Artists list

Alex Pinna

Foto personale di Alex Pinna

ALEX PINNA at ArteFiera 2016

Alex Pinna's sculptures, characterized by thin bodies and long legs, certainly derive from Giacometti's poetics, though unburdened from their gloomy gravitas and gifted with a melancholy smile and a naïve and disenchanted glance upon reality. The artist, deeply in love with comics and any language which can easily reach people's heart, manages to convey emotions, feelings and mental features without availing himself of facial expressions (his characters' faces are composed by few traits: forehead and nose), but only of the thoughtful bending of a spine or the imbalanced tilting of a body, communicating a sensation of existential instability.

Alex Pinna was born in Imperia and attended the Academy of Fine Arts of Brera in Milan. Since 1993 he exposed his works within successful solo and group exhibitions throughout Italy and abroad. Among the latest ones, Ti guardo, mi guardo organized at the Fondazione Mimmo Rotella in Catanzaro, The way to get lost, a solo show at Arte Fiera Bologna and the exposition Estate Italiana at the MOAH in Lancaster - California, USA.
During the years his works have also been exposed in Shanghai, Tel Aviv, London, New York, Los Angeles, Cologne and Lugano. He teaches sculpture at the Catanzaro Academy of Fine Arts. He lives and works in Milan.

Solo Shows:

2016
The way to get lost, (catalogo), Galleria PUNTO SULL'ARTE c/o ArteFiera Bologna (IT)

2015
Leggero, a cura di P. de Mennato, galleria Piero Renna arte contemporanea, Napoli (IT)
Think thin, (catalogo) a cura di A. Redaelli, galleria PUNTO SULL'ARTE, Varese (IT)

2014
Il gatto in sala, il topo in cucina, il Truciolo, Altedo (IT)

2012
Niente da spiegare, a cura di associazione ART 1307, Villa di Donato, Napoli (IT)
Ti guardo, mi guardo, (catalogo) a cura di M. Meneguzzo, Fondazione Rotella, Catanzaro (IT)

2011
Alex Pinna, Ermanno Tedeschi gallery, Tel Aviv (IL)
Blind, Torre bruciata, Teramo (IT)
Waiting for, Ermanno Tedeschi gallery, Milano (IT)

2010
7 sculture, a cura di Mazen, Palazzo Clerici, Milano (IT)
Compilation, Ermanno Tedeschi gallery, Torino (IT)

2009
Tumbleweeds, galleria San Salvatore Art Project, Modena (IT)
Big Pinocchio, (catalogo), a cura di V. Coen e E. Manzoni, Museo di Arte Contemporanea Su logu de s'iscultura, Tortolì (IT)
Nella mia matita c'è un foglio, (catalogo), galleria Guidi& Schoen arte contemporanea, Genova (IT)

2008
Upstairs heroes, (catalogo), a cura di V. Coen, Ermanno Tedeschi gallery, Torino (IT)
Upstairs heroes, (catalogo), a cura di V. Coen, Ermanno Tedeschi gallery, Milano (IT)

2007
Io sono te, (catalogo), galleria Ronchini arte contemporanea, Terni (IT)
Heroes, (catalogo), a cura di M. Senaldi, galleria San Salvatore Art Project, Modena (IT)

2006
Mari, galleria Mimmo Scognamiglio, Napoli (IT)
Io sono te, a cura di G. Ciavoliello, galleria del Liceo Artistico, Treviso (IT)
A volte penso cose che non capisco, galleria Ciocca arte contemporanea, Milano (IT)

2005
Equilibri, (catalogo), Ermanno Tedeschi gallery, Torino (IT)
2con, (catalogo), galleria Guidi& Schoen arte contemporanea, Genova (IT)

2004
Hombre, (catalogo), galleria Ronchini arte contemporanea, Terni (IT)
Cose, con interventi di N. Mangione, IT. Quaroni, A. Zanchetta, galleria San Salvatore Art Project, Modena (IT)

2003
Disegni, galleria San Salvatore Art Project, Modena (IT)

2002
Contasudime, galleria Ciocca arte contemporanea, Milano (IT)
Alex Pinna, (catalogo) a cura di A. Bellini e M. Zattini , Rocca di Bertinoro, Cesena (IT)

2001
Muovi bene il tuo pensiero, (catalogo), galleria Ronchini arte contemporanea, Terni (IT)
Via vai, (catalogo), a cura di E. Nobile Mino, Casa delle Letterature, Roma (IT)

2000
Dagli corda, a cura di G. Viganò, Monza, ridotto del teatro Manzoni "Liberitutti", galleria Ciocca arte contemporanea, Milano (IT)

1999
Ancora?, spazio Juliet, Trieste (IT)
Quella nuvola sembra un gelato, galleria De Crescenzo & Viesti, Roma (IT)

1998
Certo che ti desidero, (catalogo), galleria Perugi artecontemporanea, Padova (IT)
Panting painting, galleria Sergio Tossi, Prato (IT)

1997
Sgrunt!, galleria Caterina Fossati, Torino (IT)
L'uomo nero, (catalogo), galleria Ciocca arte contemporanea, Milano (IT)
Mi è sembrato di vedere un gatto, (catalogo), Viafarini, Milano (IT)

Group Shows:

2016
<20 15x15/20x20 Collezione PUNTO SULL'ARTE 2016, (catalogo), Galleria PUNTO SULL'ARTE, Varese (IT)
ATLAS @ FUORISARDONE, a cura di ALLOUTLAB, Milano (IT)
ArteGenova, con Galleria PUNTO SULL'ARTE, Genova (IT)
Segrete. Tracce di memoria, a cura di V. Monteverde, Antiche carceri della Torre Grimaldina di Palazzo Ducale, Genova (IT)

2015
Sculpt, a cura di L. Beatrice, Guidi&Schoen Arte Contemporanea, Genova (IT)
Bergamo Arte Fiera, Galleria PUNTO SULL'ARTE, Bergamo (IT)
ArtVerona, con Galleria PUNTO SULL'ARTE, Verona (IT)
Vedo Nero, Galleria Palazzo Morelli, Todi – Perugia (IT)
Wunderkammer – The Grand Tour, ART STAYS International Festival of Contemporary Art, Mihelic Gallery, Ptuj (SLO)
Crogiolo, Museo della guerra bianca, Temu', Brescia (IT)
<20 15x15/20x20 Collezione PUNTO SULL'ARTE 2015, (catalogo), Galleria PUNTO SULL'ARTE, Varese (IT)
MACIST MUSEUM, collezione permanente, MACIST Museo d'Arte Contemporanea Internazionale Senza Tendenze, Biella (IT)
Arte Genova, con Galleria PUNTO SULL'ARTE, Genova (IT)
Biennale. Le latitudini dell'Arte, a cura di V. Monteverde, palazzo Ducale, Genova (IT)

2014
ArtVerona, con Galleria PUNTO SULL'ARTE, Verona (IT)
Chiedimi di entrare, a cura di R. Mandrini, Palazzo del Broletto, Pavia (IT)
100 anni, 100stanze, 100 artisti, hotel Gran Paradiso, Sorrento (IT)
Work in progress, a cura di G. Curto, Ermanno Tedeschi gallery, Torino e Roma (IT)

2013
Camusaac, Museo di arte contemporanea, Cassino (IT)
Sunny with a change of darkness, galleria Guidi& Schoen arte contemporanea, Genova (IT)
Rolli days, palazzo Doria, Genova (IT)
100 anni, 100stanze, 100 artisti, hotel Gran Paradiso, Sorrento (IT)
Italian sculpture, Ronchini gallery, Londra (EN)

2012
Mapping identities, galleria Guidi& Schoen arte contemporanea, Genova (IT)
Come tu mi vuoi, Amy-d spazio arte, Milano (IT)
+50 (sculture in citta tra memoria -1962- e presente -2012-) a cura di G. Marziani, Palazzo Collicola e centro storico, Spoleto (IT)
Ombre, a cura di Federico Sardella, galleria Fabbri contemporary art, Milano (IT)
Cranioscopia, a cura di A. Zanchetta, galleria Rubin, Milano (IT)
Ten, (catalogo), galleria Guidi& Schoen arte contemporanea, Genova (IT)

2011
Le scosse dell'arte, a cura di M. Sconci, MU.SP.A.C. Museo Sperimentale d'Arte Contemporanea, l'Aquila (IT)
What?, galleria Mimmo Scognamiglio, Milano (IT)
Su nero nero – over black black, centro d'arte contemporanea, Castello di Rivara, Rivara (IT)
Tra il sublime e l'idiota. L'umorismo nell'arte contemporanea italiana, (catalogo), palazzo Parisani Bezzi, Tolentino (IT)

2010
La scultura italiana del XXI secolo, (catalogo) a cura di M. Meneguzzo, Fondazione Arnaldo Pomodoro, Milano (IT)
7 biennale internazionale di scultura regione Piemonte, premio Umberto Mastroianni, (catalogo), Beinasco, Torino (IT)
ShContemporary 10, Shanghai exhibition center, Shanghai (CN)

2009
Campolungo (l'orizzonte sensibile del contemporaneo), (catalogo), a cura di V. Coen, Complesso del Vittoriano, Roma (IT)
Il ritmo delle ossessioni, galleria San Salvatore Art Project, Modena (IT)
Pinocchio e il peccato originale, a cura di C. Trivellin, Mya Lurgo Gallery, Lugano (CH)

2008
Savona 900, (catalogo) a cura di G. Beringheri e R. Zelatore, Palazzo del commissario, Priamar, Savona (IT)
Il drago di Giorgio, (catalogo), a cura di V. Siviero e A. Zanchetta, Sovramonte – Servo, Belluno (IT)
Metamorphosis, (catalogo) a cura di M. di Marzio, Serra San Quirico, Ancona (IT)
Le armi dell'arte, (catalogo) a cura di E. Mascelloni, galleria De Crescenzo & Viesti, Roma (IT)
A journey through Italian contemporary art, Julie M.Gallery, Tel Aviv (IL)
Miraggi, ottagono galleria Vittorio Emanuele II, Milano (IT)
Art first, (catalogo), Palazzo Ghisilardi, Museo Civico Medievale, Bologna (IT)

2007
Terra promessa, Ermanno Tedeschi gallery, Roma (IT)
La nuova figurazione. To be continued..., (catalogo) a cura di C. Canali, F. Borroni, Bollate – Milano (IT)
Dedicato…, (catalogo), galleria Ronchini arte contemporanea Terni (IT)
Nowheremen, (catalogo), a cura di M. Bettini e O. Calabrese, Acciaierie Arte Contemporanea, Cortenuova - Bergamo (IT)

2006
Arterritory, (catalogo), a cura di D. Lora, (Centrale Montemartini, Roma (IT)
Ridisegnare i luoghi, (catalogo), Santa Maria della Salute, Viterbo (IT)
Material girls (and boys), (catalogo), a cura di L. Beatrice, galleria Dellapina arte contemporanea, Pietrasanta – Lucca (IT)
Slalom gigante, Ermanno Tedeschi gallery, Torino (IT)

2005
Superplastica, (catalogo), a cura di IT. Quaroni, Castello di Casalgrande, Reggio Emilia (IT)
Altri fantasmi, (catalogo) a cura di L. Carcano e N. Mangione, Ermanno Tedeschi gallery, Torino (IT)
T.E.C. Le tecniche esecutive dell'arte contemporanea, (catalogo), a cura di M. Annibali, Scuderie Aldobrandini, Frascati (IT)
1905-2005 cento anni Fabbri, (catalogo), Fondazione Del Monte, Bologna (IT)
Anima animale, (catalogo), a cura di M. Trevisan, biblioteca comunale, Montebelluna – Treviso (IT)
Open air, (catalogo), a cura di M. Paderni e Isotta Saccani, Orto botanico, Parma (IT)
Il corridoio dell'arte, (catalogo), a cura di G. Serusi, palazzo della Provincia e Triennale di Milano, Torino (IT)

2004
…prego s'accomodi…, galleria Luisa Delle Piane, Milano (IT)
A pranzo con Babette, a cura di O. Gambari, Corte del maglio, Torino (IT)
Allarmi - Zona creativa temporaneamente valicabile, (catalogo), selezionato da IT. Quaroni, Caserma "De Cristoforis", Como (IT)
Mi ricordo, (catalogo), a cura di N. Mangione, Ermanno Tedeschi gallery, Torino (IT)
Mind the gap, (catalogo), a cura di G. De Muro, Centro Sociale, Berchidda (Olbia-Tempio) (IT)
Nuove Acquisizioni, (catalogo), MUSA Museo dell'Assurdo, Castelvetro di Modena, Modena (IT)
BTTB, (catalogo), a cura di IT. Quaroni, N. Mangione, S.Castelli, spazio Obraz, Milano (IT)
Armoury, (catalogo), a cura di L. Beatrice e L. Carcano, Castello di St.Angelo Lodigiano e Trevi Flash Art Museum, Lodi (IT)
Melting music, (catalogo), a cura di G. Marziani, galleria Guidi& Schoen arte contemporanea, Genova (IT)
Anteprima Quadriennale, (catalogo), Promotrice per le Belle Arti, Torino (IT)

2003
Corporarte, (catalogo), a cura di A. Marino, Azienda Impresa Valore, Bari (IT)
L'isola che non c'è, (catalogo), a cura di P. Artoni, Musei civici, Reggio Emilia (IT)
Mito-logica-mente, (catalogo), a cura di S. Pegoraro, Castelbasso – Teramo (IT)
XS, a cura di L. Beatrice e N. Mangione, galleria San Salvatore Art Project, Modena (IT)
Cioccola-To, (catalogo), a cura di No. Mangione, Cavallerizza Reale, Torino (IT)
Kids are us, (catalogo), Galleria Civica di Arte Contemporanea, Trento (IT)

2002
Quadri di una esposizione, (catalogo), a cura di M. Senaldi, Centro Sociale, Berchidda (Olbia-Tempio) (IT)
Lune parlanti, (catalogo), Galleria d'Arte Moderna e Contemporanea, Repubblica di San Marino, (IT)

2001
Generazionale, (catalogo), a cura di B. Buscaroli, Basilica Palladiana, Vicenza (IT)
Laboratorio materiale, (catalogo), a cura di L. Beatrice, S. Pietro in Valle, Fano (IT)
Cosa arcana e stupenda, scultura italiana contemporanea, (catalogo), a cura di A. Bellini, Sermoneta – Latina (IT)
Popheart, (catalogo), a cura di G. Bartorelli, Light Gallery, Faenza (IT)
Totemica, (catalogo), a cura di A. Riva, Mantova, Casa del Mantegna, Mantova (IT)

2000
Sui generis, (catalogo) a cura di A. Riva, PAC, Milano (IT)
Fabulae… fabularum, (catalogo), a cura di O. Agrò, Trans Hudson gallery, New York (US)
Ironic, (catalogo), a cura di L. Baldini, Flash Art Museum, Trevi (IT)
Mumble mumble, a cura di A. Pieroni, Castel S. Pietro Terme, Bologna (IT)

1999
Note a margine, (catalogo), a cura di K. Ficociello, quartiere Tufello, Roma (IT)
Art beat, (catalogo), a cura di G. Bartorelli e F. Fabbri, Posteria Milano e Acquario Romano, Salara Bologna (IT)
La casa, a cura di A. Galletta, Magazzino arte contemporanea, Roma (IT)
Animals animaux tiere animali, a cura di M. Dantini, galleria Continua, S. Gimignano (IT)

1998
Attraversamenti, (catalogo), a cura di C. Corbetta e D. Grandi, teatro CRT, Milano (IT)
Primo incontro italo dominicano di arte contemporanea, (catalogo), a cura di L. Saccà, museo de las casas reales di Santo Domingo (DO) e IILA di Roma (IT)

1997
Arte x tutti, (catalogo), a cura di L. Parmesani, ex ospedale Soave, Codogno (IT)
Des histoires en formes, (catalogo), Centre national d'arte contemporain Magasin, Grenoble (FR)
Aperto 97, (catalogo), selezionato da L. Beatrice, Flash Art Museum, Trevi (IT)
I gattopardi, a cura di L. Beatrice, Galleria Comunale, Capo d'Orlando, Messina (IT)
Periscopio, (catalogo), a cura di P. Campiglio, Cascina Roma, San Donato Milanese, Milano (IT)

1996
Qualsiasi cosa vi venga in mente, (catalogo), a cura di H. Goni, galleria Facsimile e RE¬MAG S.r.l., Milano (IT)
Orario continuato, (catalogo), a cura di A. Galasso, Comune di Peccioli, Pisa (IT)

1995
Pressure break, (catalogo), ex chiesa della Maddalena, Bergamo (IT)
Biennale dei giovani artisti dell'Europa e del Mediterraneo, (catalogo), ¬Modern Galerija, Rijeka (HR)

1994
Primordi, a cura di A. Gili, Palazzo della Triennale, Milano (IT)

1993
Art fence, (catalogo), Rotonda della Besana, Milano (IT)

Alessandra Redaelli

THE WAY TO GET LOST
After having been the first to present to the audience, last year, the new artworks by Alex Pinna, inspired by the vegetal world from the series Lost, found and lost, the Gallery PUNTO SULL'ARTE is now proposing, for the 2016 edition of Arte Fiera, a solo show by the artist. The project The way to get lost was born from the desire of dealing with the current issue of man's uncertainties, a subject which Pinna perfectly embodies through his light yet deeply significant works. His rope characters – the ones which have represented his signature for a certain period – together with the trampolines and the huge bronze figures describe a precarious humanity, in search of a balance. Tiny, fragile figures, seasoned with contemporary irony, like the quick and immediate comic graphic, which seems to encourage an easy and positive approach to life. Hope could probably be found within rediscovered and owned Nature, as incarnated within the works from the series Lost, found and lost where the human body hybridizes with plants.

[Leggi tutto]

Praise of lightness
He refers to himself as an anti sculptor, but he has already held several exhibitions throughout the Italian peninsular-from Milan to Rome, from Turin to Naples to Catanzaro. He now represents one of the coolest and most interesting voices of Italian sculptor. He makes extensive use of themes dear to children (for example: Pinocchio, Mickey Mouse and Felix the cat). And yet his subtle elegant figures lay in a precarious balance, with a minimal movement, and a simple curve of the shoulders tells the dramas of modern man far better than an essay on sociology can do. What is certain is that Alex Pinna is a powerful artist, who is able to overturn the sense of space surrounding us with a simple gesture and so doing makes us reconsider reality as we see it. His characters remind us of cave paintings thanks to a considerable simplification in execution. Except for the fact that the stories are different. No longer is the need to hunt for food the prime objective: we are experiencing more stable anxieties, complex problems. And the story evolves in all its simplicity. One of his figures presses his hands against a wall, his head leans forward, and his legs remain behind: nearly in a straight line. And yet that line represents a deep sense of sorrow. Or his head leans to one side, his shoulders embedded on the wall, a sense of self-annulment, the fear of living, all is perceived as if it were spoken. Then there are "the two figures" shoulder-to-shoulder, one looking up to the sky, another looking down, which represent, perhaps, a quarrel, or words, which will never be heard. Like those who hold hands and stretch out to the impossible in opposite directions so as to form a triangle of concentrated energy. He enjoys experimenting, changing, continual renewal, and that is what he has been doing over the past years but always maintaining his own style. Bronze, iron, steel and even glass bulbs with which he created benevolent and protective atmospheres. He also uses rope, which used to be his distinctive material, to create restless characters, which look as if they have come straight out of the same fairy tale. A very light and profound fairy tale in which we can lose ourselves. Vegetables have entered this fairy tale world with large leaves now on view for the first time through this exhibition. Our artist is bashful, not interested in the artists' jet set, he is difficult to get to know like many folk from the region of Liguria, but when he decides to tell about him self he does so in a truthful and candid manner: he willingly opens up his world. And he confesses that, for him, art is a way of continuing to play. The important thing is not to talk to him about Giacometti…

A chat with Alex Pinna
Question. You have often underlined your choice of characters taken from comics in view of their ease of understanding, since they communicate directly with the reader without the need of codes or superstructures. On the other hand you have chosen to use a method that is not as immediate as it is in sculpture.
Yes, since I want to underline the content rather than the language. I am mostly concerned with communication. If we look at the history of art, the evolution has not been so much in the matter –which has remained more or less similar-but in the means. Very few artists, those who made important changes, have been able to evolve the two factors together.

What do you mean when you define yourself an anti sculptor?
I studied painting but soon realized that I was better at working on three dimensions rather than on canvas. Sculpture is better suited to work in space. When you start to understand this, one can achieve great results. As an example, I started working on everyday objects, such as chairs and electric bulbs so as to modify or expand the environment in which they are placed.

Let us talk about the materials. You began with rope; this material identified you to most lovers of contemporary art in Italy. When you began using rope you did so because you wanted something new, easy to use and above all, yours. Even if this was somewhat contrary to a certain kind of sculptor who prefers precious materials to represent the intrinsic value of the artwork. Can you tell us more?
I basically wanted to use a material that did not necessitate further work by someone else. This is the advantage of rope: when it is finished it is ready. Not like waxes for bronze or chalk or resins. One day I had some rope in my studio so I began making knots and it turned out to be a head, so I tried to make the legs and arms and the rest came by itself. I like working with others, with artisans and above all when we reach the radical question "this is not possible ". That is when I decide it is the right moment to do it. Art has its own fragility a utopia. Someone asks me "What happens when the bulbs burn out?" Well that is when my work is completed. In any case they are sculptures. The same happens with antique ceramics: they would look unnatural if perfectly conserved, look how much significance a work of restoration gives. Every material has intrinsic risks. When I told a friend of mine that I wanted to work with ceramics, he said I had little chance of success because that material was so much identified with kitsch. Each material has a substrate, a number of meanings that identify it. Critics tend to be rather biased against historical materials since, in Italy, each generation of artists tend to criticize their predecessors, which I think is rather unnatural. When we look at the Anglo-Saxon sculpture we see that the artists tend to continue along the lines of their predecessors and are thus far less isolated.

Your characters made from rope have very simple faces, as with most of your works, yet they are extremely expressive.
Indeed, the human figure is very expressive. It is sufficient to slightly incline the head to achieve a new expression. The lesser the details the more effective is this aspect. The idea is to be able to give the spectator strong emotions, greater than those of mere sight.

Are you thinking of any new materials to use in your experiments?
Yes, I would like to work with synthetic materials, but they seem all a bit complex. The trouble with resins is that they require a mold and that inhibits my manuality. Now they are developing new resins that can be manipulated by hand. We will see…We shall have to study their durability since they have structural problems. I tend to wear out the material of my works; perhaps synthetic materials are not the ideal. Glass is probably better since everybody has a great respect for this material. I would like to examine aluminum more closely: it is similar to bronze but it is lighter, so one can go hang them up. This cannot be done with bronze. It happened to me some time ago when they asked me to make a sculpture to be attached to a plasterboard wall. It would have been impossible with bronze but it worked out fine with aluminum.

Your works have often been regarded similar to those of Giacometti, even if there is a big difference.
This is very positive since Giacometti is one of the greats of the nineteenth century. It is good luck but I was not aiming at this. As I said before, when one works in this field it is inevitable to do something similar to those who have preceded us. To tell the truth, when someone says that my works look like those of Giacometti I suspect that Giacometti's works have not been looked at carefully. I believe his works, which are profoundly sad, are the opposite of mine. I do not want to elaborate any further. If you cannot see beyond this you might as well give up. There are a lot of proposals which follow trends of fashion. The danger is to end up just following novelties or artists who want to hit the headlines on art magazines.

Who are the artists that give you an emotion?
There are several: amongst the Italians I admire Gastone Novelli, Pino Pascali, Alighiero Boetti, Enzo Cucchi, Paladino the sculptor, Baj, Rotella, Manzoni, Fontana, Burri, Sironi, Casorati, let us say nearly all. When I saw Luigi Mainolfi's "Sole Nero" at the Biennale of Venice in the 90s, I was dumfounded and I am still like this after all these years. I realized that it is worth risking for the sake of risking.

The world of vegetables has appeared in your works. Leaves in particular are new, we have already seen branches. What happened?
It is an attempt to get hold of the territory. To tell the truth I had already done something a few years ago, then I found magnolia leaves in Pantelleria and fell in love with them. I brought them back to my studio where they remained for three years before I began to start these new works. Of late I have undertaken new paths. If I keep to the same themes with the same materials, I end up by getting bored and this reflects on my works. I need to add new ideas and keep moving. The idea behind this new work is that a way to renew is to get lost, to try and forget. These works are called: Lost, found, and lost. A new road close to nature could be a possibility even if I know I have not invented anything new.

You have underlined the importance of playing as an activity without any particular objective. You also said that it is a great loss to be unable to play in adult life. Then, do you still play?
Playing is very important because it is not the result that counts but the process. The birth of my sculptures follow the same pattern, in truth characters with long arms and legs are such simply because I wanted to give an impression of speed...

Your artworks tend to pose questions rather than give answers. Do you think that this is the role of artists nowadays?
Those who have their pockets full of answers bore me and make me very suspicious, while those, who irrespective of how, pose "subtle" questions, fascinate me.

selected works