The Gruppo Building has restored some historic buildings in the city center, creating spectacular places where the architecture of the past blends with that of the present in a harmony of beauty and exclusivity.
These renovated spaces also house works of art and design, which can be admired
freely in respect of residents.

Anyone can organize their own Building Tour: the courtyards of all the properties are open to the public
from Monday to Friday, from 9 am to 1 pm and from 2 pm to 6 pm.

Here the complete list of buildings and works:

Lagrange12 – via Lagrange 12, Torino
Cancello Futurista, omaggio a Depero / Richi Ferrero
Equìnox / Richi Ferrero

The Number 6 (Archdaily Building of the Year 2015) – via Alfieri 6, Torino
Giardino Barocco Verticale / Richi Ferrero

Domus Lascaris – via Lascaris 7, Torino
Oxidum / Roberta Bertazzini
Temporary Indoor Gallery

Quadrato – via delle Orfane 20, Torino
Il T’oro / Richi Ferrero
Area archeologica
Eaten Feelings / Pixel Pancho

From 25 June to 25 November 2024 Domus Lascaris is hosting Roberta Bertazzini’s new exhibition entitled ‘ANITYA’, a collection of works that interpret the geometry of impermanence in an artistic key, understood as awareness of the ephemeral essence of every material element, the transience of all phenomena and emotions, which transform and fade into becoming.

With Banco di Credito Azzoaglio to support contemporary art and environmental protection.

Art is always a reflection of the society that produces it. Today, the theme of environmental protection and the conscious use of natural resources is at the centre of the artistic and cultural debate. Important themes, which Helidon Xhixha and Giacomo ‘Jack’ Braglia have always dealt with, telling their vision of the world through innovative research involving photography and sculpture. A project curated by Beatrice Audrito.

In “TIME PATHS”, Matteo Tampone presents a selection of 20 works – ABISSI, ISSIBA, CONSOLIDI, MAPS and the REPERTI collection – created with different techniques and materials, an expression of his research on the oxidation processes of metals. The central element of this production is in fact the transformation of matter, a metamorphosis marked by time and guided by nature which, with the strength of its elements, shapes the geometries and colors of the surfaces in a unique and completely random way.

The collection of works, made using different materials and techniques, uses the symbolism of figurative language to address issues often related to social. His works are born from everyday life, from a critical look at the present, showing contradictions and problems of modern society and providing the user with a point of reflection.

TIME PATHS BY MATTEO TAMPONE
From MONDAY 18 SEPTEMBER 2023 to SUNDAY 3 DECEMBER 2023
at DOMUS LASCARIS

THE METAMORPHOSIS

From 19 June to 10 September the collection of 7 sculptures “Animal Soul” by Simone Benedetto show the public the vision of the multifaceted artist from Turin, with his works, intends to represent the metamorphosis of human psychology, and personality development in the transition from childhood to adulthood. Through the recourse to seemingly simple archetypes such as play, childhood and the discovery of his own being, Benedict reveals the most intimate and pure condition of the soul, depicting young human beings still in close contact with their self, in relation to your own self. It is they, therefore, the true feeling without prejudice, exactly in their own time.

The collection of works, made using different materials and techniques, uses the symbolism of figurative language to address issues often related to social. His works are born from everyday life, from a critical look at the present, showing contradictions and problems of modern society and providing the user with a point of reflection.

ANIMAL SOUL BY SIMONE BENEDETTO
From MONDAY 19 JUNE 2023 to SUNDAY 10 SEPTEMBER 2023
at DOMUS LASCARIS

Daniele Accossato was born in 1987 in the province of Turin. At the age of 15 he identified sculpture as a congenial communicative method, the place where Necessity takes shape. “… It is fundamental that everyone works constantly in search of his means, the means capable of bringing it to the most captivating expression of himself and to a confrontation with the Other…”. In 2011 he graduated with honors from the Albertina Academy of Fine Arts in Turin. His research starts from the technique, from the alchemy of sculpture, from the icons that identify our cultural and artistic heritage, to explore the inner dynamics of the human being and the common aesthetic sense.

Works “Box” and “Cage”
Sculptures, installations whose key to interpretation lies not so much in the central subject (which is reduced to archetype), as in its “frame”, the container. The sculptures are enclosed and displayed in their transport containers, pulled off the pedestals and brought to a more human condition and therefore a more intimate relationship with the viewer. Crates, transport cages, packaging, at the same time prison and protection, make the work a commodity. Something that will be shipped, transported, sold…
Is it really possible that Arte is also a commodity?
Art is not such because it is free from compromise?

WRAPPED BY DANIELE ACCOSSATO
From MONDAY 30 JANUARY 2023 at DOMUS LASCARIS

Giacomo “Jack” Braglia (born 1996) is a Swiss artist and photographer. He approached photography at the age of eleven but soon surpassed the photographic medium by developing a very interesting research, on the border between photography and sculpture, with which he transformed his photographic shots into sculptures and three-dimensional installations. Using the innovative wrapping technique, the artist gives body to traditional photography using alternative photographic media: classic busts, shields, mouths and other sculptural forms inspired by the Hellenic period that Braglia covers with images taken during her travels, to allow photography to conquer the third dimension beyond its limits. Fascinating images that are embodied between the sinuous lips of Greco-Roman mouths to recall the spirit of his “Conversations” (Conversations), a title often used by the artist in order to emphasize the intimate need to open a dialogue with the user. A visual narration conducted using different mediums such as photography, sculpture, color.

The fire central theme of the exhibition as the title emphasizes, is the first element of the artistic research of Valeria Vaccaro that with its positive and regenerative force, contributes through combustion to transfigure the material, leading it to perform an act of metamorphosis, through an irreversible change of state. Carrara marble, on the other hand, gives shape to the vision from which the entire project comes: a noble and long-lasting material that has been carved by hand, with great skill by the artist, and then painted using a personal technique developed over the years of experimentation. With this extraordinary ability, Valeria Vaccaro gives marble the appearance of other materials, deceiving the observer to trigger semantic short circuits between the object and the subject represented. The sculptor evokes in marble the softness of wood, paper or wax reaching the transfiguration of matter.

For the realization of the works the artist often uses marble slabs, then assembled into complex sculptures and installations: a gesture that launches a valuable message on the use of non-renewable natural resources such as marble, to approach the processes of circular economy, also in the field of sculpture.

Temporary exhibition of Valeria Vaccaro: Burning Times
The Number 6 – Via Alfieri 6, Turin
Exhibition open to the public: 23/09 – 08/11 

From Monday to Friday from 8 am to 1 pm and from 2 pm to 7 pm
Saturday from 8 am to 11 am

Peter Ott is the name with which the Turin photographer Piero Ottaviano signs the elaborations of his images and is also the name of the Turin start-up born from the experience and the long collaboration between the interior designer Andrea Boeris and the photographer. The original photographs, which come exclusively from the archive of Piero, are posts produced by the author himself to translate into form, movement and color, the sensations experienced during the moment of the shot. The images retain their native meaning but are interpreted in a new language. The creative process uses only the starting photo, volumes and perspectives of the city’s architecture are reworked and become elements with which to build a different dimension, dreamlike. Each photograph tells a story. The Peter Ott provides images customizable in size and designed with the specific aim of offering high quality products to furnish with personality and Italian taste.

Andrea Boeris (Turin, 1967), has been in the world of interior design for 34 years. He lives and works in Turin where he founded Dinterni – Italian Interior Design – which attracts, with its works, international clientele.

Piero Ottaviano (Turin 1967), has been dedicated to photography, as self-taught, since the ’80s. Since 1991, abandoned his profession as a chemist, he dedicates himself full time to that of photographer, dealing first with reportage of events and then more and more of urban landscape, architecture, interior photography
and various projects of investigation on the territory with analog experimental panoramic chambers built by friend and colleague Giorgio Jano.

Nazareno Biondo (Turin 1985) completed his artistic training at the Albertina Academy of Fine Arts in Turin. In 2007 he presented a thesis, and a series of sculptures, on the four elements of nature (Air, Fire, Earth, Water) in relation to the unconscious of man, bringing his work closer to the concept of Land Art. In 2011 he completed his studies with full marks with honors, presenting a thesis entitled “Sound and Light through Marble”; the artist proposes a performance where the protagonist works, instruments and slides made of marble, produce lights, sounds and colors, involving the spectators. Since 2008 he has already participated in some national and international sculpture symposiums, in Italy and abroad, winning prizes and competitions and creating monuments. He exhibits in locations such as the Reggia di Venaria, the Royal Palace of Turin, up to Ankara, Bangkok, Art Basel Miami and New York. In 2012 he inaugurated his laboratory, where from the marble, material and matrix of his sculptures, Nazareno Biondo brings out everyday objects in a search for formal perfection and conceptual re-elaboration; drawing inspiration as much from commonly used products as from the consumerist icons of our time. The great technical skills allow him to reach an icy hyperrealism with which he reproduces in detail the waste and carcasses of contemporary society. The marble worked and finished rigorously by hand, embodies the forms that are revealed to the artist through an ironic but at the same time dramatic gaze that he has on the world.

Old Lady, real size, white Cararra marble, 2021

Killer Cupido, 300x90x180 cm, white Carrara marble  and steel, 2020

Salamandrida, 50x50x40 cm, black Portoro marble and pure gold, 2020

The red thread of Valeria Vaccaro’s work is the depiction of the combustion process rather than the accurate reproduction of the wooden material, vein after circle. Every sculpture is a snapshot of this process where the instant is captured and its movement becomes eternal. A fleeting instant that is frozen in time using marble, a material that has always stood for eternity. Mediocre objects lacking aesthetic value burn but the transformation they undergo is not only limited to a mutation of the matter: it is on another level attributing them another value, as they have two key become works of art. Fire and combustion are known to bear symbolic meanings that can be traced back to two key aspects: fire that turns from an element of destruction and judgement to a metaphor for renewal. Disused scorched pallets and crates, contemporary familiar wreckages belong to an everyday life we are used to, synonyms of desolation, waste and abandonment, rather than being in warehouses and deposits, unduly take up space at the exhibition centre.

Marmiferi, 6x6x65 cm cad. white marble and inks

The Anatomia Umana sculptural group is made up of a pair of vertical sculptures in brushed stainless steel over 5 meters high, located in a nerve center of the city, at the intersection of Corso Galileo Ferraris and Via Cernaia. The sculptures acquire a specific urbanistic sense and become plastic signs that aesthetically enhance the beginning of the long perspective where the monument to Vittorio Emanuele II stands out in the background. The monumentality and organic essentiality of the material establish a dialectical relationship with the urban and natural landscape that surrounds them.

The dimension of the internal concave spaces of the sculptures, as opposed to the external convex surfaces) imposes itself as the protagonist and fits within a dynamic where the alternation between empty and full is marked by our imagination. The artist, in a skilful conceptual rhetoric, experiments with geometry and volumes, reaching a fleeting frontier where human intervention vanishes and that of nature continues, giving birth to new forms, new anatomies.

This site-specific artistic intervention participates in the revaluation of a public space and stands as a model of synergy between public and private. Thanks to the collaboration between the Mazzoleni gallery and public institutions, the redeveloped site presents itself as a new point of reference and a happy example of public art for the benefit of citizens and visitors of the Piedmontese capital.

“Human Anatomy, this recent sculptural work of mine in which two huge holes shaped in the shape of a skull cap deliberately stand out, are – in my view – the plastic translation of concepts such as matter, weight, shape, void that I have always investigated in my make sculpture. The attempt to relate the part with the whole, the visible form of things with the immaterial aspect of knowledge, as well as the urge to seek the organicity of the form, is my way of continuing my research on Man and on the relationship between man and the world “. declares the artist Salvatore Astore, author of Human Anatomy.

The exhibition project, which is part of the recurrences of the fifth centenary of the death of Leonardo Da Vinci, is carried out in collaboration with the City of Turin, under the coordination of the Public Art Office and with the patronage of the Piedmont Region and the City Turin Metro. The inauguration will be held on Thursday 11 November in the presence of the artist and the institutions.

The lighting of the work is by Iren, the operation is made possible thanks to the support of Banca Intermobiliare, and the support of local companies and patrons including Assistudio, Gruppo Building, Damilano, Deltratre, Subduded, Vestil.

Gabriele Garbolino Rù is a sculptor who looks at contemporary languages ​​with an eye trained in the figurative tradition. His research is oriented towards the recovery of the creative act, as a slow process of work and discipline, close to that of the craftsman. Garbolino Rù‘s sculpture returns to a moment in the history of art, in which creative genius and daily production were still firmly established in artistic practice. The need to give shape to the needs of a community, secular or religious, with an art for the square or for the church, brings the artist back to a less frequented but still lively professional dimension.

On the occasion of Contemporaryart Torino Piemonte, eight Turin street artists reinterpret the work TOH by the artist Nicola Russo, a tribute to the iconic torèt fountain, symbol of the city of Turin. Max Petrone, Alice Arduino, Gec Art, Rawtella, Arteria Palma, Nicolò Canova, Halo Halo and Jins will freely re-propose Russo’s work, reworking it with free technique and thus giving it new life. The eight works, gathered in the HOT Vol. 1 exhibition, will be exhibited from 2 (opening at 18.30) to 16 November at the Domus Lascaris open air gallery, inaugurated by the Gruppo Building. Together with the eight works there will also be the artist’s original TOH, on display in the pedestrian section of Via Dellala.

In mid-November, the works will be auctioned within the Paratissima spaces: part of the proceeds (40%) will be donated to the Piedmontese Foundation for Cancer Research Onlus in Candiolo.

TOH is inspired by the urban element of public fountains and represents the city’s desire for rebirth after the long lockdown. A genetically POP work, recognizable by all, but also a manifesto of the new Turin that reacts, that is exposed to be reborn. This is demonstrated by the involvement of an important charity partner such as FPRC Onlus, chosen in order to give an additional social value to the artistic project, which is strongly rooted in the territory: it is no coincidence that the entire production chain is Piedmontese. In this way, the socio-economic fallout of the rebirth of which the project is the spokesperson will also materialize.

Using the light, Richi Ferrero has activated an important recovery that, taking advantage of the lightness of the light emissions, restores to the memory what was the characteristic sign of the common areas represented by the garden now disappeared and by the still existing courtyard, although reworked. A design of stones and light of the courtyard, made with 748 bars of resin of luminous stones and 300 meters of lighted ribbon, recreates a classic baroque model, with gray-blue pebbles and warmer sand-colored tones that match light colors carefully mixed. Above them the tree, the master shadow of each garden, is rebuilt in steel and suspended in the air, between the first and third floors: 520 kg of galvanized iron make up the trunk and the arm that supports it. The tree grows over 6 meters in height with a maximum diameter of 5.30 meters, while the support arm is 4.30 meters long. Each branch has a light and each light changes color. The 13 main branches are made with 590 kg of stainless steel tubes, with 78 punctual luminous tubes powered by 180 feeders. When daylight falls, the tree illuminates the courtyard redesigned with bright pebbles. Around and above the tree the signs are simplified, the garden rises, mentioned in the 82 aromatic planters illuminated by 246 LEDs with warm and cold light and suspended from the long balconies, in turn enriched by 230 meters of miniflux of warm light. At the top, the garden opens up in the magnificence of floral wall units that dialogue with the sky: while the day imposes its natural light, allowing the growth of plants and flowers, it is still a work of lighting to enhance the poetry of these flowerbeds suspended between the earth and heaven, until darkness allows for daily rest. The Vertical Garden closes with triangular elements, decorated with the green recoating, which cantilever peek out from the high square of the building, and open up to the sky determining the indispensable formal balance of the work.

Inside the building, an extraordinary bright surprise that refers to the dream takes the sea to Turin through another work by Richi Ferrero. The inspiration comes from the cumbersome presence, at the center of the space, of a glass dome, currently transparent, which covers the underlying salon used by a bank, and which represents the limit of the private walking areas of the four apartments facing the ‘area. The work is composed of two signs, one vegetable and one sculptural, which relate to each other pertinently, constituting a unique charm. The entire perimeter of the dome sees the continuous placement of a vegetable decoration consisting of diversified evergreen trees. The sculptural sign is represented by seven fish of three different sizes, of which the largest reach one meter in length. The fish built in opal fiberglass are placed on the ribs of the dome at different heights: during the day they peek out between the greenery, while at night they light up changing color according to the desired schedule. The court is therefore transformed into a sea floor, inhabited by luminous fish visible between the branches of a poetic coral vegetation.

Mix the cards, change game, shoot. Giving voice to the unexpected, in the consolidated pleasure of losing, while the buffoon – mad for fun and joke by necessity – gesticulates uses and abuses of fate, a fortuitous event for some, pure synchronicity for others. The hat ace inhabits the double world, the other, the one who looks at us in the mirror, breaking away from laughing with his hands in his hair; the Ace of Hat is the world of Alice and the company poets; sculpture, mass, body, matter, and at the same time irony, wit; immaterial thought and creative act. The artist portrays himself in imaginary paper, one of the few that can change the game, carefully mixing, in perfect balance, the art of the game and the game of art. Rabelais said, quoting a philosopher: “it would be extremely interesting to write the history of laughter”.

Borrelli’s anatomies are a sort of endoscopy, aimed at highlighting how corporeity, “dissecting itself”, becomes an expression of an archetypal primary state, at the intersection of distance and separation, identifying phenomenological topographies. “(Anatomie inquiete, Tiziana Conti, 1998) “Colonna’s work explicitly explains the relationship, thematic and material, between sculpture and architecture, between body and space. His research has always celebrated the body as a leitmotif (Nietszche), the body as a totemic place (for art is sculpture) as it is built on metrics and order, tearing, in a continuous movement, to remove, from the power and chaos.

In reinterpreting the most famous warriors who have come down to us from antiquity, Daniele Accossato forges an unprecedented Riace Bronze. Bound and enclosed in a box, the exemplary hero, bold and hieratic, suddenly finds himself a vulnerable and defenseless prisoner, maintaining, despite adverse fate, an undeniable pride as much as a touching humility.

Through images that have become icons, Viale reproduces new meanings in his work with a view to challenge to suggest that behind every representation and symbol lies another inherent in the possibilities with which the material lets itself be shaped and transformed, to return the idea of ​​a reality where time seems to stop.

Pistoletto’s mirror paintings, on the other hand, not only realize the ideal of a perfectly ‘objective’ painting, capable of ‘doubling’ reality, but also of a dynamic and non-immobile painting in its objectivity, just like the life: in fact all that comes to be reflected in the picture (the changing surrounding environment or the very image of the viewer) becomes part of the picture on the same title and with the same lucid ‘objectivity’ of the figure or of the figures photographic images that are printed in the mirror. Pistoletto thus relates a fixture that suspends time but renews its configuration every moment. Then, when photographing a mirror-painting by Pistoletto, it becomes practically impossible to distinguish the mirrored figures from those shown on the mirror, and therefore of a mirror-painting by Pistoletto it is possible to perform infinite different shots, symptomatic of the ‘lability and space-time relativity’ (Calvesi) of this open system of images.

This sort of “guardian” of the city is a luminous sculpture conceived to redesign the nocturnal profile of Turin, giving a touch of class and color. Conceived by the artist Richi Ferrero the Sagittaurus is the second bright lookout that watches over our city after the Great Warrior, placed in 2006 on a building in corso Matteotti. The Sagittaurus, protagonist of these last days of the Turin art, represents the union between a conqueror endowed with bow and arrows and a bull, symbol of the ancient population of the Taurini.

Tall, thin, armed with spears, arrows, darts, on foot and on horseback: this is how. Ferrero has conceived the lookouts of #Torino, a series of luminous sculptures that, leaning from the roofs, with their light redraw the outline of the night. At #GrandeGuerriero, (private collection) placed in 2006 on the highest floor of a building in Corso Matteotti, in summer (June 2015) came the #Sagittaurus, which watches over the roofs of Corso Massimo d’Azeglio to corner with Corso Vittorio. In these days, # Equìnox has been placed on the attic of the 17th century building, on the corner of Lagrange and Giolitti streets, the third sculpture that overlooks suspended between mountains and hills on the city which, as LeCorbusier said, has the best position naturalistic of the world. “A triad of warriors watches over the city from its roofs. I conceived them so that each work, by day, is drawn on the sky of the city like a pencil mark on a sheet of paper while at sunset a particular covering combined with the light that dresses them gives them back to the vision as if they emitted their own light – explains the artist Richi Ferrero. My warriors are neither invaders nor conquerors, but lookouts of the mental territory. “While Equìnox, armed with a crossbow, seems to stand out with his horse from the rooftops to the clouds, the Sagittaurus combines the figures of the warrior armed with a bow and arrows with the Bull, remembering the people of the Taurini, ancient inhabitants of the forests between the three rivers Po, Dora and Stura, where the Roman garrison, the first nucleus of the city of Turin, was then built.

“Urban I.N.R.I. It is the work I did for the “Lagrange12” project. I thought about creativity and the city. To the men behind us and inside. Every brick hides stories, the stories of the men who imagined the building that that brick contributes to define, the men who laid that brick, those who took advantage of that building … the city is a network of stories and men, the city men are molded and re-molded. In this work I played on the relationship between man and city: a city that springs from the mind of the man / creator or that dominates it like a modern crown of thorns? But art does not have to give answers after all … “Art is not what you see, but what you allow others to see.” Edgar Degas “

“The work was created to illustrate the psychophysical processes of creation, with an idea of ​​creative expansion. The subject in question presents the “mind” which tends to be enveloped by mental processes through knowledge, which is stimulated and influenced by something that it finds externally. Rainbow-colored clouds enhance the sensory side of creativity on the subject in question. The eye underlines the importance of sight, co-protagonist with the mind, in giving birth to the creative idea.”

“The city can be metaphorized as an immense machinery, a rattling and stratified cluster of houses, towers, factories and people. Wobbling, the mechanical monster moves, albeit slowly, towards a geographical as well as a social evolution. The creativity of those who live in the city is the driving force behind it, made up of instincts, ideas and colors. The realization of my work wants to represent the idea of ​​the slow but inexorable motion of the factory / city towards its continuous becoming, under the push, in fact, of an art that involves all those who work, live and live in the city. “

The work of the Turin artist is a dedication to Fortunato Depero, protagonist of the art of the ‘900, representative of the second futurism and signer of the manifesto of aeropainting. Lagrange12 therefore opens its courtyard to the city in a dialogue between historical architecture, modern art and contemporary sculpture, which will be accessible to citizens, tourists and the merely curious.

The work of the Turin artist is a dedication to Fortunato Depero, protagonist of the art of the ‘900, representative of the second futurism and signer of the manifesto of aeropainting. Lagrange12 therefore opens its courtyard to the city in a dialogue between historical architecture, modern art and contemporary sculpture, which will be accessible to citizens, tourists and the merely curious.

Art installation inspired by the game of Tangram. Sand, lime, bologna gypsum wallpaper, mineral earth natural mortar, paste pigments, lime milk, water-repellent tarlatan cloth, natural wax water-based paint.

The courtyard of Quadrato, the contemporary home and urban relais of the Building Group, opens up to art and the city with a work by PixelPancho. The famous street artist from Turin has just created Eaten by feelings, a painting of the vein that the artist calls Mother Nature, open from tomorrow in the courtyard of Via delle Orfane 18 in Turin. Pixel Pancho has designed a feminine face in the court of Quadrato with a robotic soul on which the luxuriant nature with flowers and leaves that cover its features prevails. A work that reflects on the plague of femicide.

The T’ORO, symbol of Turin that looks to the future, the new work of the artist Richi Ferrero, in continuity with the works realized in Lagrange12 and The Number 6, is placed on the façade of Quadrato, on Piazzetta della Visitazione. “This golden horn is a vision of the city, of what has been and what will be. The frame that freezes the moment of the breakthrough is the changing of Turin in the present whenever the gaze of those passing by will catch its presence “, declares the artist Richi Ferrero.

The simultaneous action of the artist Domenico Borrelli and two architects leads to the creation of a large sculpture, usable in the path of Paratissima XII, which will then be relocated at the end of the event in the courtyard of Quadrato, the transformation of the ancient convent of Sant ‘ Agostino in the heart of the Roman quadrilateral in Turin, under construction by the Building Group. The work Limitless by the artist Domenico Borrelli, result of the workshop realized with recovered materials of the building yards, in collaboration with IAAD, Politecnico di Torino and Lombroso16, was built with building materials to reveal the infinite artistic and expressive possibilities.

The design workshop led by the artist Paolo Grassino leads to the creation of a large work that will be exhibited on the occasion of Paratissima 13 in the courtyard of the Caserma La Marmora in Via Asti 22 and which will then be relocated as a work of art visible to all in a building owned space. The work stems from the reflection of the increasing use of construction materials in contemporary art, and on the artistic potential that these can also assume thanks to their structure, their color and their texture. They are simple raw materials, normally at the service of the building industry, to take on different forms and contents to finally reveal their unusual and unexpected beauty.

On Friday 1st November at Allegroitalia Golden Palace, the work “Hang On A Minute Lads … I’ve Got A Great Idea” by the British artist Richard Wilson curated by Mark Hinchliffe and Heidi Donohoe was presented together with Artissima Fair. A tilting bus, on a 1: 1 scale, inspired by the final scene of the 1969 movie The Italian Job starring Micheael Caine will be suspended at twenty meters high on the terrace of the fifth floor of Domus Lascaris..

It is all that transforms. It is everything that breaks down the barriers of the perfect, the precious and the “beautiful”. The transformations take place first in the deepest layer of each of us and then involve the skin and the world of the “visible”, where the written words are not read but they feel.

Oxidum is someone who knows how to be light even in the shade.

Material:

Imitation gold leaf
Stabilized synthetic water adhesive
Lamellar metal powder
Luminor 2250-01 copper powder
Copper-rev 7 oxidizing patina
Yellow patina
Blue patina
Water-based enamel
Resincera
Graphite

Technique:

Application of mission imitation gold leaf on a wall support (plasterboard) and subsequent oxidation of the same by means of oxidizing patinas, following precise compositional and dynamic lines of “gravity”. Calligraphic type decorative inserts with the same techniques in addition to graphite signs.