Artists list

Alberto Magnani

Foto Alberto Magnani A unique, inexhaustible and always new subject: clothing. According to Alberto Magnani garment represents the absolute symbol of humanity. The choice of displaying mainly masculine clothes is not due to sexist reasons, but to the fact that shirts and ties embody a universal and endless elegance. He uses timbric and crystalline hues: purple, crimson, yellow, light blue, green. Compact and enamelled, never even stained by the idea of soil. Years of experience in the United States and his proximity to Pop Art allowed him this movement with something it didn’t own: a soul. Within the amazing series of clothes man is always there, like a print, a remembrance or an evocation.

Alberto Magani born in Arborea (Oristano) in 1945. In 1965 he graduated at the senior high school of Brera in Milan specializing in artistic education and in 1974 he visited for the first time the United States. During the 80’s he alternated between long working periods in New York and frequent stays in his atelier in Induno Olona. He took part in various art exhibitions in Italy, Europe and the United States and contributed to projects of editorial graphic. At present time he lives and works in Varese.

Exhibitions:

2015
BAF, Galleria PUNTO SULL'ARTE, Bergamo (IT)
<20 15x15/20x20 Collezione PUNTO SULL'ARTE 2015, Galleria PUNTO SULL'ARTE, Varese (IT)
ArteGenova, Galleria PUNTO SULL'ARTE, Genova (IT)

2014
St-Art 2014, Galleria PUNTO SULL'ARTE, Strasburgo (FR)
ArteGenova, Galleria PUNTO SULL'ARTE, Genova (IT)

2013
InCorpore(o), Galleria PUNTO SULL'ARTE, Varese (IT)

2012
ARTCATTO Gallery, Loulé (PT)

2009
Galleria Villa Morotti, Daverio - Varese (IT)

2007
Atelier Capricorno, Varese (IT)

2005
Elaine Baker Gallery, Boca Raton (US)

2003
Elaine Baker Gallery, Boca Raton (US)

2002
Galleria Prima Visione, Gallarate - Varese (IT)

2001
Nascent House, Firenze (IT)

1999
Villa Erba, Cernobbio - Varese (IT)
R.Kidd Gallery, Birmingham, Michigan (US)
Gallerie Beckel Odile Boicos, Parigi (FR)
Elaine Baker Gallery, Boca Raton (US)
Compagnia del Disegno, Milano (IT)

1998
Retrospective, Chiostro di Voltorre, Varese (IT)

1996
Jaffe Baker Gallery, Boca Raton (US)

1994
Jaffe Baker Blau Gallery, Boca Raton, (US)

1992
Ann Jaffe Gallery, Miami (US)

1991
Teatro Verdi, Milano (IT)
Jaffe Baker Blau Gallery, Boca Raton (US)

1990
Ann Jaffe Gallery, Boca Raton (US)

1989
R. Kidd Gallery, Birmingham, Michigan (US)

1988
Gallery Ninety Nine, Miami (US)

1987
R. Kidd Gallery, Birmingham, Michigan (US)

1986
Gallery Ninety Nine, Miami (US)

1985
Rauchbach Sklar Gallery, Boca Raton, Florida (US)
R. Kidd Gallery, Birmingham, Michigan (US)

1983
Gallery West, Los Angeles (US)

1982
Centro Civico di Cultura, Luino - Varese (IT)

1980
Medici-Berenson Gallery, Miami (US)

1979
Galleria Incontri, Varese (IT)

1977
Linea Plus Ltd., New York (US)
Jasper Gallery, New York (US)

1970
Galleria Ilaria, Varese (IT)


Alessandra Redaelli

Alberto Magnani. Icons of absence

Light, colour, shape. Beyond subject, these three details immediately focus attention on Alberto Magnani’s works. His painting aims directly towards the centre of emotions without running through the channels of perception. The analysis comes afterwards, when the seduction has already taken place. Hypnotized and captivated, the audience can only record the subject and second the pleasure of watching. Juicy and caramelized, the colours used by Magnani are the ones of Renaissance, Mannerism, substantiated into dancing draperies through the use of light. Draperies, since at present time Magnani is working upon one unique, inexhaustible and always new subject: clothing.

Many years in the United States and his proximity to Pop Art gave him a peculiar look upon the subject. However, he went beyond Pop Art, crossing it. After a series of empty containers, he came to garment seen as the absolute symbol of humanity. What is worn by us holds us, taking our shape, protecting and defining ourselves. The choice of displaying mainly masculine clothes is not due to sexist reasons, but to the fact that shirts and ties embody a universal and endless elegance. The folded, frontal, shirts, the tie leant on them or tucked into a jacket, represent what is left of mankind, its icons of absence. The piled shirts become crowd and embraces. The hanging ones are ghosts. And their way of communicating or ignoring each other is as clear and understandable as if they were truly worn.

The brush cuts reality as a bistoury, sculpturing it stroke after stroke, spasmodically focusing upon the details. The texture of the garment or the thread which defines the eyelet –both declined into those crystalline, timbric colours, never stained by soil- seem to pop up from the canvas. However, talking about hyperrealism would be reductive and wrong. Magnani doesn’t simply report reality, he goes beyond it, sublimating it into a new world, more true than truth itself, a world which our senses alone couldn’t perceive, a world made aching and wonderful by its artificial perfection.

selected works