September 22–December 2, 2012

Kunsthalle Tübingen
Philosophenweg 76
Tübingen, Germany

The paintings by Nicola Samorì are full of sensuous energy. The 35-year-old artist arranges them like a Baroque master before partially destroying them again by intervening with a brush, palette knife, or scalpel. The Kunsthalle Tübingen invites the public to discover the paintings of this internationally aspiring Italian in his first solo museum exhibition.

The technical skills of the 35-year-old Italian can be measured against the Old Masters of the Renaissance or the Baroque period. Yet the painter from Romagna also has a leaning towards Italian postwar modernity and Arte Povera. Lucio Fontana, with his slits and perforations, is his model, as are Gino de Dominicis or Michelangelo Pistoletto. What he shares with them is the idea of creating something new out of what already exists by means of artistic transformation.
Samorì takes his subjects from art history: portraits, crucifixions, saints, still lifes, landscapes. His compositions for the most part conform to Baroque chiaroscuro. His figures emerge from the darkness of the pictorial space into the light with dramatic realism. Samorì completes his paintings in the style of the Old Masters with the highest degree of precision, causing the interventions he subjects them to to be all the more painful: he distorts them, smears them with his hand, disfigures them with the palette knife, paints them over, spills paint on them, or like a torturer removes the half-dry skin of the uppermost layer of paint with a scalpel. For all the destructive violence inherent in these virtuoso manipulations, his paintings are deconstructive compositions that make the historical pictorial legacy available to the contemporary viewer with the highest possible degree of sensuous energy. In recent years, Samorì has attracted a considerable amount of attention on the art market. His works are shown by galleries in Bologna, Trent, Turin, Milan, Berlin, Copenhagen, Cape Town, London, and New York. With this first solo museum exhibition, the Kunsthalle Tübingen is providing a broader public with the opportunity to become acquainted with works by this exceptional and highly talented artist. Besides approximately sixty paintings and five sculptural works by Samorì, an exquisite selection of Baroque works will be on display that inspired the artist, including a large oil painting that was just recently attributed to Jusepe de Ribera.

Philosophenweg 76 . 72076 Tübingen Tel. 07071 96 91 0 . Fax 07071 96 91 33 . 2

General Information

Friday, September 21, 2012, 7:00 p.m.

Opening Hours
Daily (except Monday) 11:00 a.m.–6:00 p.m.
Tuesday 11:00 a.m.–7:00 p.m.

Regular: €7.00, reduced: €5.00, pupils: €3.00

Nicola Samorì. Fegefeuer / Purgatory, edited and prepared by Daniel J. Schreiber, with texts on
the individual works by Davide Pairone and Alberto Zanchetta, ca. 144 pages,
ca. 100 color illustrations, hardcover


18 May – 10 June 2012

PAN | Palazzo delle Arti Napoli
Via dei Mille 60, 80121 Napoli

Thursday 17 May 2012, in the first floor rooms of PAN | Palazzo delle Arti di Napoli will see the inauguration of the exhibition Memory: International Contemporary Sculpture, curated by Ian Rosenfeld. Hosted for the first time at an Italian institution after being exhibited in London at Rosenfeld Porcini in 2011, Memory is an exhibition of ten international sculptors from six different countries; Italy, Spain, Germany, England, Finland and United States. The exhibition showcases the diversity of today’s contemporary sculpture as each artist takes a radically different approach to their work, using different materials, aesthetic frameworks and concerns. All deal with ‘memory’ in distinct yet equally powerful ways with their shared poetic sensibility creating a sense of unity.

Artists: Roberto Almagno, Mar Arza, Andreas Blank, Leonardo Drew, Steve Goddard, Silvia Hatzl, Kaarina Kaikkonen, Nicola Samorì, Spazio Visivo, Rossana Zaera

The Venerable Abject

May 17 – June 23, 2012

Ana Cristea Gallery

521 West 26th Street
New York, NY, 10001

Ana Cristea Gallery is pleased to present “The Venerable Abject,” the first solo exhibition in the UnitedStates by artist Nicola Samorì.
Nicola Samorì makes seductive, profound paintings by layering and fusing images on canvas, woodor copper and then obliterating them by scratching, erasing, fingering and painting over the surfacesmultiple times. By violating the golden rule of all museums (“Please do not touch the artwork.”) Samorìis making art history by corrupting his own work and imposing a new Samorì on top. The resulting layersof paint create a new skin that bears the bruises and permanent marks of all prior creative efforts.
Selecting portraits and still lifes from classical paintings but also sourcing random faces and imagesfrom the Web, Samorì is engaged in a project about time and corrosion. Mythological and religiousfigures dominate Samorì canvasses. In “L Abietto Venerabile” the two hands held up with open palmssignal readable gestures (surrender, grace, or blessing) but the spliced visage is streaked with horror.In “Tantalo” based on the Greek myth of Tantalus’s eternal punishment, several portraits sit on top ofone another, making it impossible to determine which figure the artist is honoring. The viewer mayinterpret the mythic or religious connotations of the many visible arms and wardrobe changes of thissaintly figure—but time has contributed to his (or her) erasure. Samorì has assumed the role of creatorand destroyer thereby giving him license to speed up or freeze time and to reincarnate from one life tothe next in between lunch. (Samorì lives and paints in a Renaissance church in Bagnacavallo, Italy.) Byassuming this artist privilege to make and to erase (to give and to take), Samorì is offering us his deeplypersonal views about life and death. Each work beats a pulse; giant blots and thumbprints of colorrace across the surfaces only to be stalled by a pileup of oil paint. In that moment of halt, the viewer isinvited to look into the keyhole of the experiences already lived.
For additional information, please contact Ana Cristea Gallery by phone at (212) 904-1100 or by e-mailat The gallery is located at 521 West 26th Street between 10th and 11thAvenues and is open from Tuesday through Saturday from 11am to 6pm.


March 8 -11  2012

New York, NY

Solo show, presented by LARMgalleri

Point of Entry

January 19 – February 18, 2012

Ana Cristea Gallery
521 West 26th Street
New York, NY, 10001

Ana Cristea Gallery is pleased to present “Point of Entry”, a group show that brings together the work of three remarkable artists: Oliver Clegg, Daniel Pitin and Nicola Samorì. The artists are all figurative painters concerned with the relationship between the surface they paint on and the subjects they depict. Each painter approaches this way of working from his own unique perspective, but each is concerned with how the viewer becomes implicated in the journey of the expression and resolution of the artist’s ideas and feelings. Art, particularly painting has the ability to render that which is invisible, visible. Atmospheres and memories can be translated into a form that can not only be seen but also felt. With this in mind, the question of how the viewer can ‘enter’ a painting becomes even more pertinent.


04 Novembre 2011 – 11 Dicembre 2011

Palazzo Reale
Piazza del Duomo

La mostra presenta il nuovo Evangeliario Ambrosiano, il volume usato nella solenne lettura delle celebrazioni liturgiche, le cui pagine accolgono le tavole di Nicola De Maria, Mimmo Paladino, Ettore Spalletti, Giovanni Chiaramonte, Nicola Samorì e Nicola Villa. Il progetto si è sviluppato a seguito della pubblicazione della nuova edizione dell’Evangeliario Ambrosiano che il Cardinale di Milano, Dionigi Tettamanzi, ha voluto realizzare in dialogo con l’arte contemporanea, con l’intento di avvicinare le persone al messaggio evangelico attraverso un linguaggio artistico del nostro tempo. Accanto alle 73 tavole realizzate per il nuovo Evangeliario Ambrosiano, visibili insieme per la prima e unica volta prima di essere rilegate nel volume originale che verrà in seguito consegnato all’uso liturgico del Duomo, la sezione a Palazzo Reale presenterà, per la prima volta insieme, manufatti d’arte antica di straordinaria bellezza. A segnare il passaggio all’arte contemporanea sarà l’Evangeliario di Paolo VI, lo stesso che venne posto sulla bara di Giovanni Paolo II, nel giorno delle sue esequie.

2010, oil on linen, 300 x 200 cm


October – 17 December 2011

Galerie Christian Ehrentraut
Friedrichstraße 123
10117 Berlin (U-Bhf Oranienburger Tor)

Samorì’s works often refer to Italian 17th century painting by the selection of motives as well as by his painting technique. Still lifes, portraits, devotional paintings and landscapes develop through enormous technical skills over a long span of time and through numerous layers of paint on copper, wood or canvas. But Samorì withholds the imaginary „finished“ painting from us and reverses the process of origin drastically: He purposely destroys the image surface, attacks selected parts with a palette-knife, with diluent or with his bare hands until he tears off the (oil-)skin from his painted figures. Physicalness and the body are most important for Samorì’s paintings and the process of skinning stresses this importance. Samorì builds up his „body of work“ with an abundance of art-historical references and masses of paint just to forcefully destroy them. By focusing on the materiality and artificiality of the image, Samorì negates classical represenation and questions painting itself.
To prepare for his first German solo exhibition at Galerie Christian Ehrentraut, Samorì moved his studio from Italy to Berlin temporarily. All works for „Imaginifragus“ were finished in Berlin.
An etching in an edition of twelf will be published on the occasion of the exhibition.


June 13 2011

Basel, Switzerland

Solo show, presented by LARMgalleri


dal 09 giugno 2011 al 30 settembre 2011

Studio d’arte Raffaelli
Palazzo Wolkenstein
via Marchetti 17 – Trento

Giovedì 9 giugno 2011 lo Studio d’Arte Raffaelli di Trento inaugura la seconda personale di Nicola Samorì. Scoriada, questo il titolo della mostra, mette in evidenza gli ultimi esiti della sua ricerca disseminando lo spazio di frammenti che si attraggono a distanza. È un percorso di resistenze e di sferzate che staccano il dipinto dal suo sonno bidimensionale per farne un’estasi plastica, quasi una fuoriuscita da sé. In ogni lavoro l’interno è messo in comunicazione con l’esterno attraverso una rottura della superficie che, incisa col bisturi, si apre e mostra il rovescio, deposito di colori freschi e intensi come quelli che abitano il dentro del corpo.

Domina la parete di fondo della sala maggiore di Palazzo Wolkenstein l’opera “Scoriada” (400 x 250 cm), che dà il titolo alla mostra; si tratta della scorticatura di uno scorticato, di un dare pelle alle ossa. Il suo impianto monumentale viene testato fino a un punto limite, l’istante in cui la forma rischia (e talvolta perde) la sua integrità. Anche i marmi – presentati per la prima volta ed eseguiti appositamente per questo progetto – si accartocciano, si tendono come pelli o inghiottono sassi quasi fossero materia molle.
Altrove immagini antiche come affumicati dipinti barocchi schiudono a un cascame di colori espressionista, prove di un tempo invertito, come se la stratificazione delle epoche si fosse accumulata a rovescio.
In alcune tavole la pittura sembra invece trasformarsi in un esperimento braille, interamente annerita nelle sue superfici e leggibile solo col tatto oppure oscillando lo sguardo davanti alla caligine che affoga la forma. In questi spessori la scultura torna a essere “lanterna della pittura”, esprimendo un’immagine che è a tutti gli effetti un bassorilievo, come lo sono le pitture scorticate nelle quali si manifesta una tensione innaturale a prendere le distanze dal supporto, cercando di inventare un corpo a una pellicola che spessore sembra non averne.
In questo spasmo della forma nessun attributo può vantare stabilità, neppure l’aureola che scivola con la consistenza della cera sul viso Carlo Borromeo, il santo lombardo che chiuse la vita, pare, con una frase che attraversa tutto il repertorio d’immagini in mostra: “la candela per far luce deve consumarsi”.

54th Venice Biennale

June 4 – November 27 2011
Italian Pavilion, Arsenale