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Biografia Alessandro Di Pietro
Via Carlo Farini 35,
20159 Milano
328 27 30 531
alessandrodptr@gmail.com
scarica il CV/Portfolio
Mostre personali
2012
"Boarding Pass N°2" , curated by Martina Cavallarin,
VBM 20.10 contemporary arts and design, Berlin
2011
my site (il mare è nero solo il mare è nero)”, curated by Matteo Galbiati.
LEO’s Gallery, Monza
2010
“a blind newsman project”,curated by Francesca Fiorella and Simone Frangi.
Courtesy Mud art foundation, project “Occhio di bue”
17th april via Lulli 13, Milan
2009
“Equus asinus + Ungulati (-)=”, curated by Simone Frangi.
Mon ego contemporary, Como
“ROSSO DENTRO ROSSO FUORI”,curated by Simone Frangi.
Laboratorio LA CORNICE, Cantù, Via per Alzate
Mostre collettive selezionate
2012
“FALANSTERIO”, curated by Guido Molinari.
Spazio Morris, Milano, (MI)
"ENGRAMMES", curated by Simone Frangi.
22,48 m², Belleville, Paris
“COSE COSMICHE 3”,curated by Silvia Hell and Helga Franza,
Galleria ARTRA, Milano (MI)
“INTERCETTAZIONI ELLITTICHE”, curated by Bruno Muzzolini
and Chiara Agello, CAREOF, Milano, (MI)
"RUN3", Room Galleria, Milano
“Dà fuoco al fuoco/acqua all’acqua/ e ciò ti basti” at Laura Santamaria’ s solo exibithion “Geode”, curated by Alice Ginaldi.
Sala della Dogana in Palazzo ducale, Genova (GE)
2011
“TRATTO E RITRATTO”, curated by Mauro Cossu Ruinas, Oristano
“Y.N.K.P / Yenikapi Simposium”, curated by Pollitecnico di Milano
Istanbul, Basilica Aya Irini
“La Natura della Crisi”,curated by the Monk Monks Economy,
Palazzo Ferrari, Stenico (TN)
“Assab One Cantiere” all’inizio non era un’isola”, curated by Remo Salvadori
2010
“LAB OF LABS”, a project by Mariarosa Pividori and Alberto Pizzati Caiani in collaboration with Giovanna Maulino
Triennale Bovisa, Milan
“PILOTA”, a project by Marco Pezzotta in collaboration with Scatola bianca
Oderberger strasse, Berlino, 22 agosto
“SUBTOPOS”, curated by Alberto Finelli
Gartenhaus (Accademie der kunst) di Monaco di Baviera
“DISEGNAR SUI MURI”,curated by Marina Mojana
Fabbrica Del Vapore, Milano
2009
“INTERMEDIA” Rassegna di altri media d’arista una generazione di libri d’artista, 1999 -2009
curated by Giorgio Maffei
Spazio O’, Milan
“IL PIù PROFONDO è LA PELLE”, curated by Francesca Fiorella
Mud-artfoundation, Milan
“LA NATURA SENZA MANI”, curated by Claudia Amato e Simone Frangi
Vila Greppi, Monticello Brianza, Lecco
2008
“nati negli anni 70/80 - COLL’ACTION - Scelti bene in tempi estremi”, curated by Mariarosa Pividori and Francesca Fiorella
SPAZIO DIECI no-profit gallery, Vercelli
“COME UN’ANOMALIA - Sette visioni ( anti ) fisiognomiche”, cureted di Simone Frangi.
Gallery Circolo Culturle Togunà, Inverigo (CO)
Publications / Catalogue
2012
http://www.fruitoftheforestmagazine.com/
Wind Flower #2 curated by Marco Tagliafierro
Flash Art, maggio 2012, Brand-new, pag. 64
intervista di Daniela Ambrosio
http://www.b-a-l-l-o-o-n.it/intervista-ad-alessandro-di-pietro/
intervista di Giuseppe Mendolia Calella
Premi
2011
“PREMIO NAZIONALE DELLE ARTI”, Accademy of Fine Arts, Brera, Milan
2010
“PREMIO LISSONE 2010”,
Special mention.
Museum of contemporary art Lissone (MI)
Residenze
2012
VIA FARINI IN RESIDENCE
project: MEASURING, with SImone Frangi and Pietro Spoto.
FAR - FONDAZIONE RATTI 2012
visiting professor: Liliana Moro
Villa Sucota, Como
Eventi
2012
"KUNSTART", Bolzano Fiera, Brera's department Graphic pavillon
2011
“ARTEXPO Arezzo”, Arezzo Fiera, Brera's department Graphic pavillon
Considering the limits of the space of my own action is the only way to act. I have to continuously produce variations within these limits, by employing every time a different process of creation of the work. I commit myself to a protocol that delivers me the rules for expressive restraint and distills a mechanical, reiterated and even speculative way of working. It is often the case that, while working on a specific piece, the production wastes of the main project happen to become independent parallel pieces. I think that these scraps and fragments are potential projects themselves as the potentiality of an artistic project comes not only before the realization of the structure of the piece, but even before the first formalization of the idea that informs the project. This primordial element beyond rational control needs to be constantly “ruminated” in order to extend it to entire construction of the piece. The uncontrollable unformed idea becomes then a transversal factor of the fulfilment of the art “work”. This condition of permanent rumination lies on stratifications of failures or accumulations of objects that progressively become catalogues; it also comes from the act of cutting out things from their context or from the reiteration of a single gesture. This repetition allows me to set up new concrete landscapes and to develop a sort of “empirical geography”, drawn through self-directed measuring acts such as my presence or passage in a physical place.
In this respect, I ask myself: “Am I probably working on a personal measurement strategy?”-
