VALERIO CARRUBBA
The method adopted by Valerio Carrubba is to paint each picture twice: after painting an image
that he has chosen primarily for the intricacy of its forms and materials, and therefore the
complexity of brushworks that it requires, according to the canons of classical art, with pictorial
realism and vigour, he overlays it with a second version of the same image, replicating what he
had done before in an almost automatic and detached manner.
In so doing, he creates a phantom.
The ambiguity in Carrubba’s work lies in the difficulty of deciding which of the two versions is
the phantom. For what we do not see is not a first draft, is not a sketch, is not a preparation,
but a more painterly, more finished version: the one that a naive, or “bourgeois” observer, or at
least someone accustomed to traditional painting, might describe, if he ever saw it, as the “real
picture”. And it is precisely the death of the “real”, in other words the extremely, irremediably,
ritually false picture that Carrubba celebrates; by first painting it and then, in the peace and quiet
of his studio, killing it and showing us its ectoplasm.
Installation view at FUORICLASSE
Galleria d’Arte Moderna, Milan
2012
Carrubba’s paintings sweat blood, bilious humors and organic exhalations. Apparently his works
remind of Sixteenth Century’s anatomical plates, where the struggling hues and the ripped
figures seem to be caught between melodrama and melancholy.
His works are painted twice, one brushstroke lying on top of the other. This double painting
emphasizes the colors and repeats the forms, in order not to describe them but almost to
deny them. It’s about an extreme hyperrealism, where is the artist’s gesture to be meticulously
repeated and not the surrounding reality.
Cecilia Alemani
Naturally, this production of “paintings, which are intended to contradict their own truth and
no longer raise any question about the final appearance”, this “urgent need to contest the
visual”, this poetics of the “nothing to see” generate an inextricable tangle of other ambiguities,
contradictions and even misinterpretations.
The most glaring of these contradictions seems to me the romanticism inherent in this disruption
of a romantic conception of art. Carrubba does not evade these contradictions and does not fight
them. On the contrary, he bestrides them and takes them to the extreme, leading to an almost
chaotic proliferation that results in their explosion. And so, in “denouncing the impossibhity
of language”, he paints melodramatic and almost narrative images; in decreting the futility of
technique, he devotes himself to virtuoso displays of painting.
Above all, in representing the “desert of vision” (an activity that is already contradictory in itself),
he resorts to a series of metaphorical allusions: his figures, impossible living corpses, reveal what
is inside them, whereas the surface of the work conceals what lies behind it; the pathos on their
faces is that of holy pictures of saints, Sacred Hearts or the anatomical figures of the Specula, but
it is also that of the artist who simulates and disintegrates himself.
Luigi Spagnol
From Notes to Thoughts
Encounters with Valerio Carrubba
by Matteo Consonni
My interest in Carrubba’s paintings grew gradually, and when I first approached his work it was
of a completely different medium. A video, shown at Pianissimo gallery, presented a gruesome,
grotesque, theatrical monologue that appeared as white letters superimposed on the projection
of a western film. I only superficially knew his work as a painter, and having no particular
expectations, I was one of the few that, upon entering the space, didn’t ask “Where is Valerio
Carrubba’s show?”. In discovering his practice, I can say I got through the main door from the
side door, as the conceptual framework that characterizes this particular work ultimately informs
his whole production.
Valerio keeps saying “he’s a painter, but not”. He loves to inhabit a paradox where image, final
result, process and craft occupy un-hierarchical positions.
Having a conversation with Valerio means systematically discovering that I have not looked
enough. Knowing that each painting is painted twice, one layer covering the other on the same
support, is not sufficient. The image and the artist coexist in a relationship that is both cold
and rational and obsessively romantic. Valerio first selects an existing image and modifies it to
achieve a more exaggerated, pathetic, melodramatic result; then he paints it, making decisions
and modifying it in the process.
The process of an “industrial” double layering of each painting contrasts the way the artist “lives”
with his work: the images needs to be exhausted, and Valerio needs to look at the painting over
and over, consuming it before even finishing it. He tells me he rented a studio only for a short
period of time, as he couldn’t abandon the painting after a certain amount of fixed working
hours. I only understood that when I got in his studio/apartment, and I was able to look at
some unfinished works, which were just laying on a shelf in the living room, always visible and
present. Some details were already painted twice: a nose and a mouth emerged from an area
that, according to the dramatized, conquered master image, will represent a face covered in
hair. The bottom part of the portrait, a chequered sweater, was painted only once, and Valerio
told me he knew he would have to “live with these details” for who knows how much time,
replicating and exhausting what is simply a system of signs.
Paintings, video and drawings share interlaced strategies, and most of all contain what Carrubba
mentions as the main phenomena of his art: the process of “discovery”. The moment when the
“body-double” technique is unveiled in the paintings or, in case of the video, when the public
discovers that any video can act as a background for the superimposed words displayed, it represents a crucial moment for the artist. I instantly connect the negation of image and message
with a will to negate language, but Valerio is not convinced, as he states that a new system
is created. What is at stake here for me is the extraniation of the image from the relationship
between signifier and significant. Meaning, message and sign share an identical dimension but
also become independent.
Is this independence really possible? The video succeeds in eroding the relation between text
and the visual reference through the process of discovery, but the danger that the moving image
will be unconsciously connected to the text or the con-text by its selector is strongly present. The
image attracts you into this loophole, and a possibility of freedom seems to be represented by
the choice of avoiding any preconceived strategy.
What is Carrubba’s position in relation to the modern ever-present flux of images? He’s an avid
collector, an obsessive user, a visual sadist, a cold executor, an impulsive lover. Is he observing
these images in a different way from anyone, even if he finds them mainly on Google? And what
is the state of these images when Valerio finds them? Aren’t they exhausted already? Is Valerio
healing them in order to re-process that exhaustion into something new?
It took me a long time to realize that the support for his paintings wasn’t a canvas, but a steel box,
whose sides are left unpainted and shiny. How can this be missed? The shiny industrial material
stages the more pathetic image in a new, unreal dimension. The steel and the bright colour
palette act on the image as Technicolor in a Laurel & Hardy sketch, transforming it aesthetically
and at the same time stealing its contextual identity.
It is uncomfortable to define Carrubba’s art as “processual”. The final result is so important,
and the neatness of the final, teared-down image strikes me again and again. The process, in
negating a certain pictorial vocabulary, negates the final image, which paradoxically emerges
renewed. As in an HD TV, each detail exists in its best self visualization, composing an image that,
in the quest of clearness, loses its visual hierarchies and therefore exhausts itself.
Matteo Consonni is a curator based in London and Turin.
In 2009 and 2010 he attended the MFA in Curating at Goldsmiths College, London, where he developed a
series of projects that explore the grey areas between art, market and modern economy. In January 2009 he
co-curated the exhibition Photo50: Any similarity to actual events or characters is purely coincidental at the
London Art Fair. Currently working at Franco Noero gallery, Turin.
NURSES RUN
2014
oil on stainless steel
60 x 45,2 cm
NAOMI I MOAN
2014
oil on stainless steel
60 x 45,2 cm
NOW I WON
(after Giovanni Ricci Novara)
2013
oil on stainless steel
60 x 45,2 cm
ET ON DVD NOTE
2013
oil on stainless steel
60 x 45,2 cm
MY G-SPOT STOPS GYM
2013
oil on stainless steel
60 x 45,2 cm
Installation view at IL CLASSICO NELL’ARTE
GAMeC, Bergamo
2014
Installation view at ESTATE
Marianne Boesky Gallery, New York City
2012
EBE
2012
oil on zinc sheet
40 x 30 cm
MR ALARM
2012
oil on stainless steel
53 x 44 cm
Private collection, Milan
KC IS SICK
2012
oil on stainless steel
53 x 44 cm
IAN IS NOT ON SINAI
2012
oil on stainless steel
60 x 44 cm
Private collection, Switzerland
OLSON IS IN OSLO
2012
oil on stainless steel
60 x 44 cm
Solo show at Monica De Cardenas - project room, Milan
2012
exhibition views
SUN IS IN US
2011
oil on stainless steel
80,5 x 50 cm
NOON
2011
oil on stainless steel
80,5 x 50 cm
REGAL LAGER
2011
oil on stainless steel
80,5 x 50 cm
RYANAYR
2010
oil on stainless steel
81 x 56 cm
Private collection, Milan
BOB
2010
oil on stainless steel
60 x 46,5 cm
Private collection, Switzerland
NATAN
2010
oil on stainless steel
60 x 54 cm
Private collection, Milan
NO SON
2010
oil on stainless steel
73 x 66 cm
Private collection, Milan
These works are the sketches, the studies I do before to start painting.
I make them completely in photoshop, trying to obatin the weirdest result.
Technically these works are digital prints on a particular Kodak metallic paper (remind to the stainless steel
support on which are the paintings done), always b/n because they are not about colours, tones, palettes
etc, but are mostly focused on the psycologic mood I try to give to the painting that follows.
Not all of them will be translated at the end to a painting, but the ideas contained in them, certain passages
can be discovered in other works, in different projects.
More than anything else they are evidences of my modus operandi, of my approaches to painting.
HEAD (1) (2) (3) (4) (5)
2010
Lambda print on Kodak Endura metallic Pro paper
cm 30,2 x 22,5 cm (unframed) each
These works are part of a series in progress in which are presented my sources/iconographic researches,
the images and texts I looked at, read/studied (and i still keep on doing) during the preparatory/previous/
following phase for the making of the paintings.
It’s a sort of archive, an Atlas of Images (of Warburghian inspiration), an illustrated block notes, but also a
sentimental diary, a collection of annotations, of references, of stimuli, from which elaboration are/ continue
to be born the subjects of my paintings.
As the previous prints and for the same reasons, these too are digital printed on Kodak metallic paper and
in b/n, so to precise their purely meditative aspect (colours in my idea could generate misunderstandings
and distractions from the real nature and task of the image) obtained through a hi-res scan of the book page
in question.
Sometimes the achieved image is resized to erase certain uninteresting areas or, on the contrary, to focus on
a particular one, so to fill it with pathos and melodrama, as happen on my paintings.
Titles, at last, indicates with precision the source of the image; they are such a bibliographic reference
complete of author, title, year, publisher and page numbers.
M. Kemp, M. Wallace, Spectacular Bodies, Hayward Gallery Publishing, London, 2000, p. 73
2010
Lambda print on Kodak Endura Metallic paper
30,5 x 40,6 cm (unframed)
Unique + 1 AP
M. Joly, G. Ricci Novara, La leçon d’anatomie, Éditions Hazan, Paris, 2008, pp. 10-11
2010
Lambda print on Kodak Endura Metallic paper
30,5 x 40,6 cm (unframed)
Unique + 1 AP
M. Joly, G. Ricci Novara, La leçon d’anatomie, Éditions Hazan, Paris, 2008, pp. 194-195
2010
Lambda print on Kodak Endura Metallic paper
30,5 x 40,6 cm (unframed)
Unique + 1 AP
M. Joly, G. Ricci Novara, La leçon d’anatomie, Éditions Hazan, Paris, 2008, pp. 210-211
2010
Lambda print on Kodak Endura Metallic paper
30,5 x 40,6 cm (unframed)
Unique + 1 AP
M. Joly, G. Ricci Novara, La leçon d’anatomie, Éditions Hazan, Paris, 2008, pp. 200-201
2010
Lambda print on Kodak Endura Metallic paper
30,5 x 40,6 cm (unframed)
Unique + 1 AP
DEER BREED
2010
oil on stainless steel
70 x 55 cm
Private collection, Rostov-on-Don, Russia
FROM NOTES TO THOUGHTS
2010
Goldsmiths MFA Curating 2010 Tabloid Project
Project developed with curator Matteo Consonni
2 pages print from original pencil drawings
pencil on paper, 2 panels
38 x 29 cm each
(detail on the opposite page)
PERFORMAT
2009
A project by Marcella Vanzo, Lucie Fontaine and Jennifer Walshe
Performa 09, New York City.
Poster and Cover Design for the LP conceived for the occasion
(in collaboration with Lucie Fontaine artists).
OTTO
(after Karete Roksvåg)
2009
oil on stainless steel
57 x 40 cm
Private collection, Milan
ANNA
(after Karete Roksvåg)
2009
oil on stainless steel
57 x 40 cm
Private collection, Rostov-on-Don, Russia
Body Double #1 is constituted by the video projection of an “opera libretto”, a “dramaturgic text”
superimposed to that of any movie, projected simultaneously and on the same screen.
The two bodies lay down one on top of the other, but remain separated and independent, on respective
running times and contents.
Body Double #1 is a truculent monologue, an abominable psychological drama in three moments, drenched
in hate and despise against an abstract other’s body, victim of a long and reiterated series of fearsome
violence and cruelties that the protagonist - a vague Ego - will address to the self body during the final
delirium, inflicting an awful death to himself, in a mood of hallucination and iconoclastic fury.
The narration is slow, monotone, exhausting, volountarily dilated and often repetitive.
The havocs on bodies, the overabundant and tragicomic representation of their systematic dismantling, of
their minute destructuration -piece by piece- are described with precision of detail and colour, as a painting
of bodies cutted off by wounds, a late Goya, an image of the twisting of intellect. The text is scientifically
precise but hyperbolically repellent, according to a convulse urge of whole anatomic unveiling, of complete
disarticulation, of multiplication of wounds, of amputations, of tortures, on a greedy and satisfied aesthetic
of bodies humiliation and destruction.
BODY DOUBLE # 1
2009
video projection (A) onto video projection (B)
(A): 47:51 min, loop, no sound
Edition of 3 + 1AP
(B): Any movie
Dimensions variable
POSTER FOR BODY DOUBLE # 1
2009
giclée print on baritated paper and varnish on glass
70 x 50 cm (unframed)
3 unique versions + 1 AP
Solo show at Pianissimo, Milan
2009
exhibition views
DENNED
2009
oil on stainless steel
73 x 66 cm
Private collection, Rostov-on-Don, Russia
ASOR ROSA
2009
oil on stainless steel
73 x 66 cm
Private collection, London
ROTATOR
2009
oil on stainless steel
70 x 55 cm
Private collection, Milan
IF I
2009
oil on stainless steel
70 x 55 cm
Private collection, Milan
Guy Debord: Oeuvres cinématographiques complètes is a gift to Guy Debord.
My interest in Debord is mostly focused on his theorization of the work of art (more than The Society of the
Spectacle)... Reading his thoughts on the state of the image, of art and all its dérives, I almost feel something
‘epidermic’. I clearly see mirroring in his words the same exact instances of my painting in theory as well as
in practice.
The project consist on the production of six posters each one of them related to one of his movie, and on the
screening of his six movies in the same time and space.
With the idea of projecting his film, I don’t want come up with sociological or political issues, re-think the
“spectacle,” and I don’t wanna organize a cineforum. Instead, I would like to achieve my desire but also to
make more ‘explicit’ how my work is a research based on the surpassing of the idea of Form and Image, and
not a traditional neo-figurative painting.
All these things are very similar to a act of devotion and ex-voto, with the same intensity.
The desire to make the most representative art work of a hero accessible to everybody, plus the pleasure to
create (for that occasion, for his, in his memory, to celebrate) an ‘oeuvre’ for that occasion becomes, within
the whole perception, the ultimate gesture of devotion.
GUY DEBORD – OEUVRES CINÉMATOGRAPHIQUES COMPLÈTES
2009
Solo show at Lucie Fontaine, Milan
Installation views
GUY DEBORD – OEUVRES CINÉMATOGRAPHIQUES COMPLÈTES
2009
Six posters:
High-resolution digital prints on 255 gr satin paper
60 x 42 cm each
Edition of 3 + 2 AP
I PREFER PI
2008
oil on stainless steel
60 x 75 cm
Private collection, Catania, It
DEGAS IS AGED
2008
oil on stainless steel
60 x 52,6 cm
Private collection, Milan
The work consists on recopying manually all pages of explanatory text about the surgical procedures for
amputations of the various parts: twenty-one panels for twenty-one ways to cut a body / image.
The pages are from: Traité complet de l’anatomie de l’homme, édition avec planches, tome VI by Jean
Baptiste Marc Bourgery and Claude Bernard with illustrations by Nicolas Henry Jacob published in Paris in
1866 -1867.
With the same skill of my paintings, on re-copying word by word -without changing the original layout, with
nothing to add and/or delete- I continue my research on the role of the image and its de/construction, using
the anatomical-surgical metaphor.
Without being ever sensationalistic or vulgar, giving the drawing a value not merely aesthetic but mainly
conceptual, redefining the same drawing fee, “portraying” words, commas, markings as they were
landscapes, faces and figures, I connect with a fine wire the praxis of drawing to the praxis and theory of
my painting: “superficially” reconducting to the same subject (resections of parts from the human body),
but so much more profound, applying the same modus operandi and showing the conceptual aspect of the
operation, the linguistic value of copy.
AMPUTATIONS
2008
pencil on paper, 21 panels
40 x 30 cm each
Installation view
Details on the next pages
Private collection, Bergamo, It
TECHNIQUE CHIRURGICALE
2008
pencil on paper, 12 panels
50 x 35 cm each
Installation view
Detail on the next page
Private collection, Bergamo, It
PANEGIRICO TOMO SECONDO (1)
2008
graphite powder and pencil on paper
150 x 100 cm
Private collection, Rome
PANEGIRICO TOMO SECONDO (2)
2008
graphite powder and pencil on paper
150 x 100 cm
Private collection, Rome
BIRD RIB
2007
oil on stainless steel
52 x 70 cm
Private collection, Rome
WELSH SLEW
2007
oil on stainless steel
51 x 48 cm
Private collection, Bergamo, It
PETS STEP
2007
oil on stainless steel
51 x 48 cm
Private collection, Milan
YO BANANA BOY
2007
oil on stainless steel
66 x 50 cm
Private collection, Rome
MURDER FOR A JAR OF RED RUM
2006
oil on stainless steel
43,5 x 30 cm
Private collection, Milan
SO MANY DYNAMOS
2006
oil on stainless steel
70x 60 cm
Private collection, Milan
NINA RICCI RAN IN
2006
oil on stainless steel
60 x 52,6 cm
Private collection, Bergamo, It
DELIA FAILED
2006
oil on stainless steel
60 x 52,6 cm
Private collection, Milan
MADAM I’M ADAM
2005
oil on stainless steel
56,2 x 38,2 cm
Private collection, Milan
E SO CERTO TRE COSE
2004
oil on stainless steel
66 x 56 cm
Private collection, Bergamo, IT
I TOPI NON AVEVANO NIPOTI
2003
oil on stainless steel
65,3 x 42,8 cm
VALERIO CARRUBBA
Born 1975 in Siracusa (Italy)
Lives and works in Milan
EDUCATION
1994-2000: Accademia di Belle Arti di Brera, Milan.
Painting Course - professor: Alberto Garutti.
1997: INVITATION TO A POINTLESS INVESTIGATION
Workshop with Jimmie Durham
Curated by C. Christov Bakargiev
Viafarini, Milan, IT.
Advanced Course in Visual Arts
Visiting professor: Allan Kaprow
Fondazione Antonio Ratti, Como, IT.
RESIDENCIES
2008: TRIANGLE ARTIST’S WORKSHOP
Triangle Arts Association, New York City.
1997-1998: GERMINATIONS X
EUROPEAN BIENNALE FOR YOUNG ARTISTS
Residence and workshop, School of Art, Delphi and Athens, Greece.
COLLABORATIONS
2010: DIALOGUES
Goldsmiths MFA Curating 2010 Tabloid Project
Project developed with curator Matteo Consonni
2009: PERFORMAT
A project by Marcella Vanzo, Lucie Fontaine and Jennifer Walshe
Performa 09, New York City.
Poster and Cover Design for the LP conceived for the occasion
(in collaboration with Lucie Fontaine artists).
EXHIBITIONS
SOLO SHOW
2010: THE PRIVATE MUSEUM
Curated by Giacinto Di Pietrantonio and M. Cristina Rodeschini
Gamec, Bergamo, IT.
FACES
Galleria Monica De Cardenas, Milan, IT.
IBRIDO. Genetica delle forme d’arte.
Curated by Giacinto Di Pietrantonio and Francesco Garutti
PAC- Padiglione d’arte contemporanea, Milan, IT.
SELECTED GROUP EXHIBITIONS
2009: THANKSGIVING
Peep-Hole, Milan.
2014:
IL CLASSICO NELL’ARTE (upcoming)
Curated by Giacinto Di Pietrantonio
Fundacion Proa, Buenos Aires, Argentina.
UNA COLLEZIONE TRASVERSALE
Curated by Fabio Cavallucci
ALT Arte contemporanea, Alzano Lombardo (BG), IT.
ITALIAN SUMMER
Galleria Monica De Cardenas, Zuoz, Switzerland.
SUMMER PAINTING SHOW
Curated by Caroline Corbetta
Il Crepaccio, Milan, IT.
NO SOUL FOR SALE
c/o Lucie Fontaine
X-Initiative, New York City.
VISIONI PER UN INVENTARIO - una mappa del navegar pittorescoCurated by Andrea Bruciati
Fondazione Bevilacqua la Masa, Venezia, IT.
PRAGUE BIENNALE 4 – INDIVIDUALS – EXTENDED PAINTING 3
Curated by Giancarlo Politi and Helena Kontova
Karlin Hall , Prague, CZ.
IL CLASSICO NELL’ARTE
Curated by Giacinto Di Pietrantonio
Gamec, Bergamo, IT.
2008: T2 – 50 MOONS OF SATURN
Curated by Daniel Birnbaum
Fondazione Sandretto Re Rebaudengo, Turin, IT.
2013: DRIVE MY CAR
Via Pola, Milan, IT.
2007: PRAGUE BIENNALE 3 – EXTENDED PAINTING 2
Curated by Giancarlo Politi and Helena Kontova
Karlin Hall, Prague, CZ.
2012:
FUORICLASSE
Curated by Luca Cerizza
GAM Galleria d’arte Moderna, Milan, IT.
TIMER.01
Curated by Demetrio Paparoni and Gianni Mercurio
Triennale Bovisa, Milan, IT.
ESTATE - a project by Lucie Fontaine
Marianne Boesky Gallery, New York City
2006: CORTOCIRCUITO – Coincidenze ed incontri segnici
Curated by Marco Tagliafierro
Ex Palazzo Enel, Novara, IT.
2011:
I JUST WANT TO BE LOVED
Curated by MAP – Multimedia Art Platform
Maga Museum, Gallarate (VA); Ex3, Florence, IT.
2005: THIN LINE
Curated by Milovan Farronato
Viafarini, Milan, IT.
2013:
Crac Cremona, IT, curated by Dino Ferruzzi.
2012:
Project room Galleria Monica De Cardenas, Milan, IT.
2009: Pianissimo, Milan, IT.
GUY DEBORD – OEUVRES CINÉMATOGRAPHIQUES COMPLÈTES
Lucie Fontaine, Milan, IT.
2006: Pianissimo, Milan, IT.
SELECTED BIBLIOGRAPHY
2005:
THERE IS NO WAY OF TELLING A STORY WITHOUT TELLING MY OWN
Curated by Milovan Farronato
Voges + Partner Gallery, Frankfurt Am Main.
2003: COVER THEORY
Curated by Marco Senaldi
Ex Centrale Emilia, Piacenza, IT.
1998: OPERA NUOVA - Fuori Uso ’98
Curated by Laura Cherubini
Mercati ortofrutticoli, Pescara.
MICROWAVE
Curated by Gail Cochrane
Alberto Peola gallery, Turin, IT.
GERMINATIONS X - EUROPEAN BIENNAL FOR YOUNG ARTISTS
Exhibition hall for Contemporary art “The Factory”, Athens.
1997: INVITATION TO A POINTLESS INVESTIGATION
Exhibition-workshop with Jimmie Durham
Curated by Carolyn Christov Bakargiev, Viafarini, Milan, IT.
VISIONI PER UN INVENTARIO - una mappa del navegar pittorescoCatalogue of the exhibition, Edizioni Quodlibet, Roma, 2014.
IL CLASSICO NELL’ARTE
Catalogue of the exhibition, by Gamec, Bergamo, 2014.
FUORICLASSE
Catalogue of the exhibition, Kaleidoscope press, Milan, 2012.
THE PRIVATE MUSEUM
Catalogue of the exhibition, by Gamec, Bergamo, 2010.
SOUVENIR D’ITALIE. A nonprofit art story
Mousse publishing, Milan, 2010.
PRAGUE BIENNALE 4
Catalogue of the exhibition, Giancarlo Politi editore, 2009.
SPECIALE TOP 50, Flash Art Italia n. 274 february – march 2009.
MILANO CROCEVIA DELL’ARTE ITALIANA
By Ilaria Bonacossa, Domus Magazine n.919 november 2008.
T2- 50 MOONS OF SATURN
Catalogue of the exhibition, Edizioni Skira, Milan, 2008.
FOCUS ITALY, Flash Art International n. 260 may – june 2008.
with a text by Cecilia Alemani.
DIZIONARIO DELLA GIOVANE ARTE ITALIANA
Flash Art Italia n. 268 february – march 2008, with a text by Cecilia Alemani.
PITTURA IN PLAYBACK, Interview with Cecilia Alemani
Work. Art in progress - Magazine by Galleria Civica di Trento n.20 Autumn 2007.
PRAGUE BIENNALE 3
Catalogue of the exhibition, Giancarlo Politi editore, 2007.
COVER n. 37 - may 2007 Fondazione Nicola Trussardi web site
http://www.fondazionenicolatrussardi.com/
IBRIDO - Genetica delle forme d’arte
Catalogue of the exhibition, Silvana Editoriale, Milan, 2010.
CONTACT
VALERIO CARRUBBA – L’equivoco della forma
Interview with Bruna Roccasalva, Flash Art Italia n. 263 april – may 2007.
SPECIALE MILANO, Flash Art Italia n. 263 april – may 2007.
TIMER.01, Catalogue of the exhibition,
with a text by Luigi Spagnol, Edizioni Skira, 2007.
VALERIO CARRUBBA, by Valentina Costa
Flash Art Italia n. 261 december 2006 january 2007.
THIN LINE
Presentation with a text by Alessandro Rabottini, 2005.
COVER THEORY
Catalogue of the exhibition, Edizioni Libri Scheiwiller, 2003.
GERMINATIONS X, Catalogue of the exhibition, 1998.
IT’S ACADEMIC, by Giorgio Verzotti
ARTFORUM International issue- summer 1998.
PUBLICATION BY ADVANCED COURSE IN VISUAL ARTS
Fondazione Antonio Ratti, Como,
N. 2. ALLAN KAPROW, Edizioni Skira, Milano, 1998.
[email protected]
Galleria Monica De Cardenas, Milan/ Zuoz
www.monicadecardenas.com
Tel : +39 02 29010068
[email protected]