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  • Città come Galassie
  • Artist already historicized, Lan Zhenghui, belongs to the second generation, following the STAR group (post Tiennamen). Informal researcher, applying the full force of Chinese tradition with the use of ink on rice paper, he conducts extensive research on black color. The absence of color and light (black) are the major stimulus for him to study the painting in depth. Zhenghui has already had a lot of international experience (many in Canada) and was invited in China, with a work of over 20 meters, for the official launch of the flagship models of BMW in the market for mandarins.
  • The artist develops research in the sign of the Chinese tradition, with china ink on rice paper. He offers refined works, imbued with a lightness "watery", the result of an original technique that focuses more on the painting itself instead of the figurative result, that here disappears, giving the space a very clean abstraction. The frequent use of blue accentuates the effect of transparency, marking a sort of short circuit between the international Informal painting and the deepest Chinese tradition.
  • As you can not live without breathing or without food, so Marco Bertin can not live without pictures. He eats even photography and his preferred dish is his same figure with some necessary garnishes. Thus, he identifies itself and feeds photographed in the most ordinary situations, that become in the same time paradoxical. Bertin, conscious of human weakness, with an ironic and deeply self-critical spirit is laid bare, and if at first glance, his images can make us smile at closer examination they lead us to reflect on the truth of their stories.
  • The pictorial art of George Griffa can not be understood unless considering what he says: "My work is carried out by the brush, by my hand, by the color, the canvas, my concentration, etc.: I am an instrument like any other". This way to think, deeply rooted in historical and cultural context of the sixties, is behind all his work. For Giorgio Griffa the important thing is the painting and even if some of his artworks seem to be unfinished, his painting does not stop, it continues progressively in other ways, without a fixed goal but with a definite stylistic consistency. His works have always been appreciated by sensible and cultured collectors, but from few years the market and auctions have rediscovered Giorgio Griffa and now they're celebrating him appropriately.

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