Agostino Arrivabene Gallery

Agostino Arrivabene, a very talented Italian painter, is a painter of decadence, dream and ancient symbologies who uses his own homemade pigments and colors and tries to revive ancient pictorial techniques. Arrivabene was born in Rivolta d’Adda, in the province of Cremona, Italy in 1967.

He graduated from the Academy of Fine Arts of Brera in 1991. He then traveled to various Italian and international cities seeking out the work of the Old Masters, deepening his knowledge of his craft, and bringing to bear a great influence upon the future development of his own artwork.

The Hermeneutics Of The Sign

18 December 2017 | only show
curated by Daniele Lucchesi

Diocesan Museum of Massa. (MS)

December 15 – January 21 2018

The art of Agostino Arrivabene is cultured, seductive, imbued with symbols, inspired both by classical mythology and by the Masters of the XV-XVI century (Leonardo, Dürer, Bosch) and in the more recent past by Moreau, Redon, Ernst. Who looks, observes, Arrivabene’s works, flooded by the vortex of veiled messages, participates (perhaps unconsciously) in an initiatory journey that leads to the revelation of a knowledge of which the artist is the generator and dispenser.

A modern alchemist, capable of bringing to life mystical experiences that go beyond the cognitive limits of the spectator, the conscious and the unconscious, a continuous exploration of our “intimate universe” among arches of lives already lived or longed for.

The exhibition itinerary designed for the Diocesan Museum of Massa will allow you to explore the composite variety of expressions that constitutes Arrivabene’s artistic research in a “dialogue” not of challenge but of “comparison”, of “exchange”, with the works of the great masters present in the Diocesan Museum, just to name a few: Iacopo Della Quercia, Bernardino Luini, Felice Palma, Francesco Marti, Domenico Fisella.

It would be wrong, however, to think of a universe of reference solely in the past. Arrivabene’s art does not come out of nowhere in our beginning of the century, its art di lui presents itself as an extreme resistance of the figurative art that is not dead, it lives and Agostino Arrivabene is the testimony of it. with the works of the great masters present in the Diocesan Museum, just to name a few: Iacopo Della Quercia, Bernardino Luini, Felice Palma, Francesco Marti, Domenico Fisella.

It would be wrong, however, to think of a universe of reference solely in the past. Arrivabene’s art does not come out of nowhere in our beginning of the century, its art di lui presents itself as an extreme resistance of the figurative art that is not dead, it lives and Agostino Arrivabene is the testimony of it. with the works of the great masters present in the Diocesan Museum, just to name a few: Iacopo Della Quercia, Bernardino Luini, Felice Palma, Francesco Marti, Domenico Fisella.

It would be wrong, however, to think of a universe of reference solely in the past. Arrivabene’s art does not come out of nowhere in our beginning of the century, its art di lui presents itself as an extreme resistance of the figurative art that is not dead, it lives and Agostino Arrivabene is the proof of this.

“The Hermeneutics of the Sign” by Agostino Arrivabene is in these terms; re-evaluate painting as the “language” of man, bringing out all the spiritual, existential, historical power that is inherent in “painting” which possesses a strength and a form of spiritual, cultural significance that must be recognized as such in its absolute contemporaneity.

opening hours: Friday Saturday and Sunday: 15.00-19.00

via facebook: Diocesan Museum Massa

In Italian:
Agostino Arrivabene was born in Rivolta d’Adda, in the province of Cremona in 1967. He graduated from the Academy of Fine Arts in Milan, but his real training is acquired through the direct acquisition of the paintings of the great masters of the past observing their works from life among the various museums of Europe and the world, always looking for a single thread that could reunite the poetics of the past and the search for “beauty”, but in the contradictory reality of its present time.
His artistic research develops under the sign and guidance of the ancient masters, in particular Leonardo, durer, Van Eych and all the Flemish primitives and Rembrandt.

In a very personal anti-modern path, the artist self-taught in the years of his training the traditional painting techniques up to the artisan preparation of colors, up to the continuous research of the ancient mediums used in the painting of the past.

Among the various painted genres, bizarre subjects from naturalia, mirabilia, and artificialia cannot be missing, baroque and renaissance disciplines of the ancient and immature museum cataloging of reality and therefore also artifacts of the natural world still current in our modern history still made of circumstance, deformity , bizarre of our daily life, other themes loved by Arrivabene are still lifes, or vanitates and portraits created giving vent to his most amazing (and perverse) imagination and his love for all the rarest and most unusual manifestations of nature.
Recalling the transience of human things, in a cycle that becomes a real memento mori, the artist has been able to create modern and virtual Wunderkammer on the canvas, the rooms of wonders where collectors once kept together works of art , unusual and extravagant objects and fragments of the natural world to create a very personal museum of the world.

His works are characterized by a strong visionary charge with a predilection for the symbolist language, and are made with precious materials that have now fallen into disuse, all handcrafted.

The theme of evil, death and pain is a constant of his production, in which painful figures wander in boundless visionary landscapes.
But also opposite paradises in which blinding lights invade figures in ecstasy, await the answer to cosmic questions, in which the condition of “threshold” makes man vague in continuous imbalance.

Another pictorial genre chosen for some years now is that of animals which has already shown in the past iconographic constructions of kaleidoscopic fantasy full of animal artifices and absurdities and which in this latest solo show at the Forni gallery reappear after time in more examples of evolution towards the subject of animals but transmuted through the aberration of albinism and identifying it in its rarity as one of the elements of manifestation of divinity.

The other pictorial genre that Arrivabene has been following for some time is the landscape that opens up towards boundless horizons in which the geographical hypothesis is confused with an imaginary geography, coming from the world of ideas and so almost Edenic.

Agostino Arrivabene

Born in Rivolta d’Adda in 1967, lives and works in Gradella di Pandino (CR).

Works in Public or Private Collections:

• VAF Foundation, Frankfurt am Mein (DE)
• Chateau du Gruyère Collection, Gruyère (CH)
• Achille Bertarelli Collection, Sforza Castle, Milan (I)
• Michetti Foundation, Franca Villa al Mare (I)
• Cappuccine Museum, Bagnacavallo (I)
• Maramotti Collection, Reggio Emilia (I)

Main solo shows

• 2017 
  The parasitic host, curated by Chatia Cicero and Alberto Zanchetta, MAC – Contemporary Art Museum, Lissone (MB) Italy
  Naht Blitz, curated by Giuseppe Stagnitta, Convitto Delle Arti Noto Museum, Noto. (SR) Italy
  The hermeneutics of the sign. curated by Daniele Lucchesi, Diocesan museum, Massa (MS)
• 2016 Ierogamy, Cara Gallery, New York (USA). Anastasis, curated by Gianfranco Ferlisi and Alberto Mattia Martini, Mantegna’s House, Mantua
• 2015 Anabasis, curated by Diego Galizzi, Bagnacavallo Museum, Ravenna, Italy
• 2014 Vesperbild, curated by Pietro C. Marani, Giovanni Bonelli Gallery, Milan. Italy
• 2013 Tó Páthei Máthos, curated by Gerd Lindner, Rosaria Fabrizio and Peter Weirmair, Panorama Museum, Bad Frankenhausen (DE)
• 2012 Theoin, curated by Carolina Lio, First Gallery, Rome. Italy
• 2011 Plutonic Hysteries, Antonia Jannone Gallery, Milan. Italy
• 2010 Urania, Manzoni Studies Center, Manzoni’s House, Milan. Deliri, 53rd Festival of Two Worlds, curated by Vittorio Sgarbi, Spoleto. Italy
• 2009 Metamorphosis, Forni Gallery, Bologna. Italy
• 2007 The dying sun in the blue room, “Le Muse” Center, Andria (BA). Italy
• 2005 Mirabilia naturae, curated by Philippe Daverio. Antonia Jannone Gallery, Milan. Italy
• 2004 Landscapes. The inventions of a visionary, curated by Giorgio Soavi, Antonia Jannone Gallery, Milan. Italy
• 2002 Mirabilia, curated by Alberto Agazzani, “Le Muse” Center, Andria (BA) Agostino Arrivabene. Paintings 1992-2002, curated by Alberto Agazzani and Antonio Braga, Braga Gallery, Piacenza. Italy
• 2001 Agostino Arrivabene. Paintings 1988-2001, curated by Alberto Agazzani, Civic Museum, Crema. Italy
  Agostino Arrivabene. Engravings 1988-2000, curated by Alberto Agazzani, Torre della Pusterla, Casalpusterlengo (LO). Italy
• 1999 Agostino Arrivabene, CFM Gallery, New York (USA)
• 1996 Drawings and engravings 1990-1995, Salone delle Capriate, Madignano (CR). Italy
• 1995 Drawings and engravings 1990-1995, curated by Gian Franco Grechi, Municipal library of Sormani Palace, Milan. Italy
• 1994 Memory and desire, Civic Museum, Crema (CR). Italy
• 1992 Explorations, Church of Santa Maria alla Fonte, Rivolta d’Adda (CR). Italy

Main group shows

2017

Et in Arcadia Ego, curated by David Molesky, William Rolland Gallery of Fine Art and Lutheran University, Thousand Oaks, California (USA)
Museo della Follia da Goya a Bacon, curated by Vittorio Sgarbi, MUSA – Museum of Salò (BS)
Urpflanze, the nature of the idea, curated by Alberto Mattia Martini, Doge’s Palace, Massa
Art and the cross. Beyond the image, curated by Daniele Lucchesi, Doge’s Palace, Massa
Simultaneously. Agostino Arrivabene, Bertozzi & Casoni, Angelo Filomeno. curated by Stefania Giazzi and Virginia Monteverde. space 46 of the Doge’s Palace. Genoa
museum of madness, from Goya to Maradona, curated by V. Sgarbi, Basilica of Santa Maria Maggiore alla Pietrasanta Naples
Area. 41 artists and a poem, Net.uno Agency .Spazio Bigli, Milan (Mi)

2016

Et in Arcadia Ego, curated by David Molesky, NUMU – New Museum of Los Gatos, California (USA)
Courtesies for guests, curated by Gianluca Marziani, Collicola’s Palace, Spoleto
Frontier of existence and elsewhere, curated by Stefano Crespi, “Le Muse” Center, Andria (BA)
Zoote, curated by Luca Beatrice, Benappi Gallery, Turin

2015

Excellence, curated by Flavio Arensi, Giovanni Bonelli Gallery, Milan
Heterogenesis of Form, curated by Alberto Mattia Martini, Palazzo della Cultura, Catania
Da-End cabinet, Da-End gallery, Paris (FR)
Italy Docet Laboratorium, Barbarigo Minotto’s Palace, Venice
Imago Mundi, curated by Luca Beatrice, Sandretto Re Rebaudengo Foundation, Turin
Il Tesoro d’Italia, curated by Vittorio Sgarbi, Italy Pavilion, Expo, Milan
Arte e Follia, curated by Vittorio Sgarbi, Palazzo della Ragione, Mantua

2014

Juxtapoz Italiano, curated by Matteo Sapio, Institute of Italian Culture, Los Angeles (USA)
Transit Artists, Giovanni Bonelli Gallery, Pietrasanta (LU)
The Drawingroom, curated by Peter Weiermair, Taxispalais, Innsbruck (AT)
The face, five centuries of history to tell the art, MEB Art Studio, Borgomanero (NO)
Water Views, curated by M. Fazzini, Box Art, Verona

2013

Bein-Art Collective, Copro Gallery, Santa Monica, California (USA)
Mad Hatters, curated by Ixie Darkonn, Flower Pepper Gallery, Pasadena, California (USA)
Trompe l’œil. Eye deception, curated by Rob Smeets, The Gerosolomitani galleries, Perugia
Food for the eyes, Barbara Frigerio Gallery, Milan
I: Mage, curated by Robert Ansell, 32 Store Street Bloomsbury, London (UK)
The Drawing Room, curated by Peter Weiermair, Ursula Blickle Stiftung, Kraichtal / Bruchsal (DE)
Up there in the mountains, curated by Beatrice Buscaroli, Forni Gallery, Bologna
The 13th hour, Last Rite Gallery, New York (USA)
Water, light, stone, curated by Vittorio Sgarbi, Workshop of memory and image, Fiuggi
64th Michetti Prize, Michetti Museum, Francavilla al Mare (CH) (first prize)

2012

4 Way Street, curated by Luca Beatrice, Te’s Palace, Mantua
Open space 2, curated by Fabio De Chirico and Carmelo Cipriani, National Gallery of Cosenza, Arnone’s Palace, Cosenza
Anomalies, Copro Gallery, Santa Monica, California (USA)
In the sign of the image, curated by Elena Pontiggia and Alfredo Paglione, De Mayo’s Palace, Chieti
Example. Part II, Contract, Cream (CR)

2011

54th Venice Biennale of Contemporary Art, Italian Pavilion, curated by Vittorio Sgarbi, Venetian Arsenal, Venice
Elements 50x50x4, curated by Beatrice Buscaroli, LIBRAGallery, Catania
The shadow of the divine in contemporary art, curated by Vittorio Sgarbi, Grimani’s Palace, Venice
Magnificent obsessions , curated by Arnaldo Audoli, Benappi Gallery, Turin

2010

The breath of others – Biennial Aldo Roncaglia, Este Castle, San Felice sul Panaro (MO)
The scream of Silence, The galleries of the Gerosolomitani, Perugia
Leonardo Sciascia Amateur des estampes Award, Sforza Castle, Milan
Papier, Forni Gallery, Bologna
Italian portraits , curated by Vittorio Sgarbi, DuriniFoundation, Milan
Contemporary fossils, curated by Vladek Cwalinski, Wannabee Gallery, Milan

2009

The soul of water, Franchetti Gallery at Cà d’Oro, Venice

2008

Fiori, curated by Barbara Frigerio, Forni Gallery, Milan Rumors, ex-dockyard Borgo Dora, Turin
Rumors-Grande is confusion under the sky. The situation is excellent (Mao Zedong), Italian Factory, ex-arsenal Borgo Dora, Turin

2007

Italian painting 1968-2007, ideated by Vittorio Sgarbi, in collaboration with Maurizio Sciaccaluga, Palazzo Reale, Milan
Anthology of contemporary figuration Italy, the last generations II, curated by Gilberto Algranti and Alberto Agazzani, Spazio Figurae Teknè Intenational, Milan
13 × 17 Italian Pavilion, curated by Philippe Daverio, Studio Berengo, Murano (Venice)
58 ° Michetti prize “New painters of reality”, curated by Maurizio Sciaccaluga, PAC_ Contemporary Art Pavillion, Milan

2006

The restlessness of the face from Lorenzo Lotto to Lucien Freud, curated by Vittorio Sgarbi, BPL, Lodi

2004

Animalia, Galleria Forni, Bologna
Cairo Prize, Palazzo della Permanente, Milan

2003

7th International meeting of contemporary art “Le Crenaux dearte” curated by Muriel Nony, Saint-Brisson-sur-Loire, France

2002

Po Surrealism. From De Chirico to Foppiani, curated by Vittorio Sgarbi, Palazzo Gotico, Piacenza
The room of wonders, curated by Giuseppe Guerzoni, Castello di Masino, Caravino (Turin)

 

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