On 18th April 2002 Sandro Martini's personal exhibition entitled Piano Preparato was inaugurated at the Poleschi Arte Gallery in Milan.
Galleria Poleschi Arte (Foro Buonaparte 68, Milan tel: +39 02 86997153) 19.04.02-18.06.02
Press Conference: Thursday 18th April at 11.30 a.m.
Hours: 10am 7.30 pm: Sunday and Monday afternoon 4p.m. 7.30 pm; closed Sunday and Monday mornings
Catalogue Gabriele Mazzotta Editions
A Tuscan born in Livorno, 1941, Martini has lived and worked for many years between Milan, New York and San Francisco. In Milan where he exhibited in 1993 at the Modern Art Pavilion, the artists holds the Chair for Incision at the Nuova Accademia di Belle Arte (The New Arts Academy) and in Berkley, California is a Director of the Kala Art Institute where he holds courses for fresco and creative collage.
Sandro Martini began his professional activity towards the end of the fifties. His first personal exhibition was held in 1963 at the Galleria delle Ore, Milan, presented by Franco Russoli, then Superintendent at the Brera Art School; numerous other exhibitions followed at the Galleria del Milione and the Galleria Blu. Among his most magnificent exhibitions, we recall the one held at the Galleria Marconi in 1976 and numerous American exhibitions, held since 1978, among which the one held at the P.S.I. of New York, in the Ghiringhelli Square at San Francisco and at the Institute of Contemporary Art Los Angeles.
Patronised by the Public Art Fund and sponsored by Polaroid in 1979 he realised two open-air installations, one on 42nd Street and the other in Bryan Park , New York. Other important works in Italy include the installation at the Milanese Stock Exchange (Sala delle Grida, video Il quadro non funziona) in 1983 through to the recent installation, inside 1999, in the Vittorio Emanuele Gallery in Milan (La Pomb's Cage).
Martini's artistic course has always been characterised by his attention for the mark's allusive potentiality, intended as the essential element not only in pictorial language but more generally in every expressive activity. The paintings of the early sixties in which the curvilinear and undulated shapes tend to fragment the ample campiture (backgrounds) of colour, to the installations of the seventies, in which the spaces are saturated with chromatic stimuli and the canvas carrying the painting fringes into thin strips of coloured cloth.
The works which characterise and give particular prominence to this exhibition are the unusual painted and machined-sewn canvases which live with and deepen the discollate and incisive fresco techniques. Sandro Martini's research has progressively focalised on a particular visual transposition of the secular dimension in which chronological effusion is resumed.
The period during the Milan exhibition was testimony of two important events: the presentation in Italy of the volume Tempo Rubato(Stolen Time), an art book already presented in New York, San Francisco, Toronto and the monography (Works 1957-2001) edited by Scheiwiller, which provides this explosive exhibition with a complete picture of his activity.
An important installation, within the Galleria Poleschi, introduces approximately 50 works of painted and mixed techniques on paper, produced from 1994 onwards and some Cages especially studied for this event.
The exhibition is accompanied by a rich catalogue, edited by Mazzotta, which not only illustrates all the works on show but also contains a judicious critique by the curator Luciano Caramel.
The exhibition can be visited on-line in the Gallery's virtual tour on the Poleschi Arte website.
For more information: firstname.lastname@example.org
Translated by Jane Rusconi, October 2002
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