Without category

Pizziolo, M & Zattini, M 2024, Paganin e Fioravanti. Il grido e il canto, Mart, Rovereto.

An exhibition that brings together two long-lived sculptors who traversed the twentieth century, Giovanni Paganin and Ilario Fioravanti. The differences in poetics, subject matter, and plastic language emerge in a passionate encounter, which presents itself as an emblem of the diverse possibilities of figurative art. The exhibition that closed last March at MART, Museum of Modern and Contemporary Art of Trento and Rovereto, continues until February 2026 at the Museo delle Carceri in Asiago.

Pizziolo, M & Ravasio, R 2024, Marco Carnà. Uova di gallo 1961-1968, enhanced Focus, EdiXion, Milan.

Uova di gallo (Rooster’s Eggs), is the title of a cycle of paintings that Marco Carnà (1929-2021) created in 1964. Starting from this title, which is in itself a declaration of anomaly, the exhibition held in autumn 2024 in Vimercate at MUST – Museo del Territorio, offers the opportunity for a journey through some fifty works that develop coherently, yet in limited edition, an investigation into the rhythm of the sign, into the adventure of geometries.
Impossible eggs that will never hatch, yet precious, self-referential and charged with potential. Will the real Marco Carnà arrive later or is he already here?

Pizziolo, M 2024, Bahar Heidarzade. Le mie pietre sono aquiloni, enhanced Challenge, EdiXion, Milan.

The majestic setting of the Scaligero Castle in Malcesine, a medieval village overlooking the shores of Lake Garda, welcomed in 2024 the exhibition Le mie pietre sono aquiloni, a series of installations by Iranian artist Bahar Heidarzade (Tehran, 1981).
The exhibition, curated by Marina Pizziolo and Romano Ravasio, aims to stimulate reflection on the dramatically current theme of violence against women. Not to mourn yesterday’s victims, but to save tomorrow’s victims, with the extraordinary power of sharing.

Pizziolo, M 2023, Memorie dal futuro. Katja Loher e Dario Tironi, enhanced Challenge, EdiXion, Milan.

The evocative setting of the Scaligero Castle in Malcesine, a fascinating medieval village on Lake Garda, welcomes the sculptures and installations of Katja Loher and Dario Tironi, united by research oriented towards environmental themes. The exhibition was conceived and curated by Marina Pizziolo. This exhibition project dialogues with other environmental research present in the EdiXion catalogue, confirming the publisher’s commitment to themes of sustainability and artistic innovation.

VV.AA. September 2021 To be continued, Thinking digital. How technologies (will) shape the art book, in collaboration with New York University Abu Dhabi, EduXion – Enhanced educational tools, EdiXion, Dubai.

Dynamic and collaborative book, created by a growing international community, that explores the concept of the future digital art book and its need to go beyond the technological and cultural conditioning dictated by printing processes. The reflections gathered in this book arise from the collaboration between Marina Pizziolo and Romano Ravasio, publishers of EdiXion, the artist Wim Delvoye, the students of the Re-Design course at New York University Abu Dhabi led by Professor Goffredo Puccetti, and Nizar Habash, Professor of Computer Science at New York University Abu Dhabi.

Pizziolo, M., Ravasio, R. et al. 2021, Balenciaga. The glamorous 1950s. Drawings from the iconic Maison, enhanced Focus, EdiXion, Dubai.

A collection of drawings by the legendary couturier Cristóbal Balenciaga, dating back to the 1950s, owned by Lorenzo Riva, who served as Artistic Director of Balenciaga in Paris during the 1980s. This remarkable collection, curated by Marina Pizziolo and Romano Ravasio, has never been exhibited before.
The works, which reveal the early concepts behind Cristóbal Balenciaga’s now-iconic lines and designs, offer insight into his creative process between 1950 and 1958—a period in which he paved the way for designers such as De la Renta, Courrèges, Ungaro and Givenchy.

Demina, N & Pizziolo, M 2017, Dipinti sull’acqua. Da Magnasco a de Conciliis.(1720-2017), Il Cigno GG, Roma.

The detailed catalogue by Marina Pizziolo and Natalia Demina, curator of the Hermitage Museum in St Petersburg, contains a long distance conversation between Italian painters who have dealt with the subject of water over the space of three centuries. From lyrical visions of seas, lakes and rivers describing landscapes of the past to water elevated to another dimension, as a way of reflecting on the eternal question of life.

Ben Jelloun, T & Pizziolo, M 2011, Ettore de Conciliis pittore. La natura e la pace, Parlamento Europeo di Bruxelles, Il Cigno, Rome.

A monograph published to mark the exhibition at the headquarters of the European Parliament in Brussels. Marina Pizziolo and Tahar Ben Jelloun compose a double portrait of Ettore de Conciliis.

Pizziolo, M & Pratesi, F 2009, Il parco della pace. Ettore de Conciliis, Consiglio Regionale del Lazio, Rome.

A monograph published to mark the opening of the Parco della Pace, a complex work of land art created in Rome by Ettore de Conciliis. This vast plastic architectural scheme is a choral work with its conceptual epicentre in the dialogue between three large stone sculptures symbolising the three main monotheistic religions.

Barbera, L & Pizziolo, M 2009, Migneco europeo, Silvana Editoriale, Milan.

The catalogue of the retrospective held as part of the Taormina Festival. It presents an in-depth reinterpretation of the work of Giuseppe Migneco, highlighting for the first time his profound bond with European culture. Elements evocative of Van Gogh and Bacon feed the powerful originality of the language of an artist “from an island, but not isolated”.

Pizziolo, M & Sgarbi, V 2006, Antologia della figurazione contemporanea. Italia: le ultime generazioni. 1, Skira, Milan.

The first stage of a vast overview of contemporary figuration. An unprejudiced look back at our stormy 20th century, at its ideological battles, fought on the barricades of modernity. A modernity paid for all too often with an unjust silence over the research of many artists expressing the poetry of reality.

Pizziolo, M 2006, Carlo Levi. Pitture del confino e ritratti, De Angelis, Avellino.

An extraordinary journey through the work of one of the finest intellectuals of the 20th century. Growing up in the effervescent climate of the Turin of the 1920s, Carlo Levi was able to be many things: physician, narrator, essayist, politician, painter. An opportunity to rediscover an artist who recognised in the world of the countryside “the black adolescence of centuries ready to come out and move.”

Pizziolo, M & Vanni, A 2005, Arturo Carmassi. 1980-2005, Luciano Vanni Editore, Terni.

A monograph prepared to mark the major exhibition commissioned at the Fondazione Bandera when under the direction of Marina Pizziolo. It presents a fascinating reconstruction of the search of a protagonist of the European art scene.

Pizziolo, M 2005, Ettore de Conciliis. Opere 1979-2005, Skira, Milan.

A monograph that documents de Conciliis’ transition from the collective dimension of the political mural to the private one of the canvas. The life of this artist reflects the story of a whole generation of intellectuals who have experienced the failure of utopia.

Pizziolo, M & Sciaccaluga, M 2005, Barbara Nahmad. Yesterday now, Fondazione Bandera, Busto Arsizio.

The catalogue of the exhibition held at the Fondazione Bandera when it was directed by Marina Pizziolo. A series of extraordinary portraits of the protagonists of the 1960s. What look like fragments of huge posters, torn by an irreverent hand to compose a mosaic, that of an age that was the catalyser that enabled ours to grow.

Pizziolo, M 2005, Il cenacolo verde. Cassinari, Migneco, Morlotti, Sassu, Treccani in Brianza, Bellavite, Missaglia.

The study of works and documents reveals a virtual crossroads, in Brianza, near Milan, for five of the protagonists of the Italian art scene between 1940 and 1990. A natural place that becomes the metaphor of a possible dialogue.

Pizziolo, M 2005, Viaggio al termine della notte. Roberto Coda Zabetta e Giovanni Manfredini, Skira, Milan.

The catalogue of the exhibition held at the Fondazione Bandera when it was directed by Marina Pizziolo. A captivating duel between two young Italian artists, increasingly appreciated on the international scene as qualified interpreters of a disquiet that is the silent drama of our time.

Chiappini, R & Pizziolo, M 2004, Aligi Sassu, MAN, Nuoro.

The catalogue of the exhibition held in Sardinia at the MAN Museum. It presents a retrospective reconstruction of the painting of Aligi Sassu. One of the protagonists of the 20th century Italian art scene. From the years of his youthful Futurist militancy to that profession of faith in Realism that was to characterise all his research.

Pizziolo, M 2004, Dino Lanaro e gli artisti di Corrente, Mazzotta, Milan.

The catalogue of the exhibition held in Rome in the sumptuous rooms of Castel Sant’Angelo. It presents a historical reconstruction of the painting of Dino Lanaro within the Corrente movement. One of the most important movements of 20th century Italian art.

Pizziolo, M 2003, Ernesto Treccani e il movimento di Corrente, Skira, Milan.

The catalogue of the major exhibition held at the Fondazione Bandera when it was directed by Marina Pizziolo. The catalogue offers a meticulous retrospective reconstruction of the whole career of Ernesto Treccani, one of the protagonists of 20th century Italian culture, through painting, sculpture and poetry.

Pizziolo, M 2003, Pablo Santibañez Servat ¡Hola muerte!, Galleria Marieschi, Milan.

The catalogue of the exhibition held in Milan, in the rooms of the Treccani Museum when it was directed by Marina Pizziolo, as part of the Osservatorio project, a programme of exhibitions introducing emerging young international artists.

Pizziolo, M 2003, Donato Frisia. L’ultima stagione: 1935-1953, Bellavite, Merate.

The catalogue of the exhibition held in the rooms of Villa Confalonieri, in Merate. The book proposes a reinterpretation of the late work of Donato Frisia, the Italian artist who created an extraordinary gallery of landscapes, figures and still-lifes. “In my studio, on the easel, I always have a self-portrait to discover a moral problem and, on another easel, a still-life to resolve a technical problem”, the artist confided to critic Orio Vergani in 1948.

Pizziolo, M 2002, Mauro Betti, Il Ponte, Florence.

An exploration of the painting of Mauro Betti, an Italian artist who plotted an original career path between the iconic and the non-iconic.

Pizziolo, M 2000, Arturo Carmassi. Collages e sabbie 1977-1994, Istituto Italiano di Cultura, Brussels.

The catalogue of the exhibition held in Brussels and dedicated to one of the protagonists of the Italian artistic scene of the post-war period.