UNO+UNO | Ieva Petersone + Dimitri Agnello

M77 Gallery presents UNO+UNO, a new double personal show by Ieva Petersone (Jelgava, Latvia, 1984) and Dimitri Agnello (Carrara, Italy, 1995) which will be open to the public from Tuesday 27 February 2018 to Saturday 21 April 2018.

The two young artists are the stars of an original dialectic on colour and the use of materials that expresses, albeit with diametrically-opposed results, a common creative research thread based on the references, allusion and illusion of the image.

With the UNO+UNO exhibition, M77 Gallery cements its desire to juxtapose exhibitions of established artists with shows that pay particular attention to the dialogue with up and coming young artists, as in the case of the Robert Fekete’s individual show, Moving Mountains (2015).

The exhibition will be accompanied by a publication with a text by Michele Bonuomo and will be open to the public from Tuesday 27 February 2018 until Saturday 21 April 2018.


Full Press Release

NINO MIGLIORI. Il tempo, la luce, i segni

M77 Gallery presents an exhibition focusing on the experimental work conducted from the 1950s to the 1970s by Nino Migliori (born in Bologna, 1926), one of the great masters of 20th-century European photography.

“Time, light and motifs” covers thirty years of Migliori’s work, highlighting the developments and many innovations that, from the start of his career, have accompanied a photographic technique based on an impassioned narrative of human sensitivity. The exhibition takes the form of a sort of circular voyage through three “series” of works by the photographer: his earliest avant-garde experiments of the 1950s, his advanced work of the 1970s, and the depiction of 1950s Italy, when the country was in the throes of the post-war renaissance, in Emilia Romagna (portrayed by the series “people of Emilia”) and in the smallest villages of the remotest southern regions (“People of the South”).

The series dedicated to pure experimentation conducted in the 1950s is hallmarked by techniques in which the camera is not used as an intermediary. In these works, Migliori wanted to move away from a “documentary” depiction, and concentrate on the materials of photography, reflecting on gesture, speed and space, frozen into a single image: something unique. From the 1950s to the ’70s, Nino Migliori dedicated a lot of effort to what is now one of his most famous and best-loved projects: the documentation of walls in Italian cities. Motifs left on an anonymous wall are capable of defining an awareness, or are just a declaration of existence. The exhibition is completed by the series of realistic images made during the 1950s, when Nino Migliori’s sensitive, telling photographs depict the pain of Italy, a country that had lost everything during the war, but had retained hope and dignity. The absolute icon of that unforgettable period is The Diver, now a legendary photograph, taken in 1951, a figure immortalized by Migliori on Rimini’s jetty, a unique image.

The show will be accompanied by a publication with a text by Michele Bonuomo, and it will be open to the public from Tuesday 17 October 2017 until Saturday 27 January 2018.

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FLAVIO DE MARCO – Planetarium

M77 Gallery is pleased to present “Planetarium”, the new project by artist Flavio de Marco (b. Lecce, 1975). De Marco, who has always had a special sensitivity to the theme of the depiction of space, presents a new exploration of the pictorial language, starting from extraterrestrial landscapes, and reaching a version of reality in which figurative painting is combined with abstract elements. The project is developed starting from the chromatic values related to the seven planets in the solar system (excluding Earth, the subject of the previous project “Stella”): and so the project focuses on Mercury, Venus, Mars, Jupiter, Saturn, Uranus and Neptune.

In “Planetarium.” Flavio de Marco moves into the unexplored extraterrestrial dimension, and then returns to the mysteries of the domestic dimension. The planets represent the starting point for a journey that brings the artist from sidereal space to his own everyday life, juxtaposing alien landscapes with monochrome still lifes from his studio, moving on to the exploration of his body and that of others, with a series of portraits created by means of the reinterpretation of famous self-portraits by artists of the past, from Titian to Malevich.

The exhibition layout takes visitors through the two floors of the gallery, in an itinerary in which the planets are lined up, one after another, on every wall, just as they are in their orbits. On the ground floor the spectator can travel to Mercury, Venus, Mars and Jupiter, in more abstract compositions, while on the upper floor, Saturn, Uranus and Neptune are featured in a rediscovered figurative style. The entire exhibition is an iconographical counterpoint, with different techniques, materials and formats reflecting the various phases of the artist’s quest.

“Planetarium” is an intense sequence of paintings, providing an indication of how the artist’s approach has developed, and including signs of the various transformations that Marco underwent during the creation of his works. The exhibition includes the results of a project that the artist began in 2014, after his experience with the “Stella” exhibition at the GNAM gallery in Rome, which explored the depiction of the earth’s landscape through the representation of an imaginary island. In comparison to “Stella”, the artist has eliminated the need for a tangible model on which to base his work, and he creates a new series of works developed principally in his imagination.

Flavio de Marco’s art explores the perception of the world, identifying the computer screen as the medium through which people come into contact with reality, the horizon in which he conducts his investigations into the dimension of human space. The screen, with all icons and texts removed, thus becomes a landscape, both frame and subject for his works, in which the computer’s virtual space becomes a physical, tangible surface.

The exhibition “Planetarium” presented at the M77 Gallery will be accompanied by a catalogue with essays by Michele Bonuomo and Jonny Costantino, and it will be open to the public from Tuesday 28 March until Saturday 27 May 2017.


On Monday December 12 M77 Gallery presents a preview of Look Afar, a new exhibition project by Italian artist Chiara Dynys. The exhibition takes up all the spaces of Galleria M77 and it represents a new corpus of works, made using a range of media. It is the result of a long research study by the artist.

Look Afar is the result of a physical and mental voyage in Swedish Lapland, performed by the artist last winter. For days, weeks, months, Chiara Dynys endured long vigils of observation during which she documented the natural phenomena that hallmark this magical land, and that fill the metaphysical sidereal landscape with unparalleled illumination, the Northern Lights, recorded in a period of particular intensity.

The results of these observations take the form of thousands of images, segments of a “fantastic power” capable of forging a link between man’s microcosm and the universal macrocosm, inducing observers to gaze into the distance:Look Afar, as in the exhibition’s title.

EMILIO ISGRO’ – La pelle scorticata

M77 Gallery è lieta di presentare La pelle scorticata, un’azione teatrale di e con Emilio Isgrò, realizzata negli spazi della galleria da martedì 4 e mercoledì 5 ottobre. Da giovedì 6 ottobre sino a sabato 3 dicembre 2016, un video con la registrazione del lavoro permetterà ai visitatori della galleria di rivederlo nella sua interezza.

Emilio Isgrò in questo lavoro è al contempo autore e attore, calandosi nei panni e nei testi di Curzio Malaparte negli anni in cui il “maledetto toscano” è stato confinato a Lipari dal regime fascista. Il progetto si pone come un intervento scenico che Isgrò opera su uno dei più controversi scrittori del Novecento italiano, operando una sorta di “cancellatura” di parole, che fa parte della cosiddetta Trilogia dei censurati, il ciclo di opere che l’artista ha dedicato a tre intellettuali scomodi, geniali e contestati, amati e odiati: Giovanni Testori, Pico della Mirandola e Curzio Malaparte.

Nel corso dell’intero monologo de La pelle scorticata, la Sicilia si confonde con la Toscana, la lingua italiana si sovrappone al siciliano e l’artista cancella la propria identità e quella dello scrittore, confondendo ruoli, tempi e luoghi. Nel vuoto della scena entra uno sciame d’api portate dal vento e Isgrò/Malaparte fantastica di essere Ulisse alla corte di Eolo, il mitico re dei venti che gli dà in sposa una figlia. Nelle sue parole aleggiano l’attesa e la speranza di un ritorno a casa.

L’azione teatrale, proposta in esclusiva dalla M77, completa idealmente l’imponente rassegna milanese dedicata a Emilio Isgrò nelle sale di Palazzo Reale, delle Gallerie d’Italia e della Casa del Manzoni, ed è legata al progetto Maledetti toscani, benedetti italianicancellazione in tre tempi, realizzato dal Centro per l’arte contemporanea Luigi Pecci, dal Museo di Palazzo Pretorio e dal Teatro Metastasio Stabile della Toscana.


M77 Gallery presents the exhibition The Differend, a solo show by painter Odili Donald Odita. Born in Enugu, Nigeria, Odita lives and works in the United States, in Philadelphia and New York. His work includes references to the experience of Afro-American abstract artists in the ‘70s and ’80s, and it explores dimensions of colour as developed throughout the history of landscape and figurative art, but also according to an idealistic sense of socio-political interpretation. The exhibition presents a selection of worksmade especially for the show. They include a site-specific work, a large wall-painting, a genre for which Odita is particularly famous and appreciated, which entirely covered one of the walls of M77 Gallery. The exhibition’s name comes from the title of the eponymous book by philosopher Jean-Francois Lyotard (1924-1998): “differend” (difference of opinion, disagreement) is a term of french origin that marks the moment at which language becomes insufficient for communication. According to Lyotard, the meaning of a sentence cannot be established on the basis of the facts to which it refers: reality is a conglomerate of possible meanings, linked to reality through words. Therefore language is inadequate to describe and understand the world, and the true meaning of every sentence will always remain indeterminate. Odita borrows this relativistic approach from verbal language and applies it to pictorial language, giving colours the same multiplicity of meanings that Lyotard assigned to words. Odili Donald Odita uses colour as a metaphor of cultural codes: the tones that he creates have the objective of striking familiar chords in the observer, encouraging mental associations and becoming a reflection of the world’s complexity. Odita has a dual heredity, Western and African, and he brilliantly combines them in his visual compositions, crossing frontiers into unexplored territories. Abandoning the idea of a central focal point in the image, Odita invites observers to move and modify their viewpoint. This opens multiple perspectives of ever-changing colour, giving the painting a sculptural, three-dimensional effect. Odita structures the image from inside, creating intersecting geometries in contrasting hues. They are flat fields, wedges of colour that split and expand, with repetition and changing forms generating pulsating rhythms. The artist says: “The colors I use are personal: they reflect the collection of visions from my travels locally and globally. This is also one of the hardest aspects of my work as I try to derive the colors intuitively, hand-mixing and coordinating them along the way. In my process, I cannot make a color twice – it can only appear to be the same. This aspect is important to me as it highlights the specificity of differences that exist in the world of people and things.” A world of differences, which can return to unity through art: for Odili Donald Odita, beauty is that which creates awareness of, and brings you closer to, the idea of a united humanity.


M77 Gallery presents Panic Attack, a solo show by Bernardo Siciliano (born in Rome, 1969): a hitherto unseen cycle of large-format canvases, made specially for this exhibition that represents an accomplished objective for the artist, and at the same time provides a clear and articulate portrait of his work. Siciliano is an Italian artist who has been living and working in New York since the 1990s. The panic attack in the exhibition’s title refers to something that changed the artist’s life: the day when he discovered that painting is a ritual capable of alleviating anxiety, slowing heartrate and returning one’s rate of breathing to normal. A “separate” dimension in which you become immersed and invariably discover peace. But panic attack is also a metaphorical device used by the artist to appropriate a space in the city, and in Siciliano’s case New York, deliberately excluding any human presence in order to create an empty, metaphysical scene that anyone, while observing it, can populate with their own presences, visions or ghosts. Using a non-sentimental pictorial technique with almost scientific discipline, never indulging in muscular virtuosity, Siciliano – by means of unusual viewpoints and perspectives, and very low horizon lines – isolates and enlarges apparently “normal” fragments of the city structure, transforming them into blow-ups of powerful, silent states of mind. Concentrating on his cityscapes, the only sound that you are able to hear is the continuous, rhythmic, methodical sound produced by the brush on the canvas. Siciliano has transferred this universal theme – which can be traced through history, from Giotto to Piero della Francesca, on to Giorgio De Chirico’s metaphysical solitude, Sironi’s heroic melancholy, merging into Hopper’s atmospheres of depression – into a contemporary context, in which the technique of painting, at last brought to a dimension of peace within itself and with the world, is given a new conceptual dimension. This exhibition therefore represents a valuable opportunity for rekindling discussions on painting, in which there is no longer any need for feelings of guilt, inferiority complex, or even worse, sterile debates on value that have long since become obsolete. A panic attack can only be followed by absolute calm.

JOHN LURIE – Home Is Not A Place. It is Something Else

M77 Gallery is proud to present, for the first time in Italy, the collected works of John Lurie. The exhibition Home Is Not A Place. It Is Something Else is comprised of more than sixty watercolour paintings that extensively cover the themes and poetics of the American artist and visionary, born in Minneapolis in 1952. Lurie’s paintings give life to a mesmerizing, dreamlike universe. His small watercolours on paper glow with disquieting beauty. In the past ten years he has claimed a place in the most prestigious public and private collections and had his works exhibited both in museums and international institutions. Lurie’s world is teeming with anthropomorphic animals and lonely silhouettes immersed in a luscious natural environment. The titles are artistic achievements in themselves: tiny lyrical fragments, oftentimes provocatively worded, that harmonize perfectly with the world depicted in the paintings. His landscapes and the animals and creatures that populate them are never what they appear at a first glance. The acid colours seem to be in contrast with the oneiric, noir-esque atmosphere, but are in fact at the very core of the artist’s technique and turn into meticulously-detailed shapes. In Lurie’s words, “What triggers the paintings is color. I have an idea of a palette and go from there, following what is presented to me”. This artistic path results in an expressive freedom that brings the artist’s eclectic imagination to paper; the results are easily recognizable, his style and touch unmistakeable. In Lurie’s universe, elegance can always take a turn for the grotesque, and the landscapes themselves never feel completely reassuring both for their inhabitants and for the viewer. It is a pleasure, though, to explore and lose oneself in such an enjoyable universe.

ROBERT FEKETE – Moving Mountains

The exhibition Moving Mountains consists in about 30 oeuvres of the Romanian artist, who reinterprets the landscape by subverting the classical standards. His pieces show paintings inside paintings, characters observing huge canvasses depicting mountains, rivers, and dark skies. The viewer looks at the painting and sees another viewer, and another painting, within it. Robert Fekete’s paintings are like head-spinning Russian Dolls where a scene contains a scene, where the landscape, the man admiring it and art itself compete for the leading role. The title of the exhibition, Moving Mountains, comes from a poem by William Blake: “Great things are done when men and mountains meet This is not done by jostling in the street.” The Romantic period is Fekete’s biggest inspiration. He does, in fact, define himself as a neo-romanticist. From Caspar Friedrich he takes the men shown from behind looking at the scenery, from Munch the strength and the richness of colours, and finally Blake inspires one of the cornerstones of his poetics: the paramountcy of the human being. Indeed, whereas the people in Friedrich’s oeuvres where overwhelmed by the Sublime, that mixture of marvel and dread that oppressed them at the sight of the grandness of nature, and in Munch’s the sky hits off the human scream with its incensed hues, in Fekete’s paintings the man asserts himself as the protagonist in the scene. The artist lets go of Blake’s dramatic nature and symbolism in order to represent common-looking, but strong and enlarged, men. The people in the paintings have their backs turned towards us and are focused on what looks like a staring competition with Nature. If man and mountain have to meet, as Blake says, it would mean that one of the two should go towards the other. We can foresee that, in this case, it will have to be the mountain. Fekete’s characters sit motionless or loom up stately with their arms reaching up, as if they really had the power of summoning mountains, lifting up rivers with one move, and taking off the colour from the skies to pour it in the lower part of the canvas. They are heroes, perhaps the last romantic heroes, who have the leading role in an era where men and nature are finally level. Robert Fekete’s works of art are mosaics made of small pieces of inspiration, that he gathers and catalogues in an archive of images, which he draws from when composing a piece. Sometimes the paintings quote each other. A scene can be hauled from one canvas to the other, varying its shape and size: a vertical image is now horizontal and a painting becomes a small detail in another painting. This search for new combinations applies to pictorial techniques as well, as Fekete loves using different materials: acrylic, spray, oil paint, and sometimes collage. The latter is reserved to the people in the paintings, as it suggests a third dimension by thickening the canvas. However, it is possible that the oddest part is the use of light. Fekete fractions the depicted scene by enlightening the canvas from two or more light sources. Man is therefore almost in darkness, whereas the mountain in the painting in front of him is in broad daylight. The realistic unity of the representation is broken by the joint participation of more than one season and of multiple times of the day in the same picture, the realisation of the impossible. Blake’s prophecy is thus fulfilled.

GIOVANNI FRANGI – La Legge Della Giungla

Specially created for the gallery’s evocative spaces, the exhibition La Legge Della Giungla (The Law Of The Jungle) marks the artist’s return to Milan after five years’ absence from his city of origin. Giovanni Frangi is an artist whose poetic approach has always been based on a powerful relationship with the concept of local environment, but his ties with Milan go much further than just a piece of information in his biography. At such an important time for the city, at the height of its post-industrial re-invention not just as regards architecture but its entire urban identity, Giovanni Frangi has decided to return here to present a show that is not simply a description of the city, but rather a gift, a new vision, a summary of all the worlds that he has experienced during the course of the “nomadic workshops” that he has developed in recent years. La Legge Della Giungla can be considered as a significant moment, a pivotal event in the artist’s oeuvre, following his recent exhibitions Lotteria Farnese at the Museo Archeologico Nazionale in Naples, Alles Ist Blatt at the Botanical Garden, University of Padua, and Mollate Le Vele at MAXXI in Rome. The exhibition comprises some large-format works that create an Arcadian, even primitive atmosphere, dominated by nature. The canvases virtually become screens on which a forgotten reality is projected, perhaps in conflict with our everyday world: they are populated by motifs of tropical inspiration, with branches, leaves, shrubs and lily ponds. La Legge Della Giungladoes not just suggest a nostalgic return to a life in harmony with nature, but rather it is intended as an examination of the difficult relations between nature and city, presenting a new vision, and a new interpretation in which there are the seeds of the possibility of surpassing a conflict that has always existed. Could it be that La Legge Della Giungla is an unavoidable destiny? Could it be that, due to an unexpected conjunction of destinies caused by an invisible framework capable of acting as a regulator of functions, nature and the city can in fact be allies, notwithstanding their opposite concepts of space and matter? La Legge Della Giungla is the no-man’s land on which the two factions meet, after the battle: the city is no longer an enemy of nature, but its development, continuation and projection. La Legge Della Giungla is nature that becomes urbanized, populating the virtual spaces that are an essential component of much of today’s contemporary urban life. La Legge Della Giungla is the interaction of different worlds, with different territories overflowing one into another. “The black background of some of the paintings is a reference to the spaces of a cosmic reality,” says Giovanni Frangi. “Vegetable shapes that grow and are nurtured by space and virtual dust. It is as if instead of blossoming from the soil, the ground of the city, the jungle were claiming the sky, filling it with a spatial, cosmic and universal world of green.” The reconciliation between these two worlds can only begin from man and his capability of accepting the absence of frontiers, something that is a feature intrinsic in contemporary reality and its technology.

MCDERMOTT & MCGOUGH – Cyan Light And Abstract

M77 Gallery is pleased to present the exhibition Cyan Light And Abstract by David McDermott & Peter McGough. The exhibition, specially produced for the interiors of M77 Gallery, is the third show in Italy dedicated to the two American artists. After their European debut in 1986 at Lucio Amelio’s gallery in Naples, and about two decades after the show at the Gian Ferrari gallery in Milan, David McDermott (Hollywood, California, 1952) and Peter McGough (Syracuse, New York, 1958) return to Milan with their exhibition concept Cyan Light and Abstract. Comprising photographic pieces and paintings, the show is the largest recent panorama of works by the two artists, who are familiar to an international audience for their characteristic method and artistic language. While using various means of expression, such as photography, painting and sculpture, with a variety of techniques and supports, their work is hallmarked by the concept of a different, alternative temporal dimension. Elegant, sophisticated and erudite, with an exquisitely dandy approach that nonetheless detracts nothing from the depth of their work, McDermott & McGough met in New York in 1980. From then, both in art and in their lives, they have been conducting a series of “experiments” on time, as can be seen from the back-dating of their works in accordance with the scenes depicted, revealing a distant and lost style, and reflecting their desire to have nothing in common with the contemporary world, neither with the future, two dimensions of time that they consider have no beauty at all. «I have looked into the future and I have no intention of going there», said David McDermott in the conversation that he, with Peter McGough, had with Michele Bonuomo, published in the catalogue (in a bilingual edition with texts in Italian and English) of the works on show. The past dimension of time – expanded, re-experienced, brought back to new life, and considered as the custodian of an ideal beauty that has not been contaminated by contemporary banality – becomes the narrative voice and the expressive mode of their identity. The romantic rediscovery of a time that still has a lot to tell is narrated by the emotions of ten gouache paintings. This time, the subjects are lines, which develop an intricate network: geometric painting is absorbed and becomes part of a gestural experience.

SANTI MOIX – Brooklyn Studio

M77 Gallery is pleased to present an event dedicated to Santi Moix, one of the New York art scene’s most interesting characters. Set up in collaboration with Paul Kasmin Gallery, New York, the Brooklyn Studio exhibition features 40 previously unseen artworks, including paintings and watercolours, and a large site specific installation, especially designed for the gallery spaces. Catalan by birth (Barcelona, 1960), Santi Moix drew the lifeblood to nurture his creativity from his frequent travels. Influenced by masters like Delacroix, Velazquez, El Greco, Picasso, Mirò Pollock and Mutzuo Takahashi, a mysterious Japanese painter who befriended him when he was living in the Orient, Moix had and continues to have an equally important source of inspiration from the world of literature. Literary imagination is truly an important store of information for his painting. Moix achieved truly important recognition in 2013 when he was asked to paint an enormous mural for the Prada store, designed by Rem Koohlas in Soho, a job that brought together various techniques and languages and which is the summa of his aesthetic approach to large scale work. “What I attempt to do, every day”, says Santi Moix, “is rebel against the past and codes, so that you don’t understand my work on first seeing it, and I try to get the work to be intelligent in itself.I like paintings that seem idiotic. Struggling against the instincts that lead to certain automatisms, I like to think that the leafy forests are huge ears. I think of Ramon LLull (a writer and philosopher from Majorca) who said: always capture ideas in the ambience and project them until they turn into real substance. We come from a big bang, the idea that this very explosion will explode on the canvas and be lost forever. What I do, as an artist, is freeze that instant.”


M77 Gallery opens the public with a show by one of the most interesting artists, Luca Pignatelli, who has stood out over the last twenty years in his ability to engage in a richly contemplative original study with plenty of critical ideas on the theme of memory. The Off Paper exhibition presents a wide selection of artworks on paper for the first time. Paper exposes the visions of Luca Pignatelli, accomplished by pursuing designs locked away in the vaults of memory, which are identified by studying space-time frequencies and are tuned into the cyclic nature of the events of Western contemporaneity. The world designed by Luca Pignatelli is an amalgam of reality and mythology. The subjects are cities blocked in the moment of insight traversed by stopped trains waiting to pull out of mysterious stations, which became architectural details even before the railroad was invented, and constructed on paper in the works by Primaticcio, Serlio, D’Orbay and Mansard, set against possibly arboreal, abstract or zoomorphic backgrounds. This show marks the transition from large canvases, imbued with cultured popular vocation, to a more Intimist dimension. Viewing these works on paper is to revealsecrets of the backstage hidden behind his art, consisting of screens, cuts, tears, stains and intrusions of different materials. Now that the veil has been lifted on the body with which the classic artistic communication system, centred on monumentalism, is presented, one may appreciate the fervour of what artists do and the reflections that probe the universe of ideas beyond the symbolic interpretation of myth