Artists' portfolio: Fabrizio Cotognini, art as verbal painting

“There is a need for beauty. We cannot continue to be surrounded by useless and badly made images”. A statement that is found perfectly in the work of Fabrizio Cotognini, young artist from the Marche region among the most convincing and original of thehis generation, winner of the 19th edition of the Cairo Award with the following motivation: "For the ability to harmonize art history and popular culture in a contemporary key through the filter of alchemy, literature, cultured painting and, last but not least, beauty". Born in Macerata in 1983, he dGraduated from the Academy of Fine Arts in his hometown in Painting and Sculpture in 2009. Currently  lives   and works in Civitanova Marche.  

In his works, which move between the horizons archaeological and art historians, Cotognini always presents a reference to ancient art, revisited through a contemporary approach, and favors drawing as a key element of artistic research, while also employing modern media.

For him, time, memory and history are majestic elements that he turns upside down, twists and bends
in scenic apparatus of greater instability. The artist, by doing this, he combines word and image in a conversation involving sign, drawing and writing, a conversation that becomes a place of contemplation and, at the same time, of reflective concentration. It could also seem, and only seem, one of those glosses that indulge in reflections on the pleasure of reading ancient books or even a late medieval illumination or a precious arabesque that reveils its refined details.

"My artistic research – explains Cotognini – is based on the process of contamination as a matter of interactions, transitions and fusions between images and word-signs. Through this I want to create new icons using, with caution, the idea of ​​a "verbal painting": with words, colours, architectures, images and maps I am trying to channel the image into the imagination. It is thanks to this that these forms of contamination are turning into a construction process. The verbal element, with its physical presence, no longer exists in the way we know it: no more descriptions; in my works it becomes an architectural structure. The goal of my work lies in connection between writing and anti-writing”.

There is a definition of his art that it is he himself who suggests, that of «verbal painting». Cotognini in fact argues that "the verbal element, with its physical presence, no longer exists in the way we know it: no more descriptions. In my works - explains - becomes an architectural structure. The goal of my work lies in the connection between writing and anti-writing". CotOgnini studies the past and the future and in his visionary research he manages to combine ancient knowledge with the language of the contemporary. And not by chance his training "is focused on the anthropology of art: I am particularly interested in it– reveals – the ancient texts, the first knowledge that formed the human being. And among the authors who have contributed to my education I must mention Baltrusaitis, The goff, echo and Panofsky».

"Time, memory and history. Finally, space. But only (or above all) the radiant and reflective space of painting”, writes the historian and art critic Antonello about him Tolve. "It is around these majestic figures – upside down, distorted or curved figures in a scenic apparatus aimed at suspending their stability – that Fabrizio Cotognini's work draws essential and vital moves to build a discourse in which the word marries the image to become the place of contemplation and, at the same time, of reflective concentration. But also apparent - and only apparent - side note that recalls the intimate delights of an ancient book. Even a late Gothic miniature or a rare decoration that reveals the scrupulous care for every single detail.
Reappropriating the surface and establishing an analytical relationship with ancestral, alchemical or mysteriousfalithe artist places the emphasis on a research that recovers the Renaissance imagery to produce complex structures, aesthetic rebuses in which it is possible to trace signs and drawings that, if on the one hand they seek harmony and centrality, on the other, vice versa, they require an essential irregularity and a necessary lateral development of the composition".

“In his works, on closer inspection – he continues Tolve - the categories identified by seem to coexist – and share the same creative habitat Henry Wolfflin in his precious (and discussed) volume dedicated to the Fundamental Concepts of the History of Art. Linear and pictorial, closed form and open form, representation on the plane and representation in depth, multiplicity and unity, absolute clarity and relative clarity are, in fact, bipolar classes assimilated and poured into a unitary scenario here merges the discourse critical du thinker".

Exhibition activity

Exhibitions ppersonal | Alone shows

- reversed Theatre, Foundationand Sandretto Re Rebaudengo, Turin, healed by Lorenzo Benedetti, 13 september - 4 November 2018

- Is a Question of team, Archaeological Museum of Potenza cured by Lorenzo Benedetti 15 December 2016

- Pillow book in the Arthur & Janet C. Ross Library at the American Academy in Rome. curated byPeter Benson Miller, 2016
- Havel havalim, Prometheus Gallery by Ida Pisani, Milan, 2014 -

-Imperfect tense, Water, healed by Antonello Tolve and Stephanie ZulianiMarchaeological use of Salerno, 2014

- Silence to George, healed by Manuela Valentini, Mediterranean 16, Mole Vanvitellian, Ancona, 2013

- Contamination, healed by Ivano Quintavalle, Palazzo Pinacoteca Lazzarini, Morrovalle (Mk), 2011

Exhibitions ccollective | group shows (selection)

2018

-Tea call document Cthulhu, healed By Lorenzo Benedetti, Palazzo Mazarino, Manifest 12 collateral, Palermo.

-Evidence, new state of Art, healed by Alessandro demma, nationathe Gallery Tbilisi, Ga.

-Why the sky belongs to everyone and the earth No?, healed by Giuseppe Stampone, the Pool Gallery Milan.

-National Award of Graphics Santa Croce sull'arno, healed By Ilaria MariOtti, Santa Croce sull'Arno.

-Evidence in Newstate of art, healed by Alessandro Demma come on Peng, Castel Sant'Elmo, Naples.

-Ideal-Types, healed by Alfred Cramerotti at He.com gallEry, Amsterdam.

2017

-Disio, nostalgia for the future, edited by Antonello TolveCaracas, Venezuela.

-Memory and the object, edited by Alessandro Demma, Cershear of San Giacomo, Capri.

-Watch the line while crossingby Alexander Romani, church of San Matteo, Lucca.

2016

– Show at Castiglia di Saluzzo, new Permanent, by Alexander Demma.
- Skin, cunetworked by fondaco,Brussels.
– Biennial of drawing, cured by Alessandra Bigi IotsMarinella Paderni, Maximum You clean, Giulio Zacotton wool,FAR Arte Rimini factory.
– Paint the present, cured by  Alessandro Demma and Fang Zhenning, Peninsula Compaction Museum Weihai, China.

2015 

- March: price, selected by Eugenio Viola, Center of Development de the Fine Arts Visuals, The havanaCuba
– With the feet firmly resting on the clouds, edited by Antonello Tolve Museum Michetti / Municipality of Francavilla al Mare (PE) 
- "How to Collect political art”, healed by Jot Castro, summa art fair, Madrid 
– Paint the present, healed by Alessandro Demma and Fang Zhenning, Certosa di S. Giacomo, Capri 
- The Flags, healed by Elena Forini and the rete art project, serra dei giardini, Venice   
– OPEN MIA, healed by Stefano Raimondi and Mauro Zanchi, Bergamo 

2014 

– Crucis Splendor, Civic Gallery of Potenza

2013 

– The reasons for painting. Outcomes and perspectives of a medium, healed by Laura Cherubini and Eugenio Viola, Palazzo de Sanctis, castelbassoTeramo, Italy
- Errors Allowed, healed by Manuela Valentini at Mediterranea 16 Young Artists biennial, Ancona, Italy
– palazzo Poggi, Art fair off, cured by Manuela Valentini, Bologna

2012 

– Steam factory 
- Disorder, healed by Cantieri D'arte, Milan
– Cairo Award, Palazzo della Permanente, selected by Eugene Viola, Milan
- Disorder, healed by Marco Trulli att worl Events Young Artist, Nottingham
– Combat Award, G. Fattori Civic Museum, former granaries of the villa Mimbelli, Leghorn
– Project for Castel St. Elmo, Naples
– Palace of Culture Taranto
– Open Contemporary Art Center SpaceCatanzaro

2011 

- Symbiosis, XV biennial of the mediterranean, MACRO, Rome
- Symbiosis, XV biennial of the mediterraèe-Thessaloniki (Greece)
– In the same place, at the same time, healed by Marco cechetti, former herb market, Macerata
– Tales of Italy, healed by Annarite Scivittaro, public gallery Myrionima, Macerata
– But which of all the worlds is the most exclusive? curated by Antonello Tolve, Salerno
- Art day 2, healed by Franko b, terminal, Macerata

2010 

– Italian art a Fukuoka, healed by A. Maugeri, toyata space, Japan
- The Wall, healed by Matteo Bergamini, space fa c, Milan
– Biennial of the artist's book, healed by red03 contemporary at Gallery Barcelona
– Whatever without to say, healed by Michele Carbonari, multipurpose room, Cupra maritime
- Art day, healed by Franko b, Terminal, Macerata
– Pilot, healed by Marco Pezzotta and White Box, on the road, Berlin
–Private flat, healed by Matteo Bergamini, Florence
– Long Live Romance, healed by Franko b, Montecassiano (mc).

2009 

– Low, healed by Scott Ian Ray, Leather Archive and Museum, Chicago (USA)
- Parallel world, healed by I turned around There is, collateral event, 53rd Venice Biennale , EscaladeGallery, Venice
– Breakdowns, healed by Ivano Quintavalle, Palazzo Pinacoteca Lazzarini Morrovalle – Macerated
– Homage to Duchamp, healed by Fabrizio Caleffi, St.Pietroburgo, (Russia)

2008 

- Artika, healed by Nicola Alessandrini and art box, Building Come, bearing
– International sculpture prize E. Mannucci, arcevia – Ancona
- ArtiKA two, healed by art box, Building Come Recanati
- Ask, healed by Scott Ian Ray, Leather Archive and Museum, Chicago (USA)

2007 

– Brand Talents, healed by P. Welcome and M. Vitangeli, Mole Vanvitellian, Ancona
- Pitti Man, by the Tombolini company, Florence
- Prize Cupra, Cupra Maritime AP
- Mcart-Space Caves, Academy of Fine Arts, Macerata
- Action 2b, performance by camera, Terni
- Action 2b, performances, decadence, Bologna
- Resistence, healed by Daniele Storti, TPO, Bologna

Awards | awards

2018: winner of the Cairo Milan Award

2016: winner of the prit's mine Rotary fair art bologna 

2015: Award March:, The havana Cuba 

2012: finalist Cairo Prize, Milan

2012: Artist Prize finalist Combat-Livorno

2010: Cele Prize finalist selected artistthis Foundation brodbeck Catania

2008: Selected Artist at the Scu International PrizeCulture E. Mannucci, arcevia (an)

2005: artist selected on pNational Prize of the Arts Rome

2005: first prize winner cupra maritime (ap)

2003: G. Maggese Bari award

Residences

– There are still beautiful things in the sea, Residence curated by Lorenzo Benedetti, 2016, Potenza
– Steam Factory, 2012, Milan
– Long Live Romance, 2009 , former Poor Clares monastery Montecassiano, Edited by Franko b

Transfer market

Despite his young age, Fabrizio Cotognini has to his credit an intense exhibition activity in public and private spaces in Italy and atabroad. And for the quality of his work, cultured and refined, it has entered important collections. His prices, still decidedly accessible, are destined to grow in the short and medium term, also thanks to the'excellent work done by its reference gallery, PrometeoGallery by Ida Pisani, which successfully presents its works in some of the most important international fairs. The recent solo exhibition at the Sand Foundationright King Rebaudengo of Turin, the award of'2018 edition of the Cairo Prize (with relative cover on Arte in December ) and the intense work program for the coming months (an exhibition at the Morra Greco Foundation in Naples and exhibition commitments in Switzerland and Denmark in 2019) will unquestionably contribute to further strengthening its quotations.

Gallery: Fabrizio Cotognini's work is represented exclusively by Ida Pisani's PrometeoGallery with offices in Milan and Lucca.

Pricing: still decidedly contained and affordable. One of his works si can buy within a range ranging from 4-5 thousand to around 30 thousand euros, depending on the techniques used, quality and of the dimensions.

Cover image:

Reversed Theatre.

Installation view at Sandretto Re Rebaudengo Foundation, Turin 2018.

Courtesy the artist and FSRR, photo Giorgio Perottino