Art in Art


April 28, 2017 – October 01, 2017

MOCAK Museum of Contemporary Art in Krakow

ul. Lipowa 4
30-702 Krakow


Art in Art is another exhibition in our series that confronts important areas of life with their perception by artists. This exhibition will, however, differ from the others. The previous themes were ‘taken from life’ and analysed received truths and manipulations thereof. History showed the drama of war, patriotism and national identification. Sport revealed human ambition and potential. Economy warned against the power of money and its ubiquity. Crime probed the evil that is in us. Gender projected the prejudices related to gender. Medicine demonstrated the complexity of body addiction. Each of these topics has proved a direct source of existential symbols, which one can employ in one’s own commentary on the world that we have been condemned to live in. They delineate the limit of our functioning and mark out the extent of our freedom and dignity but also our iniquity. As for Art – it has no power to influence our lives directly.

Art is there to provide reflection and both stimulate and provide depth to our critical perception of everything that existence entails. Such is the role of art, and this is the kind of art that MOCAK endeavours to show in all its activities. But art also has another, more ‘arty’ face – as one big conglomeration of familiar images of acclaimed pedigree, works with their own idiosyncratic context, in which they have thrilled and enraptured many. This collection includes masterpieces, representations of famous characters, specific compositional games and expressions and great scandals. Images taken ‘from art’ have considerable semantic capacity; each is a quotation as potent as a short text. Thus, artists frequently avail themselves of the art of others, for a variety of reasons, since this is an operation that can service all themes. The exhibition Art in Art does not wrestle with any particular existential problem but rather illustrates a sophisticated semantic game that is capable of dealing with a variety of issues. For this very reason, previous exhibitions in the series included works that contained ‘art in art’.



Gare de l’Est

December 14, 2016 – March 15, 2017

Alberto Burri, Nicola Samorì, Gustave Joseph Witkowski
A project by Chiara Ianeselli

Anatomical Theatre of Padua, Palazzo del Bo
University of Padua

For the first time ever, works by Alberto Burri (Città di Castello, 1915 – Nice, 1995) from the Fondazione Palazzo Albizzini Collezione Burri will be shown alongside pieces by Nicola Samorì (Forlì, 1977) and Gustave Joseph Witkowski (Nevers, 1844 – Paris, 1922) at the University of Padua’s Anatomical theatre and the Cucina Anatomica, where students once prepared the corpses for anatomy lessons. Inaugurated in 1595 under the direction of the renowned anatomy professor Girolamo Fabrici d’Acquapendente, Padua’s Anatomical Theater ranks as the oldest surviving original structure of its kind.
With eyesight and vision as the central themes, the exhibition Gare de l’Est aims to highlight the extraordinary heritage of Anatomical Theaters as a whole and to suggest new interpretations through a series of temporary exhibitions, developed together with specialists. In the show a marble root withholds a lunar fragment, vivified by the proximity to the epidermal surface of a Cretto by Alberto Burri.
Curated by Chiara Ianeselli in collaboration with Giovanna Valenzano and Maurizio Rippa Bonati, and under the patronage of the Università degli Studi di Padova, the project follows on from those organized at the de Waag Anatomical Theater of Amsterdam (Gare du Nord) and at the Archiginnasio di Bologna Anatomical Theater (Gare du Sud).
Thanks to Monitor Gallery, Rome

16° Quadriennale d’arte Altri tempi, altri miti

13 ottobre 2016 – 8 gennaio 2017

Palazzo delle Esposizioni, Roma


La mostra, allestita al Piano Nobile di Palazzo delle Esposizioni su oltre 2.000 metri quadrati, presenta 10 sezioni espositive ideate da 11 curatori, 99 artisti con 150 opere, tutte recenti, molte realizzate per l’occasione. Il titolo è ispirato alla raccolta “Un weekend postmoderno. Cronache dagli anni Ottanta” (1990) dello scrittore Pier Vittorio Tondelli (1955-1991) che offre una narrazione per frammenti dell’Italia. Analogamente, la 16a Quadriennale è concepita come una mappatura mutevole delle produzioni artistiche e culturali dell’Italia contemporanea e ognuna delle dieci sezioni espositive approfondisce un tema, un metodo, un’attitudine, una genealogia che connota i progetti artistici.


16a Quadriennale d’arte Altri tempi, altri miti

Palazzo delle Esposizioni, Via Nazionale 194, Roma



Biennale Gherdeina

July 22, 2016 – September 11, 2016

FROM HERE TO ETERNITY curated by Adam Budak

Center of Ortisei
39046 Ortisei / Val Gardena / Italy


From here to eternity investigates a possibility of an alchemy in today’s world of received ideas and predefined canons; it opens up a polyphonic and non-generic space where stories and matters collide and dialogue one with another in a vertigo of resilience and productivity; last but not least, it identifies “here” as a fertile ground of an unbound creativity, a zone of potentiality, set up for an adventurous journey towards a (kind of) futuristic, imaginary “eternity”, a presumably safe, heterotopic place where thoughts generously unfold beyond their local constrains and limits.

The exhibition is perceived as a conversation between diverse artistic positions that engage materials, economies, formal languages and references that consider the vernacular as an invaluable source, which undergoes a process of a necessary transformation, moderating histories, traditions, and legacies in a flux. Here, the vital forms of both an attachment and escape are at stake as active agents of a new identity formation; here, the conceptual geometry, mythological and historical ritual, tradition and illusion, self-reflexive craft and material/formal sensuality conspire with equilibristic of matter, perceptive magic, the corporeal and alchemic minimal mapping a trajectory from Here to Eternity.

Participating artists: Stephan Balkenhol, Michele Bernardi, Katinka Bock, Fernando Sanchez Castillo, Anna Hulacova, Franz Kapfer, Szymon Kobylarz, Christian Kosmas Mayer, Marzia Migliora, Adrian Paci, Nicola Samorì, Xavier Veilhan.

Vernissage: 21.07.2016 18 h

Openings Hours 

10.00 – 12.30
15.00 – 19.00


Double Page (of Frogs and Flowers)

June 24, 2016 – September 3, 2016
Galerie EIGEN+ART Leipzig
Spinnereistrasse 7. Halle 5. 04179 Leipzig

Samorì’s works often refer to 17th century painting. His still lifes, portraits and landscapes develop over a long span of time and through numerous layers of paint on copper, wood or canvas. But Samorì withholds the “finished” painting from us and destroys the image surface and attacks it with palette-knifes, diluent or his bare hands. Physicalness and the body are most important for Samorì’s paintings. By focusing on the materiality and artificiality of the image, Samorì questions the classical represenation and the painting itself.
This is the first solo exhibition of Nicola Samorì at Galerie EIGEN + ART in Leipzig. His new works were made exclusively for this exhibition, which will take place from June 24 until September 3, 2016. Samorì’s works were already exhibited in national as well as international exhibitions: for example at the Kunsthalle Tübingen in 2012 and at the Museum of Contemporary Art in Lissone in 2014. In 2015, he was one of the artists exhibiting in the „Codice Italia“ exhibition in the Italian Pavilion at the 56th Biennale di Venezia.
Nicola Samorì (born 1977 in Forli, Italy), lives and works in Bagnacavallo, Italy.

Opening: Friday, June 24, 6 – 9pm
Galerie EIGEN + ART Leipzig
Spinnereistraße 7 . Halle 5 . D – 04179 Leipzig
Phone: +49.341.960 7886 . Fax: +49.341.225 4214 . mail to:
Tuesday – Saturday 11am – 6pm

Nicola Samorì

March 18, 2016 – April 30, 2016

Via Sforza Cesarini, 43A-44 Rome

Monitor is delighted to announce its first solo show devoted to the work of Nicola Samorì (Forlì 1977).

Through the various paintings, sculptures and installations created specially for the show, Samorì expects to transcend the visual relation between viewers and works, involving the public in a deeply physical experience.

With their masterful fusion between Renaissance or Baroque dramatic intensity and the uncontrolled essence of Informal, Samorì’s paintings and sculptures document the persistence of an ‘un-actual’ trace within the contemporary. Thanks to his entirely personal way of interacting with the entity of the museum, Samorì in fact stretches the syntax of a vast repertoire of works almost to breaking point, after which he documents their vulnerability by sabotaging their codes with either heavy ‘incursions’ or minimal adjustments.

Each of Samorì’s compositions is characterised by a systematic, ceremonial deconstruction, a mechanism able to delegitimize academism in the shortest possible time lapse. A number of different possible approaches underline this artist’s personal dialogue with his works but all issue from a nucleus derived from the degeneration of a form project that is then expounded on with surgical precision. In some cases the viewer traces the artist’s match against an obstacle that, to be overcome, requires rigour and perseverance.

The new body of works that Nicola Samorì has completed for his first solo show at Monitor documents an ‘involuntary chorus’, an underlying correlation that is stated piece by piece, with subjects/objects prey to a kind of infective urgency. It is as if the insistent osmosis that breathes life into the body of these works obliges them each to imitate the substance of the other, or deprive the other of it, in a continuous interweaving between painting and sculpture and vice versa. Within this chorus a “Stanza dei fuochi” (room of fires) and a “Stanza delle crisi” (room of crises) contend for the same matter of which each is made up.

The depicted elements outline a small Martyropolis, taking on and developing a broad spectrum of iconography offered by Eternal Rome. St Peter is thus thrown into a large, arched canvas, seemingly containing his own weight behind an outstretched arm, an excess of peeling paint with the fluids of Rubens emerging beneath his opaque skin. It is the weight that speaks here, in the form of a crepuscular image reverberating at the miniature – at times minimal – discretion of the smaller boards nearby; feminine apparitions of a supremely subtle solemnity. Among these, the Traspirazione della Vergine (Transpiration of the Virgin), unleashes an optical conversion of a Flemish Madonna within a head hidden by a burqa, portrayed via the flaking of the painted surface that reveals the brown of the board beneath it rather than with a predictable painting of the subject itself.

The processual element features also in La Madonna dello zucchero (The Sugar Madonna), which introduces a new compositional aspect in the form of the fresh skin of the face redrawn by the traces left involuntarily by an insect. The insect has thus upset the Memlian order with its unpredictable embroidery, echoing Huberman’s thoughts on accidental forms. Peter’s gesture is echoed by other ‘falls’, such as that of the skin of St Bartholomew after Luca Giordano (Ascia romana), which is verticalised, despoiled of landscape and ‘depopulated’. The martyr literally opens up under the scalpel, and the Classical sculpture at his feet required by traditional iconography is projected outwards, a timeless head carved from a fossilised tree trunk, with large sections of petrified bark still remaining. This agony is surveyed by another work in wood, a pole with the features of the Risorto, whose vertical symmetry has once again been broken up by the work of insects devouring the sides during their feasting on the softer tissues of the walnut wood. Even in L’estasi trascendentale dell’idolo anemico (The Transcendental Ecstasy of the Anaemic Idol) in white Carrara marble, the punctured surface resembles the irregular work of stone-eating bacteria.

Just as in his paintings, Samorì develops his other works by subtraction –‘burrowings’ that breathe new life into his models. In his sculptures, he seems to explore the idea of spontaneity by exploiting the natural defects of the surface he is developing, and on its lost integrity – from the deformities of fossilised wood to the patterns within a tree trunk eaten by larvae, the imitation of a chink in a stone, or the interpretation of geodes.

Opening March 18th | h. 6,30 – 9 pm

Palazzo Sforza Cesarini
via Sforza Cesarini 43a
00186 Roma
T: +39 0639378024

Opening times
Tuesday – Saturday
1 – 7 pm


MARCH 2, 2016 – APRIL 2, 2016

via Farini 32, 20159 Milano

Brand New Gallery is pleased to present “Imagine” a group exhibition that features more than 60 artists who are experimenting the possibilities of figuration in painting. Referring to the song “Imagine”, composed by John Lennon the lead singer of the Beatles, the show aims to explore and present the new figurative trend in contemporary art.

The word “Imagine” has a double meaning: it’s an invite to dream, to create and to think and it also refers to the possibility of concreteness. “Imagine” investigates the artist’s gesture, the use of the media and how images have been created by ones imagination or from the observation of reality. Similar to the song “Imagine”, the artists involved are heterogeneous in regard to age, media and country of origin. From portraits and still lifes to landscapes, each artist offers their own unique style of capturing an image. The installation will resemble a Wunderkammer where visitors come into direct contact with the creative process of art.

via Farini 32, 20159 Milano
t. +
from Tuesday to Saturday

Mattia Moreni/Nicola Samorì – La Disciplina della Carne

4 dicembre 2015 – 24 gennaio 2016

Museo Civico Luigi Varoli Cotignola / FAR Fabbrica Arte Rimini

Venerdì 4 e sabato 5 dicembre 2015 apriranno in sequenza, prima a Cotignola poi a Rimini, le due sezioni di una mostra che mette a confronto, attraverso un sorprendente e serrato dialogo tra oltre sessanta dipinti e alcune sculture, due importanti artisti italiani che hanno fatto dell’ossessione della materia uno degli snodi principali della loro ricerca e sperimentazione.

Mattia Moreni e Nicola Samorì sono artisti di diversa generazione e percorsi: ad accomunarli una pittura intesa come luogo di attrito e scontro fertile tra le ragioni romantiche del gesto e una lucida riflessione intellettuale, spietata e incessante, sui limiti e possibilità della pittura stessa, linguaggio antichissimo che i due forzano e mettono costantemente alla prova alla scoperta di nuovi modi di vedere, a far scaturire altre immagini ancora potenti e violente, capaci di scardinare e far saltare le nostre abitudini visive.

Una pittura, quella che qui si mette in scena, che non di rado sfocia e anela alla scultura, e la mostra non mancherà di far dialogare oltre ai due autori, anche questi due linguaggi. La mostra, che si divide in due sezioni distinte e complementari, intreccia e mette in dialogo, all’interno del percorso espositivo, le opere di entrambi, alla ricerca di inattese e cortocircuitanti affinità e sintonie, contrasti evidenti e distanze siderali; che le differenze tra i due artisti sono molte e lampanti, ma non pochi e niente affatto superficiali anche i punti di contatto e convergenza che questa mostra dissemina e svela lungo il suo articolato percorso.

Il doppio, una sorta di drammatica dualità tra natura e cultura, tra immagine e sua sparizione, tra materia grondante e pelli pittoriche raffinate e sottilissime, tra razionalità, furia e assalti, potrebbe quindi essere una sorta di filo che ci guida e orienta all’interno di questo tenebroso labirinto rischiarato da luci bianche e lunari; una dualità che rappresenta anche una delle tante possibili geografie della pittura oggi, una mappa che si disegna tenendo insieme un artista nel pieno della sua battaglia, e un altro che non smette certo di rinnovare stupori e riflessioni grazie a dipinti niente affatto offuscati o scalfiti dalla patina del tempo trascorso.

La mostra è frutto della stretta collaborazione di due realtà tra le più attive sulle arti visive contemporanee all’interno del panorama romagnolo e non solo: FAR la fabbrica delle arti di Rimini che tra i molti progetti e mostre presentate, e di cui è impossibile tener conto in poche righe, si distingue per la Biennale del Disegno, indagine necessaria e attesa che si è ritagliata uno spazio di osservazione privilegiato su quello che è uno dei linguaggi e pratiche più vitali del contemporaneo; l’altro luogo è il Museo Civico Luigi Varoli di Cotignola in provincia di Ravenna, da cui ha preso forma il progetto Selvatico, rete tra luoghi, persone e cose, tra artisti e collezioni museali: Selvatico è una mappa che ha coinvolto in questi anni un numero considerevole di autori, di varia provenienza, ambiti e discipline, in ramificati percorsi espositivi che sempre si intrecciano e dialogano con gli spazi espositivi e i luoghi, alla ricerca di connessioni tra opere, storie e memorie presenti, portando spesso gli artisti a lavorare in modalità anomale, anche in veste di curatori, alla ricerca di altri e nuovi punti di vista. Questa esposizione è anche perciò una sorta di spora o prolungamento di Selvatico, un approfondimento su due artisti che hanno più di un punto di contatto con Cotignola.

La scelta dei due luoghi che accolgono la mostra, oltre a rivelare perciò le forti sintonie e affinità elettive con le scelte progettuali di entrambi gli spazi espositivi, permette di costruire due sezioni molto differenti e capaci di incastrarsi perfettamente tra loro: nelle stanze di Palazzo Sforza e Casa Varoli gli autoritratti di Moreni, le sue Marilù che dialogano con i piccoli volti scorticati di Samorì, infine una stanza dei disegni dove la similitudine di segno tra i due, è impressionante; a Rimini poi, negli ampi spazi e sale della FAR una selezione di importanti quadri di grandi dimensioni, tra cui alcune teste teste monumentali di Samorì e suoi teatrini dipinti e fantasmi di santi dalla pittura antica, insieme alle angurie, i cartelli e le baracche per Moreni…

La mostra, corredata da un importante catalogo in cui figurano quasi tutte le opere esposte e una campagna fotografica di Daniele Casadio negli studi dei due artisti, è la storia di un incontro felice, quello tra due artisti non poi così distanti, e destinati a intrecciare per un momento i loro percorsi, anche a partire dalla tesi di laurea che Samorì scrisse proprio sugli ultimi dipinti di Moreni; e, infine, l’auspicato incontro tra Rimini e Cotignola che ha permesso di pensare e realizzare questa mostra disobbediente e militante.

Mattia Moreni – Nicola Samorì / La disciplina della carne
A cura di Massimiliano Fabbri e Massimo Pulini
con la collaborazione di Annamaria Bernucci e Giovanni Barberini
e un testo critico di Alberto Zanchetta

Museo Civico Luigi Varoli [Palazzo Sforza e Casa Varoli]

Corso Sforza 21 e 24 – Cotignola (RA)

sabato, domenica e festivi 10-12 / 15.30-18.30
chiuso il 25 dicembre e 1° gennaio

FAR | galleria comunale d’arte moderna e contemporanea
Piazza Cavour – Rimini
orario di apertura: 10-13 / 16-19
chiuso i lunedì non festivi
aperto il pomeriggio del 25 dicembre e del 1° gennaio

info 0541 704416 / 704414


November 14, 2015 – February 1, 2016
Anatomical Theatre of the Archiginnasio, Bologna, Piazza Galvani 1

The project Les Gares finds its second venue at the Anatomical Theatre of the Archiginnasio in Bologna with the exhibition of Nicola Samorì titled Gare du Sud (November 14, 2015 – February 1, 2016). Gare du Sud is in direct dialogue with the first show held in Amsterdam, Gare du Nord (July 16 – August 15, 2015), which launched this international research. In the Dutch capital in the exhibition at de Waag, the magnificent octagonal theatre where Rembrandt painted the famous Anatomy lesson of Dr. Nicolaes Tulp, three artists (Sonja Bäumel, Laurent-David Garnier and Nicola Samorì) were confronted with the history of the theatre, its space and its possible readings. Fundamental on this occasion was the contribution of some works from the Vrolik Museum, the Museum of Anatomy of Amsterdam. Les Gares proposes to develop an ongoing historical and artistic study of anatomy theatres in which it temporarily settles, with particular attention given to the different social contexts in which the anatomical dissections were performed. These researches, conducted through a study on site, the involvement of specialists and the analyses of documents lead to the realization of a conference and an exhibition, always site-specific.
If in Amsterdam the anatomization had yet to start since the figure of Nicola Samorì placed at the centre of the theatre was still standing, criminal and surgeon at the same time, the visitor is welcomed in Bologna when the operation is at an advanced stage. In the “room for the function of Anatomy”, “venue for the control of the truth and for the contemplation of each open secret” the artist has performed the first cuts, raising the decaying organs from the figure resting on the dissecting table. The sculpture is in dialogue with an altarpiece placed on the chair, where the lector was used to holdhis dispute, presenting the unfolding of the dissection process. Samorì desired to occupy both sides, in an act that considers the history of the theatre in its various actors and in its various phases. This sculptural performance also includes viewers who admire the curious secret crack on a wall of the theatre mentioned in the Acts of the “Congregazione della Gabella Grossa”, from which it was perhaps possible to look without being seen.
Always interested in the domain of time, the artist has considered the process of anatomy. And if we asked about the nature of the entity placed on the table, covered with a grain of sand?

“Depriving the dead of the burial is an absolute outrage. Antigone refuses the order of Creon not to bury Polynices. To obey the sacred duty imposed by the gods, but also dictated by unwritten laws, Antigone scatters dust over the corpse of her brother. For this act of piety, she will be sentenced to death and buried alive in the tomb of Labdacidi from which she was descended.”
Jean Clair, De Immundo

The project Gare du Sud, realized in collaboration with Istituzione Biblioteche of the Comune of Bologna – Biblioteca dell’Archiginnasio, is part of the programme of ART CITY Bologna 2016 on the occasion of ARTE FIERA.
A project by Chiara Ianeselli

Opening hours: Monday – Friday 10-18
Saturday 10-19
Sunday and public holidays 10-14 25, 26, 27 December, 1st and 6th January 14-19

Thanks to the Monitor Gallery, Rome.


August 6 – September 12

Galerie Eigen+Art Leipzig/Berlin
Auguststrasse 26, 10117 Berlin

From 6th august until 12th september 2015 the gallery is „open“: In the course of the exhibition works by artists that are a fixed part of the programm meet very young positions that were already shown at the EIGEN + ART Lab in constantly changing constellations.

The gallery EIGEN + ART has been working since its creation with a fixed group of artists. In conformity with the founding times of EIGEN + ART, the gallery presents in unregular intervals group exhibitions, showing young artists that are not a part of the gallery programme. Since 2012 the EIGEN+ART Lab functions as project space and innovative experiental field for contemporary, artistic positions. The exhibitions and the programm reflect the mutual dynamic relationship between contemporary art and the society.

„open“ displays a wide range of the current gallery work and gives an outlook for upcoming shows in Berlin, in the Lab and the gallery in Leipzig. Moreover the exhibibtion gives an impression of the activities of the graphical foundation Neo Rauch in Aschersleben. Next to painting, photography, installation, sculpture and drawing there is an all-embracing video programme.