Guarigione dell’ossesso

25 October – 07 December 2013

Christian Ehrentraut
Friedrichstr. 123
D-10117 Berlin
(Subway / U Oranienburger Tor)

Samorì  examines the theme of obsession from a number of different perspectives: that of the human body, religion, science, and the obsession of the artist with his own work. In his new paintings and sculptures he references art historical and biblical representations of ‘the healing of the possessed’.  Examples of such associations are Raphael’s “Transfiguration”, Jean-Martin Charcot, who “invented” the medical diagnosis of hysteria in his hospital in Paris in the late 19th Century, and Efisio Marini, an Italian scientist and physician who created rather unconventional sculptures from preserved corpses.

In the eponymous, large format painting on canvas, a figure is pierced by bars and struggles in front of a blurred group of figures in a mirroring of the practice of exorcism. In “Vomere”, the largest installation piece on display, Samorì physically dissects a horizontal life-size portrait of a man on a table placed in front of a monumental copper-coated diptych; among the copper, a large group of viewers in an anatomical theater follow the spectacle. In other paintings Samorì works with meticulous detail, creating a collection of butterflies on copper or physically attacking his own images with surgical precision.

Tel/Fax +49 30 44 03 83 85

open Tuesday to Saturday, 11 am to 6 pm





January 26 – March 2013

Galleria Mazzoli Arte Contemporanea
Via Nazario Sauro, 62
41121 Modena

On Saturday, January 26th at 6.30 pm, Nicola Samorì will open his first solo exhibitionat Galleria Mazzoli in Modena. The title of the exhibition Die Verwindung (Overcoming)is taken from Heidegger and suggests a disloyal attitude to tradition, namely, a betrayal– which is also an uneasy transition – that recaptures and at the same time rethinksthe integuments of the painting. Such distortion/dislocation has permitted the artist toinvestigate and reinterpret the history of art, putting his crimes-pleasures of damaging thepainting into practice (a discipline that is accepted as an uncomfortable yet, at the sametime, necessary legacy).

In their doing and undoing, the paintings indulge an intrinsic shattering “of the identityand of the identical” which aims to comprehend the grammatical limits and the syntacticpossibilities of extremely diffuse images. Purloining the memories that languish in galleriesall over the world, Samorì thus decided to desecrate the masterpieces of art in the hopeof «understanding the violated vitality of our culture, an unconscious and material capital».Encouraging the instinctive and destructive force of formal organization, the pictures inthis exhibition shatter the harmony of the images in order to unveil and uproot the paintingitself.

Transforming his subjects into a material in the process of disintegration (which carriesthe unbearable onus of the agony on top of itself), the artist ultimately punishes thatwhich he has created, thus arriving at the inevitable and unrenounceable assassinationof the painting. In the works expressly created for the spaces of the gallery, NicolaSamorì actually wanted to upset, disfigure, and deform the painting, demonstrating itshaemophiliac aspect, of bloody metamorphosis.

Nicola Samorì – Die Verwindung
with texts by Franco Rella and Alberto Zanchetta
Galleria Mazzoli Editore

Galleria Mazzoli
Arte Contemporanea
Via Nazario Sauro 62, 41121 Modena
Tel. 059243455 – Fax 059214980
orari: 10.00-13.00/16.00-19.00 (chiuso i festivi)


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