Without category

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 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, 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 2004, Il corpo e l’anima. Federico Guida e Paolo Schmidlin, Skira, Milan.

The catalogue of the exhibition held at the Fondazione Bandera when it was directed by Marina Pizziolo. This fascinating comparison between painter Guida and sculptor Schmidlin inaugurated a series of duets between emerging Italian artists.

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.

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 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.

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 & 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, 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 & 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 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 & Ravasio, R 2007, Arte italiana contemporanea. New Entries, Arte-2000, Milan.

The catalogue of the exhibition held in Milan dedicated to the latest acquisitions, the New Entries, in the Stellatelli collection, curated by Marina Pizziolo and Romano Ravasio. The New Entries are ten artists, aged between twenty-four and thirty-two, who appeared on the Italian artistic scene around the new millennium.

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 & Sgarbi, V 2008, Corrente. Le parole della vita, Skira, Milan.

The catalogue of the major retrospective dedicated to the Corrente movement, held in Milan at Palazzo Reale. In 1943, when the nightmare of bombing threatened Milan, Ernesto Treccani, founder of the movement, wrote: “In my mind I have a painting, which must be full of life and death. Black, white, grey, and some red, like lightning. We must speak the words of life to men”.

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 & 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.

Pizziolo, M & Ravasio, R 2009, Zhang Dali. The forbidden fascination of new China, Argo, Turin.

The catalogue of the exhibition held in Turin at Palazzo della Provincia. It presents an extraordinary selection of works by one of the greatest contemporary Chinese artists: works acquired by a private Turinese collection curated by Marina Pizziolo and Romano Ravasio.

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 & Ravasio, R 2011, The Indian Renaissance. A research project on the new frontiers of art, L’Artistica, Savigliano.

The book presents an overview of the latest contemporary Indian artworks to enter the Stellatelli collection, curated by Marina Pizziolo and Romano Ravasio. In recent years India has been experiencing an extraordinary Renaissance from the artistic, cultural and economic standpoint. This collection “in progress”, which we present as the account of a project, of a journey just embarked upon, is intended to be an Italian homage to Indian energy.

Pizziolo, M & Ravasio, R 2012, This is not propaganda. Arte contemporanea italiana. Collezione Antonio Stellatelli, L’Artistica, Savigliano.

Dedicated to contemporary Italian art, Antonio Stellatelli’s collection, curated by Marina Pizziolo and Romano Ravasio, includes paintings, sculptures and photographs by Italian artists born since 1960. The result is an original interpretation of the art situation in Italy. The book was launched in New York and New Delhi.

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.

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.

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.