Enrico Castellani: Superficie
& collect
Enrico Castellani was born in Castelmassa, Rovigo, in 1930. He moved to Brussels in 1952 where he studied Painting and Sculpture at the Académie des Beaux Arts before graduating in architecture at the École Nationale Supérieure de la Cambre in 1956. He returned to Milan, where he worked in the office of the architect Buzzi until 1963. In 1959 Castellani created his first painting in relief. Together with Piero Manzoni, who had ties with artists throughout Europe, he was an active member of the Zero group; he founded the magazine Azimuth and a gallery of the same name. It was there that he held his first solo exhibition, in 1960. In the same year he presented three relief surfaces in the exhibition Monochrome Malerei at the Städtisches Museum Leverkusen, and together with Manzoni, he exhibited at the Galleria la Tartaruga in Rome. In 1962, again with Manzoni, he exhibited at the Galerie Aujourd’hui in Brussels and took part in the exhibition Nul at the Stedelijk Museum in Amsterdam. In 1963 Castellani was given a solo exhibition at the Galleria dell’Ariete in Milan and in 1964 he showed three canvases at the 32nd Venice Biennale, as well as taking part in the Guggenheim International Award in New York. In 1965 he exhibited his large White Surface at the Museum of Modern Art, New York, as part of the international exhibition The Responsive Eye. His works were chosen to represent Italy at the 8th Bienal do Museu de Arte Moderna in São Paulo and at Trigon 65, Burggarten/Palmenhaus in Graz.

In 1967 he was commissioned to create an environment for the exhibition Lo spazio dell’immagine in Palazzo Trinci in Foligno; this was partially destroyed after the event and Castellani created a second version in 1970 as part of Vitalità del negativo nell’arte italiano (1960/70) at Palazzo delle Esposizioni, Rome. After a brief ‘exile’ in Switzerland, Castellani returned to Italy in 1973 and moved to Celleno, near Viterbo, where he lives and works today. He has continued to play by his own rules. Day by day he creates new relief surfaces in which “infinite encounters, agonizing waits, tautological commensuration, existential suffering and utopian substantiations” take place, convinced of the validity and timeliness of his inventive spirit. In recent years the importance of his work has been recognized and validated internationally. The rare occasions on which he exhibits his work are precious; worthy of mention are his solo and retrospective exhibitions at the Lia Rumma Gallery in Milan in 1999 (inaugurating the gallery’s venue in Milan); Fondazione Prada in Milan in 2001; Kettle’s Yard at Cambridge University; the Greta Meert in Brussels in 2002; Galerie Di Meo in Paris in 2004; the Pushkin Museum of Fine Arts in Moscow in 2005; again at the Lia Rumma in Naples in 2006 and Haunch of Venison in New York in 2009 and 2012. On 13 October 2010 the Honorary Patron of the Japan Art Association awarded Castellani with the Praemium Imperiale for Painting..
  Inspirations.  
In Orbit
Sislej Xhafa
Future Architecture
Superstudio, Superproduction, Superconsumption
reversed silhouettes
Heartbeat, Heartseat
Eric Giraudet de Boudemange
Christian Herdeg: Kunst und Bau
Obsolete Distinction
L’ITALIA CI GUARDIA
“I’m not supposed to talk about it”
Francois Morellet 1926 - 2016
20th Century Italian Tables
Xavier Antin: Printing at Home
The Oily Actor
Jewelry Design Art
BASILE ARTECO "Monoblocco" design Donata Paruccini
BASILE ARTECO
BASILE ARTECO "Falce/Scythe" design anonimo
BASILE ARTECO "Ferro/D" design Enzo Mari
BASILE ARTECO "Ferro/A" design Enzo Mari
BASILE ARTECO "Ferro/B" design Enzo Mari
BASILE ARTECO "Ferro/C" design Enzo Mari
BASILE ARTECO "L´Utopia" design Enzo Mari
BASILE ARTECO "Monoblocco/L" design Donata Paruccini
BASILE ARTECO "Coquetier" design Paolo Ulian
Universality of the Vortex-Sphere Archetype
Colliding Worlds
Untitled Project: GOLD /eBAY
Palmyra, End of March, 2016
Raymundo Colares
Tamara
DADAMAINO
Alain Georges Frank Jacquet
Télémaque
Sketching: Bellini, Castiglioni, Colombo, Mari, Magistretti, Munari, Ponti, Sottsass
Pierre Besson
Impressionist Gardens
AG Frozoni: We need to aim at essential things
Andrea Guccini: 4A+1
Still Life Monkeys
Radiofonografo RR126
George Sowden
Damien Coupeté images
Angelo Mangiarotti
Carlo Mollino: Tables and Chairs
Make War, Not Love
German Painting after the 1960s
Petrolheads
Alessio Bassan
also:
The Venice Pavillon
I See Violence in Your Eyes (I-VIII)
Alessandro Mendini 1931-2019
VAW
Pieter Bruegel
Territorium: Ars - Techne-Krafts-Cosmovisión
Writing & Design
WRECK--Regeneration Experiment of Wasted Daily-use Ceramics from Chaozhou, China
The loft bar
revoir
One Hundred Thousand Games
Art Driver
The Joys of Ice Skating
GIFolio
penccil: This was 2017
serpentine 2017
BS1
We Ar
UNTITLED PROJECT: CABIN [THOREAU]
Untitled Project: Honda CB77 Superhawk
Vico Magistretti
Franz Kline
Gaetano Pesce: Abstraction is boring
Chromatic seating
New Generation
What Is A Simulation?
Books of Memory: Gianpaolo Pagni
Memphis Posters
Just Before Paradise
Kippenberger
“I perhaps owe it to flowers that I became a painter.”
Expression/Information
Total Automation
German Art since 1960
Jean Lurçat
Joe Colombo: Total Furnishing Unit
Scum Pixel
Carlo Scarpa: Sketch and Work
The Bauhaus Revolution
In Infinity