Fourteen artists, some of whom have historically been represented by the Gallery, while others area appearing for the first time in Genova, have been asked to present works of small size made using paper.

Whether or not we are artists, our first creative experiences are practically always associated with paper. We all mess about with pencils and crayons, most often before we are even capable of stringing together a complete sentence. And there is a very simple, banal reason for this: there’s always a blank piece of paper at hand to experiment and play with. And if we don’t like the results, we can just throw it away and start again.

People who feel a need to continue communicating visually when they grow up become artists, and their projects grow with them, employing more and more complex and expensive materials and techniques.
But they still start out using paper to try out their ideas, before deciding which ones will go on to become completed works of art and which will be abandoned and left in a drawer.

Carte d’Identità is an attempt to open that drawer and let out the most hidden, intimate part of every artist. Not their most ambitious works, maybe not even their most important, but those that most directly and sincerely represent the artist’s personality and identity.

The result is a surprising and highly varied exhibition combining works made using unusual techniques with other, more traditional ones, which are however no less interesting.

  • 2501 was born in Milan in 1981 and has created murals and installations all over the World.
  • Karin Andersen born in Germany in 1966, is a digital artist, videomaker and painter in her adopted city of Bologna.
  • Andrea Chiesi was born in 1966 in Modena, where he lives and works, painting abandoned urban and industrial landscapes with his slow, precise oils.
  • Vania Comoretti was born in 1976 in Udine, where she lives and works; her ink drawings and watercolours investigate the surface of the human body as if it were an emotional map of the unconscious.
  • Giacomo Costa was born in 1970 in Florence, where he creates his digital landscapes questioning our relationship with our environment.
  • Fausto Gilberti paints, draws and illustrates in Brescia, where he was born in 1970.
  • Davide La Rocca was born in Catania, where he lives and works, in 1970. His painting is influenced by the philology of vision.
  • Alice Padovani was born in 1979 in Modena, where she makes her installations of vegetable matter, entomological assemblies and performances featuring live insects.
  • Alessandro Papetti was born in 1958 in Milan, where he lives and works, using pictorial gestures to create dynamic, imposing urban landscapes.
  • Leonardo Petrucci was born in Grosseto in 1986. The relationship between art and alchemy is his field of research. Since 2012, he has been working in his studio at Pastificio Cerere in Roma.
  • Alex Pinna was born in Loano in 1967 and now lives and works in Milan; rope, bronze, marble, resin and lead are only some of the materials he employs in his work.
  • Nicola Toffolini is an artist, performer and designer born in Udine in 1975, who lives and works in Florence and Udine.
  • Alberto Zamboni was born in 1971 in Bologna, where he uses painting as a tool for his atmospheric research.
  • Corrado Zeni was born in 1967 in Genoa, where he l produces his paintings of men and women appearing lost in undefined spaces.

At the same time, with a selection of works in the basement, continues the exhibition


Futuristic megalopolises, post-atomic sludge, urban ruins. These have been the subjects of Giacomo Costa’s work since the early Agglomerati with which he made his debut in the world of art in 1996. Since then all Costa’s works have contributed to an imagery that uses the fascination of landscapes and their undeniably repellent beauty to reflect on the effects of human actions on the planet we live on.

Whether they are minimal constructions such as the monochrome Orizzonti of 1999 and the lysergic Landscape of 2012, crazy inexplicable metropolises such as the 2006 Atti, or forests where vengeful nature re-appropriates its own space as in Gardens, exhibited at the 2009 Biennale, Costa’s works have so far been snapshots that stop events at the very time at which they occur. It was up to us, fascinated, astonished spectators, to imagine the before and the after.
So far…

Following lengthy technical and formal research, in 2018 Costa presents TIME(e)SCAPES.

The project is a videobox – as the Florentine artist calls it, using a neologism that combines the lightboxes so common in contemporary art with video monitors – in which the image loses its static qualities and is developed over time, in a form of representation made up of frames which may look like ordinary photographs to a distracted eye, but change imperceptibly every instant, so that the subject becomes something else with the gradual passage of time.
Does this mean Costa is finally revealing to us how his worlds, so different and yet so familiar, are born, and what they will become?
Not this time.

Cities collapse, mountains rise out of nothing, but nothing really changes. Just when everything seems to have changed, the image goes back the way it was before, just as slowly as it changed in the first place. Icebergs melt and seas are calmed, going back to their starting point and then starting all over again. We realise that rather than being the spectators in a story that starts with a beginning and leads to an end, we are actually prisoners in a loop. A sort of dream, or rather, a nightmare, from which we cannot escape. Going back to this sensation, composed of a combination of impotence and unreasonable attraction, which we feel before events we cannot control because they are too big for us little human beings.
Once again Costa does not offer us solutions or answers, but uses his ability to build fascinating and terrifying images to generate a restless state that encourages us to ask questions. Neither he nor any one of us has the answers; we must find them together. Hoping they take us in the right direction.