Marco Angelini (b. 1971, Rome, ITALY)
He studies the phenomenon of the city and considers the ways in which cities inscribe people into dynamic processes of constant transformation.
His reference point is formed by his cultural and educational background in sociology.
Cities create scenarios in which unconscious impulses are made manifest and placed into interaction through and with technology and the radical new possibilities it creates. In this way, cities become the nucleus and ideal habitat for paradoxes and human contradictions.
Marco Angelini turns the painted surface into the meeting place of different shapes and materials, signs, and meanings. His work is an expressive research dominated by matter and different kind of materials, mostly recycled: iron, aluminum, paper, cellophane, polystyrene, nails, screws, recording tapes, photographic films, just to name a few. To this surface the Artist applies pigments, powders, glues, metals, and plastics in order to create artworks characterized by a suspended balance, by a pregnant silence and rarefied atmospheres, as well as an immediately recognizable style.
In Marco Angelini’s art, matter - far from embodying graveness – becomes a genuine, transfigured emblem of lightness, transparency and levitation.
Marco Angelini is distant from ideological critics or positions and he believes strongly that Art has to play a decisive role in society, to make things visible once more, to generate attention and create new opportunities for sharing, communication and interrogation.
Marco Angelini, after having spent years on the "shape of words" used not only as "signifiers" but particularly as visual and sign-like elemental components, analyzed the relationships between Art and Medicine, and Art and Science. Now, he deepens his investigation into the forms and meaning of religious consciousness in contemporary society.
His objective is to cross the space of the sacred with the paradoxical meters of those objects that, though in daily use, undergo a process of sacralization-transfiguration by religion.
In Marco Angelini’s latest project - which also marks his transition from two-dimensional surfaces to sculpture – religions are represented as autonomous and distinct organs as hearts of the transparent membrane. Objects widely recognized for their characteristic religious use inhabit the internal space of the organs. Here though, the objects are altered in their aesthetic connotation.
Most significant exhibitions: XX1 Gallery Warsaw; André Gallery Rome; Onishi Gallery New York; Namal Yafo Hangar 1, Tel Aviv; halle 50 Domagkateliers, Munich; Gallery Croissant, Bruxelles (2012); 54° Venice Biennal, Padiglione Italia nel mondo; La Galleria, London; b>gallery, Rome (2011); Palazzo del Primate, Bratislava; Art New Media Gallery, Warsaw; Galleria André, Rome (2010); Wystawa Galeria, Warsaw; The Brick Lane Gallery, London (2009); Fabs Gallery, Warsaw; Onishi Gallery, New York (2007); Palazzo della Ragione, Mantova (2006).