17 Gen



From 19 December 2019 to 6 January 2020 I carried out an artistic research in a natural environment that first brought me to the southernmost part of Argentina, inside Tierra del Fuego, then, going up, to some places in the National Park Los Glaciares, in particular El Calafate and El Chalten.
The intent was to create a series of works, using the naturography technique, of my conception (see www.robertoghezzi.it), where man and nature establish a deep and lasting dialogue within the surface of installed canvases in different natural environments, in addition to collecting information, findings and personal considerations about the relationship between the local population and the environment in these areas.
To this end, I was a guest of the artistic residence L ’Planeta de Origèn, directed by Professor Laura Aguilera Mendieta, who went out of her way to facilitate my research and contact with local institutions.
After exploring some interesting points on the island and drafting the projects, I proceeded to install the crinoline fabrics pulled on wooden poles.
These are the chosen locations:
1) Rio Pipo, assisted by Abel Berna, in one of the characteristic areas of peat bogs that insist numerous in the area near the Tierra del Fuego National Park:

2) In the area called Le tre Lagune, not far from Ushuaia and managed by the local Club Andino, characterized by an uncontaminated and little frequented plateau, immediately under the Martial glacier, sprinkled with peat bogs with incredible colors.

3) At Rio Olivia, at the point where it flows into the Beagle channel, to dialogue with the tidal flows affecting the area:

4) At Valle Terra Major, always in peat bogs:

5) At Estancia Harberton, hosted by Abby Goodall on her property, inside one of the dams that the beavers have built in some rivers in the area:

The installations created in this way, built in absolutely natural and biodegradable materials to respect the environment, immediately began to dialogue with the landscape, reacting with water, earth and light.
During my stay in Tierra del Fuego I continued, while waiting for the creation, the monitoring, evaluating the daily increase of the sediments, the reaction of the photo-sensitive compounds on the canvases exposed to the light, and studying the surrounding nature in depth.

Tierra del Fuego has proven to be a unique place, with species of flora and fauna, such as southern beeches and many bird species, which I could not have found elsewhere. The dialogue with a similar territory has enriched each work with authentic, profound and almost ancestral meanings.
The installed naturographs were taken about 12 days after their installation, leaving each room in the same state in which I had found it.
Sedimentation and photosensitive reactions proved different depending on the places where the canvases had been installed. More specifically, the peat bogs have given the installations different colors depending on the time and place, from red brown to black, reflecting the fact that the interaction between man and the environment, in naturography, is always full of new and interesting artistic aspects and scientific to evaluate.

The works thus created were finally exhibited during an exhibition set up at the Museum of the End of the World in Ushuaia curated by Laura Aguilera Mendieta. The participation and interest of the public, tourists, colleagues and simple interested parties has been remarkable.

During the second part of the residence I moved to El Calafate, host of the photographer Connie Voncheidt and the painter David Vonscheidt, thanks to which I set up a small exhibition of the works made in Tierra del Fuego at the Regional Museum – Local Municipal, combined with a talk with projection of photos and videos of my research.
As can be seen from the photographs, the event aroused a lot of interest, many of the authorities present and the public. I also carried out an installation in the river that flows near the Museum, still there, left in the care of colleagues from El Calafate.

I finally went on to El Chalten, the last stage of my artistic journey, where I left a canvas buried by handing over the coordinates of the place to a mountaineer friend who will go to that area in January 2021, to have a long and complete exposure (365 days ) of a fabric with the patagonic nature.


Ultimately, the Patagonia 19.20 project had an unexpected success, in many ways:
as artistic research, since the dialogue between the installed fabrics and the nature of Tierra del Fuego has been productive and exciting;
as a relationship with the public: because the temporary exhibitions and talks have been very popular and have

02 Dic


The Curatorial Collective, composed of the students of the IX edition of the Luiss Master of Art, University Master’s Degree of the Luiss Business School, under the scientific supervision of Achille Bonito Oliva, presents

HABITAT. Transversal relationships,

an exhibition that reflects on the theme of the contemporary habitat in relation to artistic practice. From 3 December 2019 to 14 January 2020 in the spaces of the Casa delle Letterature, in piazza dell’Orologio 3 in Rome. The concept of Habitat is represented by the works of artists of different generations and languages ​​through three declinations of the theme: Natural, Urban, Virtual. The works of Giorgio Andreotta Calò, Gohar Dashti and Roberto Ghezzi reflect the natural habitat. The urban one, Ugo La Pietra, Margherita Moscardini and Superstudio. The virtual habitat Carola Bonfili, Carolin Liebl with Nikolas Schmid-Pfähler and Guido Segni. Painting, sculpture, photography, video and installations are located in the internal and external spaces of the prestigious Borromini complex of the Casa delle Letterature.

Also on display are the works of Giulia Berra, Maria Di Stefano and Elena Mazzi, finalists of the IV edition of the International Generation Contemporary Prize set up by the Luiss Business School to promote Italian and foreign contemporary art, support artists under 35 and give life to the collection permanent school of contemporary art. During the inauguration, the winner chosen by a jury chaired by Achille Bonito Oliva will be announced. The Curatorial Collective has completed all the design and organizational steps of the exhibition, from the concept to the choice of the artists, from the preparations to the communication, up to the preparation of a catalog. The volume is divided into four installments that retrace and expand the contents of the exhibition, emphasizing the theoretical division into Natural, Urban and Virtual. “Habitat is an active state. A mechanism of functioning of things, which must be dynamic in order to evolve. Like the man. On closer inspection, the human species is the only one able to create endogenous conditions that facilitate life in a certain place, and at the same time, to adapt to the allogeneic conditions that it is faced with: humanity not only adapts to the habitat in which it is located, but modifies it to make it more functional. This develops as a dense network of interconnections of different nature that, by interpenetrating, influence and feed each other. Transversal relationships that touch multiple levels of existence: Natural, Urban, Virtual. In translation into the language of contemporary art, these three ramifications want to highlight how these different but complementary habitats are dispensers of aesthetic implications and can play an active role in the definition of the work of art “. The choice of exhibition space is also consistent with the complexity of the theme. The Casa delle Letterature of Rome Capital, directed by Maria Ida Gaeta, is one of the most important centers of interaction between literatures, arts and languages ​​of cultural communication. The exhibition will be accompanied, during its duration, by a cycle of three lectures with the aim of investigating the theme of the habitat with an interdisciplinary approach:

Tuesday, December 10 the intervention of the critic and scholar of the relationship between art, cinema and media Valentino Catricalà, Thursday 18 December of MeP – Poetry Emancipation Movement and Thursday 9 January of Paolo d’Angelo, Professor of Aesthetics at the University of Roma Tre. The performance “Oh boy!” Will take place during the opening night of December 3rd. Body Nobody ”by Jacopo Miliani. The Curatorial Collective is composed of: Laura Bertani, Maristella Burchietti, Giulia Caropreso, Stefania Catapano, Maria Anna Chiatti, Giulia Chiocchio, Cristina Corbò, Carolina Di Giacomo, Eugenia Formisano, Virginia Fungo, Arianna Gabrielli, Iris Gentili, Alice Lo Curcio, Flavia Lorusso Caputi, Silvia Mangia, Martina Margioni, Ilaria Marra, Margherita Meda, Costanza Mirto, Costanza Morera, Davide Silvioli, Giulia Sorani, Carlotta Spinelli, Adriana Talia, Anastasia Vicari, Francesca Ziroli Aprile. The exhibition is organized with the contribution of Accademia Filangieri – Della Porta and 3E, Environment Energy Economy, and with the collaboration of Casale del Giglio. INFO HABITAT. Transversal relationships. Casa delle Letterature – Piazza dell’Orologio, 3, 00186 Rome Hours: Monday to Friday 9:30 am – 7:00 pm. Closed Saturdays, Sundays and holidays Free admission HABITAT PRESS OFFICE pressluissmasterofart@gmail.com casaletterature@gmail.com

02 Dic


okno studio e pupillaquadra ph. cr. 



ELSA Vernissage Roberto Ghezzi Saturday 7 December at 4:00 pm

“And if states were not water of Elsa
think them vain around your mind ”
Purgatory, XXXIII, vv. 67-68

These are the words with which, in the last song of Purgatory, Beatrice describes the misrepresenting thoughts of Dante, guilty of having clouded his genius just like the chalky and calcareous minerals of the waters of the Tuscan Elsa river.
The soul of ELSA is to reflect on the philosophical concept of ‘interdependence’ between man and nature, whose roots date back to ancient times: in the oral traditions of ancient India, in the naturalistic Taoist and Chinese chan philosophies, reaching the maximum refinement and synthesis in the Zen doctrines for which the human being is an integral part of the system, time a continuous present, past and future conceptual facilitations that adhere well to the schematicity of the human mind. In the 1970s, thanks to the studies of Fritjof Capra, these reflections are widely argued and made accessible also to the Western intellectual landscape. The discussion on man-nature interdependence was central within the Arte Povera movement; Germano Celant had already examined the subject in artistic and aesthetic terms in the 1960s.
The artistic work of Ghezzi starts from the individual as an element that integrates into the ecosystem to which it belongs, in a continuous flow of time.
The artist-man starts from a knowledge of the nature system and undertakes an inner search through which he confronts himself every day with adversities of the bad weather and spectacular successes that reveal an appearance of perfection.
This is gathered in simple but refined canvases on which the mastery of man becomes art, sublimated by the humility and respect with which he approaches the elements: a sense of atavistic belonging to the ecosystem, a circularity in which the element human being the creator of the artifact but an accomplice of the environment in which it acts, a balanced symbiosis between all the elements that constitute the ordered chaos in which to explore and from which to select.
Rivers, lakes, water in all its forms, but also air, earth and living beings are the palette from which Ghezzi takes his colors, the time of nature becomes that of creation and the succession of the daily life cycle of inspiration.
Elsa is a complex organism as much as the human one but in whose veins water flows, innervated by vegetable and animal lives and their stories, speaking a language that we do not always understand.
The man, in the person of Roberto Ghezzi, is an intermediary: he translates this language for us. Thanks to the work of Ghezzi, Elsa buys a voice to tell her stories, becomes an artist.
Elsa, in Ghezzi’s canvases, has never been more alive.


05 Nov


Grefti presents a contemporary art show where six Italian artists visualise and inspire us with the shapes, colors and rhythms of the Wood. Veronica Azzinari, Luca Cataldo e Ilaria Margutti in Santa Caterina church and Roberto Ghezzi, Giulia Pellegrini e Riccardo Tesorini at San Francesco museum, every day from 10AM to 19PM.

19 Set


The artist residences of the Rocco Guglielmo Foundation aimed at Italian and foreign artists, included in the Glocal project, and that will take place in the splendid setting of the Mediterranean Biodiversity Park which with its colors, its sounds, its perfumes and nature becomes the perfect place to welcome and stimulate the creative process. The project is carried out in collaboration with the Provincial Administration of Catanzaro, the Marca – Museum of the Arts of Catanzaro, Caravan SetUp of Bologna and Whitout Frontiers – Lunette in Colors of Mantua.

The outcome of the residency will be presented to the public on September 12th at 6.30 pm at the Marca: the works of the artists, in dialogue with the permanent collection of the Museum, will be visible until January 2019, when they will be exhibited during the Bologna art weekend, at the Guglielmo Foundation stand as part of the independent city fair, organized by Caravan SetUp. Four artists were involved in the 2019 edition, selected by Rocco Guglielmo, Simona Caramia, Simona Gavioli.

From September Roberto Ghezzi, Florentia Martinez and Micaela Lattanzio are at work, in the realization of works that tell the city with its geographical, urban, naturalistic and human specificities.

A Nature is the co-protagonist of Ghezzi’s research, which he installed in the waters of the Corace river white canvases. Impressed by atmospheric agents, by water and earth deposits, by sunlight, the surfaces of the canvases reacted to external impulses, such that the works became micro-worlds, in continuous evolution. The result is a synthetic representation of reality: a reality in which the only horizon line is sufficient to tell an entire world.

28 Mag


Opening: Thursday 30 May from 6 pm, via Mazzini 33 – Turin

I’m sittin ‘on the dock of the bay
Watchin ‘the tide, roll away
I’m sittin ‘on the dock of the bay
Wastin ‘time
– Otis Redding

Press release – May 21st 2019 | Water is that element that most of all is capable of connecting the biological aspect of science, the spiritual aspect of religion and the evocative one of art.
For this reason the artistic work of Roberto Ghezzi is both fundamental and crazy, in one mixture of method and vision, symbolized by the “cathartic” and mystic rite of immersion.
A practice, that of Ghezzi, able at the same time to bring us back to the origin of our species and of the Earth and to herald our inexorable destiny as destroyers.
His Naturographies, this is the name that the artist has given to his works, are the result of a procedure that settles over time, just as the debris stratifies on the canvas once this was immersed in seas, rivers, lakes, rice fields, springs, to then be left to collect how much water and air had to deposit. The result of this work on the surface of the fabrics are paintings that the artist has set over time and that do not declaim but testify.
No lyricism, no inspiration: a portion of the physical world, dirty and alive, the fluid of the Earth picked gently.
Wild Mazzini hosts the solo show “Naturografie: alla data sources”, whose inauguration is in program Thursday, May 30 at 6 pm in Via Mazzini 33, finding in the work of Ghezzi continuity
with the theme of the exhibition season – Ex Machina – characterized by solutions between art and design
able to project beyond the data (in this case biological datasets) towards a more understanding general reality, showing us with calm clarity what we all know, but which we foolishly neglect the world we inhabit: we are guests of it.


Wild Mazzini data art gallery
Via Mazzini 33, 10123 Turin
wildmazzini.com | info@wildmazzini.com | 0039 393 0665415


The exhibition is enriched by the autogenerative sound installation The Quietest Voice by Riccardo Tesorini, designed to dialogue with the Naturographies and based on a stroke rewriting system
from the formalization of plant growth. (L-system) The algorithm operates according to this principle the “voices” of the composition in an autonomous manner. The sound result is managed through
of sound exciters that instead of producing sound through air like normal speakers, yes they serve instead of a surface to put into vibration, thus producing a unique sound strictly site-specific, which responds to the artist’s desire to grow and die his own music according to the principles of natural growth, adapting to the place appointed for installation.


20 Mag


On the occasion of the European Year of Cultural Heritage 2018 Roberto Ghezzi realizes for Cristallino the
LIMEN project, an installation located along the banks of the Savio river in Cesena. The work wants to be
a tracing of the organic life of the river, with the aim of offering an intensive image of its course.
Composed of eight large canvases, the installation remained active for five months, starting in October
2018 in February 2019, allowing the nature and climatic variations of the environment to act on the
The experience was that of a project developed on a specific natural milieu, which of this
he intended to grasp not only the hypothetical representation but the metaphysical threshold – almost favoring it
the input of a geography of the deep. Leading us in this adventure was also the desire to reflect
on our landscape heritage in dynamic terms, trying to activate a real interaction with the
places, to show their unprecedented, mysterious resonance.
The Naturographies of Roberto Ghezzi are works that are born from an effective collaboration, from a true and
own doublebind between man and the environment. His research does not propose to give us back the iconography
landscape. Instead, it accepts its fundamental otherness, establishing a relationship with the objective element
dialectic: it is nature that impresses its mark on a support that the artist thinks, installs and monitors in
intended space (mainly rivers and lakes), thus officiating a strange combination of choice
aesthetic / operative, natural element and visual frame.
The outcome is incredibly evocative micro-landscapes, in which the infinitesimal – herbaceous rhizomes, algae,
lichens, cyanobacteria – any organism able to run aground and find a home in the folds of a
fabric, acquires a miraculous pictorial evidence.
Written by nature, the works of Roberto Ghezzi are an inclusive impression (material, physical, graphic) of the
atmospheric model of a portion of landscape: of this atmosphere they preserve lexicon and syntax, ne
testify to the time and circumstances, that secret code that hardly our diagnostic workshops and
genetics assume they can be deciphered. This is something that binds us to the dawn of Greek thought, ai
dawn of our thought. Half ta physikà.
Roberta Bertozzi

09 Mag


From 10 May to 15 July 2019 Roberto Ghezzi will hold a personal exhibition at the Cetacean Gallery of the Natural History Museum of the University of Pisa, exhibiting his naturographs, works created through nature in wild places of Italy and the world.

Ghezzi’s installations are in principle white canvases prepared with secret reagents that, let live for months or years in uncontaminated natural environments, develop a slow and deep dialogue between man and nature; a dialogue and a connection, in this case, which is consolidated over time, day after day, and which witnesses the alternation of the seasons and the elements. The result is a real piece of the “new” world, newly formed, almost “taken away” from the flow of time and crystallized within the installation, which tells the infinite miracle of life on this beautiful planet and which, for once at least, it gives the artist the feeling, even if it is illusory, of having really created.

The inauguration of the exhibition, with free admission, will be held on Friday 10 May at 17.00.


The exhibition “Naturographies. Stories of water and the earth” by Roberto Ghezzi at the Natural History Museum of the University of Pisa is part of an artistic project in and for the territory of Calci, started on March 9th with the laying of eleven white canvases in the forest devastated by the fire of 24 September 2018.
Ghezzi entrusted them to Nature to collect the signs of fire and rebirth. Before leaving, he told me that naturographs are like children to him: at this moment other canvases are being transformed into different places on the planet and are all present in his thoughts. A confidence that is also an invitation to “visit them” every now and then, leaving them to me and the locals. The comparison guided me to some reflections that I try to share in this paper.

Before starting to build his canvases the Artist dialogues with Nature, whether it is that of a forest or stream near his home or of a remote corner of the planet, from Alaska to South Africa: he travels through the places, studies the climate, the biology, listen to their feelings, connect, meet the locals and collect their stories. Like a bird that is about to build a nest or a mammal that digs its den in which to give birth to its cubs, Ghezzi carefully chooses the place in which to make his creations.
The moment they come out of his studio the canvases are white, apparently “virgin” and similar to each other. In reality they have already received the signature of the author, a secret and articulated recipe that Ghezzi modulates according to the environment to which the canvases are intended and diversifies between one canvas and another. Each of them is therefore unique, in terms of characteristics and potential, right from the first moment of its genesis, just like a child. Go back to the earth and walk away from it, let Nature let it “grow”, transform.
If you can go and visit them, look at their changes anxiously without interfering.
It cannot predict or even determine the final appearance of the creations; how much rain will bathe them, which organisms and microorganisms will find nourishment or shelter, which and how many sediments will settle there, how much and how the light of the sun will change their color and not even how much time it will be necessary for them to become “big”. But it is he who establishes the moment in which to take them back with him to stop any ongoing process with appropriate treatments. The completed works are then “brought to light” in galleries, museums, private houses, to convey to others the message of the Artist, his legacy.

Ghezzi’s installations in the natural environment sometimes follow the shape of a golden spiral, the link between man and nature: this is the case both for the installation between the charred trunks on the mountain, and for the preparation of the exhibition at the Museum of Natural History. These two spirals have begun to grow, expand, involve people, generate other ideas, strengthen friendships, stimulate artistic collaborations, from the moment they were conceived

I like to think that the concatenation of events, exchanges, human relationships, personal reflections and emotions aroused by Naturographies, are also daughters of this very particular union between Artist and Nature. Also integral part therefore of the work of Art. Which has remote and mysterious origins, as much as its recipients and the questions and emotions it will arouse in different people and eras: just as the golden spiral has neither a beginning nor an end, it follows laws that man investigates from always, but they pre-exist him and, I believe, they will survive him.
Paola Iacopetti

Paola Iacopetti photo credits


30 Apr


WONDERLAND EXHIBITION wart exibitionValdichiana Outlet Villagea curated by Andrea Baffoni and Massimo Magurano1 May – 30 June 2019 opening Wednesday 1 May 2019, from 10.00 am opening event at 5.00 pm with performance by artist Alessandro Marrone, central squareWonderland is the contemporary art exhibition that Valdichiana Outlet Village offers to its visitors in May and June 2019. A unique event of its kind that brings into dialogue a commercial space full of surprising elements with the expressive marvels of the most current artistic languages. Curated by Andrea Baffoni and Massimo Magurano , active for a long time in the organization and production of contemporary art exhibitions, visitors can see site specific works designed and explicitly designed to dialogue with these environments. Large works that involve space through luminous games, videos, and relationships between painting, sculpture and installations. All from a point of view that normally the visitor cannot grasp, since the exhibition is mainly located in the spaces on the upper floor from where one can enjoy the overall view of the central square and grasp normally hidden architectural aspects. : Carlo Dell’Amico, José Ballivián, Noemi Belfiore, Stefano Di Giusto, Stefano Frascarelli, Roberto Ghezzi, Laura-P, Nicola Maggi, Sol Mateo, Jannis Markopoulos, Alessandro Marrone, Movement Label, Negro, Skizzo, Roberto Sportellini, Katja Tukiainen . Emerging names in many cases supported by established masters, to underline the presence of the three artists – Ballivián, Mateo, Markopoulos – who in 2017 represented Bolivia at the Venice Biennale. The intent of the organizers is to relate the thousands of visitors present in the Outlet with the languages ​​of their time. For this reason the exhibition foresees the presence of great works also in the lower part, monumental sculptures and ironic provocations that induce the viewer to encounter and clash with art, together with a space dedicated to projections and videomapping where the continuous play of light creates a constant effect of surprising astonishment. For two months Land of Fashion becomes the “wonderland” to tell the magic of creativity out of the spaces usually dedicated to art and embrace the highest number of people possible. Opening times every day, 10.00am-8.00pm Videomapping space, from Friday to Sunday 10.00am-8.00pm

30 Apr


2nd exhibition stage of the project visible until 11 May at Villa Crastan Pontedera

Itinerant exhibition project coordinated by the artist Matteo Nuti, architects Luca Doveri and Marco Martinelli and contemporary art curator Alessandra Ioalé.

With pictorial, sculptural, photographic, installation and video works by Cristina Gardumi, Elisabetta Cardella, Enrico Nieri, Francesco Battaglia, Giada Fedeli, Luca Doveri, Marco Martinelli, Matteo Nuti, Muz, (Samuel Rosi) Nico Lopez Bruchi, Roberto Filippi and Roberto Ghezzi.

28 Mar


When the voice of the Serra descends to the valley and propagates its Effect
With works by: Cristina Gardumi, Elisabetta Cardella, Enrico Nieri, Francesco Battaglia, Giada Fedeli, Luca Doveri, Marco Martinelli, Matteo Nuti, Muz, Nico Lopez Bruchi, Roberto Filippi, Roberto Ghezzi
Coordinators of the traveling project: Matteo Nuti, Luca Doveri, Marco Martinelli, Alessandra Ioalé
Critical text by Alessandra Ioalé
Technical support: Park 793
Inauguration Saturday 30 March at 18.00
From March 30th to April 21st
Villa Comunale Pacini Battle of Bientina
The exhibition will be open every weekend at 4.00pm / 8.00pm
to visit the exhibition by appointment write to parco793@gmail.com

Saturday, March 30th at 6 pm, at the Villa Comunale Pacini Battaglia of Bientina, will inaugurate “Effetto Serra”, the traveling collective project coordinated by the artist Matteo Nuti, by the architects Luca Doveri and Marco Martinelli and by the contemporary art curator Alessandra Ioalé , which thanks to the patronage of the Municipality of Bientina and the support of Parco 793 bring to the exhibition, the pictorial, sculptural, photographic, installation and video works of Cristina Gardumi, Elisabetta Cardella, Enrico Nieri, Francesco Battaglia, Giada Fedeli, Luca Doveri, Marco Martinelli, Matteo Nuti, Muz, Nico Lopez Bruchi, Roberto Filippi and Roberto Ghezzi.
The “Greenhouse Effect” is what has allowed the Earth and continues to allow it today, with great difficulty, to be a hospitable planet, based on a balance that is as perfect as it is delicate. In time, paradoxically, the term has taken on a strongly negative meaning in our culture, this is not to be attributed to the phenomenon itself, which in reality would be positive for terrestrial survival, but rather to the action of the man who, for the its selfishness and self-centeredness, it has jeopardized its balance by beginning to undermine its natural perfection and become a harmful phenomenon for the human species. In the last few decades we have seen many times how the wickedness of man has known no obstacles, especially when looking at our territory, whose natural wealth, of which Monte Serra is a symbol, has been repeatedly put to the test by various incendiary episodes, accidental and malicious, compromising the flora and fauna, as well as the life and activities of the people who live there. However, we have also witnessed a total awakening of consciences, which have joined forces for a single goal: to pay tribute to our natural heritage, worthy of protection and enhancement, saying that it is sufficient to human ignorance and bringing last February to the election of this local heritage with national heritage and place of FAI heart. I would like to define this as a new “Greenhouse Effect”, from which the exhibition takes its title, giving a positive meaning back to the term and the concept. Effetto Serra becomes synonymous with what this Monte has managed and manages to create around itself every day for centuries and is, at the same time, what the concentrate of creative energy of the twelve artistic personalities exhibited here managed to create for the Serra and that this collective wants to show to the public. Cristina Gardumi, Elisabetta Cardella, Enrico Nieri, Francesco Battaglia, Giada Fedeli, Luca Doveri, Marco Martinelli, Matteo Nuti, Muz, Nico Lopez Bruchi, Roberto Filippi and Roberto Ghezzi gathered under one heading: Effetto Serra, which supports our Monte and at the same time it feeds on what it gives them every day. Finding ourselves in front of the manifestation of an exchange of energies in perfect balance, in which the artists act as “greenhouse gases” favoring the reflection of their creative energy towards the Mount and retaining part of its heat to redistribute it beyond the local boundaries.
An effect like this, never seen before. The geography of the Serra is studied and redefined naturally in the research of the architect Enrico Nieri; the devastation suffered by the Monte, but also its natural beauties, which constantly try to re-emerge stronger than before, are at the center of the video of the video maker Francesco Battaglia and of the photographs by Roberto Filippi. The Serra is transfigured in digital paintings and collages by the surreal and suspended atmosphere of the designer and artist Elisabetta Cardella, in the natural sculptures of the architect Luca Doveri and the architect Marco Martinelli. He is the protagonist in the lettering of Muz, which depicts him inside the letters that make up his signature, and in the experimental works of the social artist Nico Lopez Bruchi, who uses painting, video, photography as a means to transcribe his emotions. Finally, the essence of Monte Serra is captured in paintings and multi-material installations, halfway between pictorial tradition and new digital media, by the artist Matteo Nuti; emanates from the sculpted or embroidered Hands of Jade Faithful, but also those of his Madonna, which become a symbol of the spirituality of manual work,