18th September - 18th December, Thessaloniki
Born in1964 in Cento, Italy where he lives and works. Over his career he exhibited in different solo shows such as at francesca kaufmann, Milan (2009), Blum and Poe, Los Angeles (2008), Corvi Mora, London (2007), Salon 94, New York (2006). His works were showed in many group exhibitions, at Galleria Comunale d'Arte Contemporanea di Monfalcone, Italy (2011), Museum of Contemporary Art, Chicago (2009), Palazzo Grassi, Venice (2008), MAXXI, Museo Nazionale Delle Arti del XXI Secolo, Rome, Palazzo Reale, Milan (2007), Fondazione Querini Stampalia, Venice (2003), The Royal Academy of Arts, London, Fondazione Sandretto Re Rebaudengo, Turin (2002). He has also taken part to different contemporary art main venues including Rome Quadriennale, Rome (2005) and the Tirana Biennale, Tirana (2003).
Pierpaolo Campanini’s works give shape to his attempt to mediate between chaos and rigor. His pieces, meticulously built to scale and following a series of emotional, sensitive and spontaneous associations, are often immersed in natural landscapes, thereby highlighting his willing to establish a dialogue between the sphere of rigorous manufacturing and the impulsive unpredictability of nature.
Even though Campanini’s compositions are made of everyday recurring forms, they definitely do not belong to the sphere of reality. The interpenetration of familiar objects and surrealistic images stimulates a reference mechanism within the observer’s perception. Campanini evokes an ideal that is abstract while still preserving its concreteness, due to his terrific accuracy in portraying every single detail of the composition.
The artist drives each object toward a metamorphic cycle, through the concatenation of facts and field lines.
The object production and consequent meticulous transposition on canvas causes the artist to appropriate the object’s aesthetical dimension while providing it with an entirely new ideal meaning.
The accuracy in depicting each item is such that each is turned into an independent subject, emancipated from the artist’s vision. This process of appropriation matches a process of necessary liberation of the subjects, which are given the opportunity to embody new forms and connotations. The author disappears as soon as the appropriation is accomplished on canvas. The objects, subject to Pierpaolo Campanini’s scrupulous manual skill, become anonymous, released from their daily connotations and identification rules. The action, through which a body is deprived of its concrete identity, brings back to life elementary forms, denying any self-referential attitudes and overcoming any contingent connotations.