of the works, it will be possible to attend the screening of digital images of the artist’s works on the ‘digital wall’ in the hotel lobby. The projected images will be different from those physically exposed, thus offering a unique perspective on the artist’s work. The screening times are as follows: 8:20 | 10:20 | 12:20 | 14:20 | 16:20 | 18:20 | 20:20 | 22:20
November 2, 2024 – January 4, 2025
Opening: Saturday, November 2 at 6:00 PM
The exhibition is free to visit every day at the Hotel Annunziata until January 4, 2025.
On Saturday, November 2 at 6:00 PM, the exhibition “PIANONOBILE – Flowers of Good” by photographer Rosaria Anna Lardo will be inaugurated. Born in Lucania and now based in Rome, Rosaria Anna Lardo describes herself as “born with her feet in the water and in love with the sea and cinema.” She draws inspiration from cinematic photography, particularly from Gordon Willis, the American cinematographer known for his extraordinary and innovative visual talent (Manhattan, Annie Hall, The Godfather trilogy). Lardo is captivated by his unparalleled mastery of light, his use of sharp contrasts, ethereal atmospheres, and the refined, essential composition of each frame.
For Lardo, photography is a “serious matter.” A purist of the medium, she views photography as a way to materialize impulses, process her past and inner uncertainties, reclaim her personal history and roots, and offer solace and shelter.
PIANONOBILE is a multifaceted project that begins with writing, unfolds through photography, and integrates a video created by the artist herself. It draws inspiration from a true story passed down orally through generations, stories she has heard since childhood from the women in her family. From these memories, blending reality and fantasy with tangible relics like objects and places, Lardo evokes her protagonist: a Lucanian Baroness who lived in the early 1800s and was marked by tragic events.
Lardo’s narrative is poetic and introspective, deliberately distancing itself from historical documentation to focus on themes of loss and rebirth. Through this, the artist reclaims time, as Proust might say—not chronological time “of nature and the world” but memory as time. This journey into memory became a physical journey to create the project’s images and videos, a necessary path to reclaim her past in her native places.
The visual narration of PIANONOBILE begins with a written text: a letter written by Rosaria Anna Lardo in an authentically old-fashioned style, in the first person, as if she were the protagonist herself. This results in an intimate, emotional biographical tale, revealing the protagonist’s inner turmoil, contained and slowly overcome. Lardo embodies the woman in her story, inhabiting that “piano nobile” (main floor) as both a sanctuary for grief and a prison of memories she dreams of escaping, as one longs to flee absence and loss. Gradually, “the breath of life” emerges, compelling the protagonist to seek a way out, to find landscapes that revive her spirit and stir her veins to bloom anew. “Since those days of the flowers of evil, I measure the earth by its capacity to yield flowers. Of good.”
“PIANONOBILE – Flowers of Good” is crafted with an aesthetic language where elements become symbols, lines are clean, and compositions are minimal. The slow return to life is symbolized by flowers, appearing in furnishings, clothing, and as standalone elements. The desire to escape and the tension between interior states and an outward pull toward life are highlighted through dichotomies between interior and exterior scenes shown in diptychs. The use of natural light and minimal post-production give a realistic feel to the photographic narrative. The absence of an identifiable face for the protagonist and explicit historical or geographical references lends a universal resonance to the themes explored.
The works on display at the ART GALLERY are accompanied by a video showing other works not present in the exhibition, along with footage filmed by the artist herself, portraying the places and spaces where the images were created, as a tribute to her homeland and its stories.
Rosaria Anna Lardo will be present at the opening to guide the public through the introspective and delicate poetry that characterizes her project. “PIANONOBILE – Flowers of Good” traverses inner worlds, inviting viewers to reflect on their own experiences of love, loss, and rebirth.
The text of the letter is included in the exhibition catalog, available at the ART GALLERY.
7 SEPTEMBER – 27 OCTOBER 2024
Opening Saturday 7 September at 6:00 pm
NEW YORK – DOUBLE EXPOSED
Different, “cross-eyed” gazes that welcome complexity
The metropolis and the speed with which a babel of images, smells, sensations assails you in a single great indistinct din. How to capture the photographic moment? How to practice the profession, the photographer’s prerogative? The mission of the story in an image?
This project, this visual proposal, wants to overturn the canon of the good photographer. We give up on capturing the photographic composition of the moment but we let ourselves be crossed, overwhelmed by the urban complexity. The experiment rediscovers the coherence of the story when it manages to sediment the kaleidoscope of lights. When even the iconographic symbols are recontextualized in the sensitivity and curiosity of those who have lived them.
New York is the city you have always known, you have lived it and you find it again by immersing yourself in it. After years, finally our first meeting.
People, noises, atmospheres, sounds and silences… Neighborhoods, peoples and cultures…
Photographs by: Jessica Morelli Jessica Morelli
5 JULY – 1 SEPTEMBER 2024
Inauguration Friday 5 July at 6.00 pm
” His pictorial elaborations, in which the idea is contextual to the realization, proceed in iconic interpretations that are confirmed “in itinere”, in consequential creative processes apparently unexpected, but emotionally preserved in the inexhaustible will to paint. the spreads of alkyd pigments on rigid supports they obey the power of the gesture, of the expressive impulse, free to coordinate abstract backgrounds, elaborated as backdrops from which perceptible figurative features emerge which light up the intensity of the communicative dialogue. becomes a witness of a present time, in the trembling wait of an image in changing and evolving gestation. In the art of Remo Suprani it is not difficult to see a direct implication of underlying landscape messages on the painter’s ethics, as his essence is tinged. of nature and dresses nature, and with it and about it narrates autobiographical, lyrical and epic arguments.”
Enzo Dall’Ara
He currently has numerous exhibitions to his credit in public institutions and private galleries, and has participated in national prizes and competitions with good critical success. He lives and works in Ravenna.
Visit the website www.remosuprani.com
Find out more..
BIOGRAPHY
Remo Suprani was born in 1965 in Ravenna
Graduated from the Art High School of his city, he exhibited for the first time in the nineties. Initially his creative flair worked mainly on wood and metal, creating the “Hanging Sculptures”; subsequently research into techniques for treating metal surfaces will lead him to create pure sculptures, which look towards design. Later he combined this research with an intense pictorial activity; severe critic of himself, averse from chasing fashions and frenzies of the moment, he seeks that human-scale dimension that shines through in his works, be they “Industrial Landscapes” or “Human Landscapes”, “Trees” or “Ruins”: in all of them light, shape and color reveal themselves in essential and dialectical images.
4 MAY – 30 JUNE 2024
Inauguration Saturday 4 May at 6.00 pm
SERGIO CAMERANI’s exhibition opens on May 4th at 6.00 pm at the ART GALLERY of the Hotel Annunziata
Sergio Camerani was born in Ferrara on 21 March 1957, he is a passionate teacher with a degree in Literature from the University of Bologna. In addition to his dedication to teaching, Sergio deepens the study of the human figure in moments of daily life through painting.
In his paintings, he uses warm and intense colors that highlight objects and figures, his actions are always aimed at searching for manifestations of facial expressions and gestures where feelings and moments of reflection on daily activities can be captured.
Through his art, Sergio captures the beauty and complexity of the human experience, offering observers a profound and emotional look at everyday life.
Vanna Modelli arriva, per la prima volta, alla ART GALLERY dell’Hotel Annunziata
13 gennaio – 3 marzo 2024
Inaugurazione sabato 13 gennaio ore 18,00
Esposizione a cura di Paolo Pallara
Vanna Modelli vive e lavora in provincia di Bologna.
Dopo essersi diplomata come stilista, frequenta vari corsi di disegno e pittura.
La sua transizione artistica si può suddividere in 3 fasi distinte ma allo stesso tempo contigue: il primo periodo abbraccia lo stile figurativo, il secondo evolve nell’informale, ispirandosi ad Alberto Burri, sperimentando la materia e le combustioni per poi esplodere nel terzo, durante l’ultimo biennio, con la sua visione del tutto personale della luna.
Una pittura materica che ci conduce nella corporeità dell’arte. Osservare le lune di Vanna Modelli e al contempo un viaggio rievocativo verso l’ignoto e verso ciò che è lontano da noi, ma anche un inno valore intrinseco della materia.
Palpabile, tattile, concreta la plasticità si fa qui mezzo espressivo e forza comunicativa. Il suolo lunare diventa arte nella sua densità, ruvidezza, solidità.
Emerge dalla superficie come tante bolle di sapone, dando un effetto tridimensionale all’opera. La brava artista ci conduce in luoghi infiniti e fuori dal tempo, immergendoli in atmosfere romantiche ed universali. Liriche ed insieme suggestive, le lune di Vanna Modelli rappresentano le sfumature del nostro animo, osservandole, sembra che la nostra anima ci si specchi dentro.
Isabella Schiavone
Paolo Pallara ritorna alla Gallery Annunziata
4 novembre 2023 – 7 gennaio 2024
Inaugurazione sabato 4 novembre alle ore 18,00
[…] Non la soglia ti è ignota, ma oscuri
sono i passi più in là del tuo mondo
di cui sai tutto
ma non dove sia
tratto da l’Attenzione di Angelo Andreotti
NFT RINASCIMENTO
8 luglio – 3 settembre 2023
Andrea Forlani espone i suoi nuovi lavori nella gallery Annunziata
“Non so se sono un artista: non mi interessa”. Ad Andrea Forlani potrà anche non interessare, ma la risposta la possiamo dare noi, in base agli unici dati certi che definiscono l’arte: qualità (comunque relativa) ed emozione. Bisognerà considerare questo, quando si sosterà nelle stanze dell’Hotel Annunziata, dirimpetto al Castello Estense, di fronte alle immagini che il pittore, regista e fotografo ferrarese ha prodotto. L’occasione sarà la mostra ‘NFT Rinascimento’ (8 luglio-3 settembre). Ma perché la N di ‘NFT’ è barrata? Lo spiega l’autore. “Sono immagini realizzate con una tecnica composita: utilizzo i quadri che ho fatto negli ultimi trent’anni, come fossero i colori di una tavolozza”. In pratica, Forlani ha fotografato le opere che ha eseguito in passato e le ha trasformate in velature digitali, livelli singoli di Photoshop che ha sovrapposto e modificato, fino ad ottenere le combinazioni volute. “È una stratificazione temporale di un percorso pittorico che sublima, in un primo momento, in arte criptografica digitale”. Pertanto, le opere sono state inizialmente pensate come NFT, ovvero “non-fungible token”, proprie, quindi, del mondo del digitale: oggetti non tangibili. Ed ecco spiegata la N barrata: “una volta ottenuta l’immagine digitale, trasformo le opere in oggetti reali, concreti”. Come? Attraverso una particolare tecnica di stampa su lamina di alluminio, che permette di esporre le immagini alla stregua di un’opera fisica. In buona sostanza, ci si trova davanti a una rielaborazione attuale dei collages novecenteschi. Il concetto di stampa, poi, ci riporta a una dimensione commerciale e popartistica, che tuttavia Forlani declina nei termini di un omaggio al Rinascimento. Infatti, alle velature ottenute dai suoi prodotti pittorici aggiunge porzioni di opere dei grandi maestri del Quattro e Cinquecento, che emergono qua e là, nel risultato definitivo: forme del Rinascimento reinterpretate e riviste attraverso una tecnica tutta contemporanea. Si entra in un vortice temporale che riassume secoli di capolavori e finisce per mostrare, ad esempio, il volto rilassato, e di tre quarti, di un semplice putto, nella cui sagoma si riconoscono più riferimenti: tra questi, un cardellino concorre a un generale clima di pacata e nostalgica malinconia, alimentando una sensazione che, in effetti, soltanto un artista saprebbe suscitare.
Testo di FRANCESCO FRANCHELLA [Il Resto del Carlino – Ferrara]
6 may – 2 july 2023
Enrico Manelli has been defined by some as a Renaissance man, an eclectic, in which all fields of artistic knowledge must be known and explored. Each of his artistic expressions is summed up by his profound knowledge of the spaces, breaths and amplitudes on which he plays and which he reworks, sometimes creating playful and artificial settings but often also torment and tension in the beholder. It is the man who is the architect of his own destiny, the creative man and creator on the one hand, who every now and then, with bewilderment, is its victim and scrutinizes its will, like someone who looks at the clouds wondering what the weather will be like, and showing everyone humanity and vulnerability.
Franco Farina
March 4 – April 30, 2023
Inauguration Saturday 4 March at 18.00
These works are presences. Of them, apparently simple at first glance, you remember the scheme easily and, why not, with joy. You carry them with you, wherever you decide to summon them. And you evoke them not to escape reality, but as an interpretative grid for
discover, or generate, new aspects of the world. Thus, these works are exercises in style.
When one then leans and keeps one’s attention on them, however, one seems to come to be part of the very act of their creation. One feels moved internally, but not passively; that is, it is not about kidnapping. Instead, we are moved by a subtle sense of participation, through a sort of partnership between the author, the work and the user – all limiting terms since one delicately changes into the other – in a game of enchantment. Fruit of an educated awareness, these works allow,
to those who get involved, to educate themselves, through the difference, to embrace the other.
3 settembre – 28 ottobre 2022
Roberto Pagnani è nato a Bologna e vive a Ravenna, città in cui svolge la sua attività di artista. Cresciuto in un contesto familiare dedito al mondo dell’arte da più generazioni, è stato a contatto diretto con opere dei maggiori protagonisti dell’ambiente culturale informale europeo.
Espone in numerose manifestazioni e mostre fra cui New York – I.10, Onishi Gallery di New York, 2007; Dievas_Dio, Amber Gallery Museum di Nida (Lituania), 2008; Casadicose, Nobodaddy 2008/9, Teatro Rasi di Ravenna, 2009; Parole&Onde, Il Vicolo, Galleria d’Arte Contemporanea di Cesena, 2010; Rotte, Autorità Portuale di Ravenna, 2011; Café Promenade, Ionian Lapsus Festival, Katelios (Grecia), 2011; Flotte, Gallery Copenhagen di Copenhagen (Danimarca), 2012; Astrazioni, Galleria Ninapì di Ravenna, 2012; Fino alle Colonne d’Ercole e ritorno, Pescherie della Rocca di Lugo, 2013; Altrove, Galleria del Carbone di Ferrara, 2013; Asylum, Alma Mater Gallery di Sofia (Bulgaria), 2014; Blooming, Galleria Vibra di Ravenna, 2015; La Natura è un Tempio, Palazzo del Bargello di Gubbio, 2015; Friends-Free Ends, Officina delle zattere di Venezia, 2015; Lemures, Crisalide XIII, Masque teatro, Forlì, 2016; Lemures II, SetUp+, Libreria Ibis, Bologna, 2017; SensofOrme, NiArt Gallery, Ravenna, 2018; Ultimi PAESAGGI, DOC-Fondazione Cassa di Risparmio di Imola, Imola, 2019; Flora Fragmenta, Botanica Lab, Bologna, 2020; Sea Water, Pallavicini 22 Gallery, Ravenna, 2020; Attraverso l’orizzonte, Museo Ugonia, Brisighella, 2021; Utopie e distopie, Oratorio di San Sebastiano, Forlì, 2021; Langages, materiaux et techniques differentes dans la recherche contemporaine en Emilie-Romagne, Prieure de Cayac a Gradignan, Bordeaux (Francia), 2022.
Tanti sono i critici e gli storici dell’arte che hanno scritto di lui tra i quali soprattutto Franco Bertoni, Beatrice Buscaroli, Luca Maggio, Michela Ongaretti, Serena Simoni e Claudio Spadoni.
Importanti sono anche le sue collaborazioni con il mondo del teatro e della musica come, ad esempio, la realizzazione di scenografie. Nel 2011 ha realizzato le scene per lo spettacolo musicale del pianista Matteo Ramon Arevalos (testo di D. Settevendemie), dal titolo CaFFFè Promenade per il Teatro Mouffetard di Parigi. Nel 2013 ha realizzato l’installazione pittorica per il concerto Sérimpie per Piano (M. R. Arevalos) e Ondes Martenot (B. Perrault) tenutosi al Temple Neuf di Strasburgo (cd prodotto da ReR Megacorp). Molte sono state, nel 2017, le collaborazioni con il musicista e compositore Matteo Ramon Arevalos; creazione e allestimento delle scenografie all’Oratorio San Filippo Neri di Bologna per il Festival di Musica Contemporanea MICO; realizzazione degli elementi polimaterici per piano preparato per il concerto Metamorphosis tenutosi presso il Teatro Alighieri di Ravenna in occasione del Ravenna Festival e poi all’Istituto di Cultura Italiana di Buenos Aires e, di seguito, alla Missouri Western University di Kansas City; installazione in forma di oggetti policromatici per i concerti al Museo Zauli di Faenza, nella Basilica di San Francesco a Ravenna e allo Spectrum di New York.
Ha illustrato, inoltre, testi e pubblicazioni poetiche di Cetty Muscolino, Valerio Fabbri, Nevio Spadoni, Stefano Simoncelli ed Eugenio Vitali.
Opere sue sono presenti in numerose collezioni pubbliche e private, tra cui il MAR di Ravenna; la Biblioteca F. Trisi di Lugo, Sede dell’Autorità Portuale di Ravenna; l’Istituto di Cultura Italiana di Vilnius, Sede dell’Assemblea Legislativa della Regione Emilia Romagna a Bologna, l’EEA (European Environment Agency) di Copenhagen, Sede della Fondazione Cassa di Risparmio di Imola.
Nuove opere di Paolo Pallara all’albergo Annunziata dal titolo “FRAMMENTI DI NERO”
Una pittura che si presenta come un’avventura dello spirito in cerca di ragioni per l’esistenza in una scansione temporale dove la disgregazione dei sentimenti e dei rapporti umani e’ sempre più frequente ed intensa, e in questo sentire trova immagini
che mettono a fuoco momenti fondamentali.
Lacerazioni, colature, graffi, immagini che si aprono in un tempo buio in un confronto fra tempo memoria e tempo destino.
Attese e timori di un altrove non ancora trovato.
Over the last ten years, I have been lucky enough to have traveled extensively for both business and leisure. Along the way, I have enjoyed sharing my experiences on Instagram and connecting with people with similarly diverse passions.
As a business and leisure traveler, my shoes have been always my faithful travel companions. I have realized that they are not only a fashion accessory, an extension of our personality or style; they are also an expression of our way of being. They really can shape and influence the type of day we are going to have. I have also realized that the way I am going to move around the world is often dictated by my shoes.
It’s a myth that shoes are just a female obsession: men also know that every occasion needs the right shoe. Blending business and leisure travel requires to pack shoes that suit more than one type of occasion: trendy, comfortable and light sneakers as well as more formal and sophisticated shoes for business meetings.
This selection of photos is a tribute to my most loyal, patient and helpful travel companions; the ones who never say no when I want to take a picture of them.
Michele Rio on permanent display Annunziata.
In the little free time between exposure and the other, our art gallery dresses with magnificent works of Michele Rio where its colors take possession of the walls of the hall, library room and breakfast room to give you a “mood” of color to your day.
