Renata Boero was born in Genoa in December 1936. She spent her childhood in Turin and then moved to Switzerland, where she studied Humanities with an emphasis in Jungian Studies. When she returned to Genoa, she met the painter Emilio Scanavino. It was a significant encounter, since he encouraged her to enroll in the “N. Barabino” Art School, where he had been teaching Drawing and Figure Drawing since 1952. The training with Savino contributed significantly to the development of Boero’s artistic path. In an interview, she said to Maria Perosino:
“We started to discuss why I made such things and what they meant. Therefore, we started to speculate about them. The sign was turning into the interpreter aware of something that I wanted to convey, a variety of information that went beyond the sheer pleasure of making. I was focused on the sign, which went from being tender to becoming more and more electric, dynamic” 1.
Regarding how and to what extent the artist from Genoa has influenced her work, Boero recalls his ability to give form to an idea on paper as soon as it cropped up. It was a sort of weird tension able to give speed to the gesture. By “digging into the images”, she feels close to Scanavino’s world. Thanks to him, she has realized the importance of the result and the way it is perceived.
During her studies, she went to Cervo, where she won the extemporaneous painting competition and met Felice Casorati.
“We talked for a while. He suggested I sent my artwork to the Rome Quadriennale, where the painting was effectively selected and exhibited in 1959. It was important, because I realized for the first time that my work, which I perceived solely as something intimate until then, could also go in a different direction. It moved away from me and went into another space. There, a more mental, more complex, less instinctive work began” 2.
After completing her studies, an intense period of experimentation began. Her research mainly focused on the relationship between sign and color, their capacity to show a bond with nature and, at the same time, to represent it. In the beginning, Boero used oil paint, which she later abandoned to switch to smooth plastic. She kept working “on nature”, but “not yet with nature”3 until she had an experience decisive for the development of her artistic language.
She worked as an assistant to Caterina Marcenaro, the director of the “Palazzo Rosso” Museum in Genoa, from 1960 to 1964. In that period, she also worked as a restorer for the Superintendent for the Artistic and Historic Heritage of Genoa. Such experience allowed her to “perceive the work of art in a different, more enveloping way”4 due to the direct relationship with the painting. In fact, she analyzed the materials used and their evolution over time, and observed the canvases without their stretchers bars and frames. She conceived the idea that, in order to establish a dialogue with the surrounding space, canvas shall get rid of their frames, which seem to impede the continuity of the work of art over time. Boero made a statement: “every work of art is a fragment of an infinite work”. She was supported by Jacques Lepage, who, after meeting her in the late 1960s, included her in the contemporary cultural debate about the idea of “free canvas”.
It was precisely during the restoration of an old Telero made with “grass juices” that she began to carry out some fascinating research on the use of natural substances and on color symbolism (after she read Pliny the Elder's Natural History).
When the experience at Palazzo Rosso came to an end, Boero taught at the “N. Barabino” Art School until the 1980s, when the Professor of Chromatology Luigi Veronesi asked her to take his place at the New Academy of Fine Arts in Milan. In 1986, when she was offered the Chair of Painting at the Brera Academy, she set up her studio in via Borsieri and decided to settle permanently in Milan.
She went beyond the conception of an instinctive work aimed at representing natural elements and began to carry out research on the roots and herbs that could depict them alchemically and tautologically through the rhythms and transformations of the materials, which contain the idea of time evolution: this is how the Cromogrammi (Chromograms) originated.
Boero started to use “chromatic materials” composed of herbal and natural elements. She studied the chemical transformations and their changes over time, and limited her intervention to the soaking time of colors and to folding canvas. The sense of rhythm characteristic of the Cromogrammi recalls that found in several examples of ancient art: “I was interested in Antelami, Phidias and the Mosaics of Ravenna. Then I realized that I was fascinated by their rhythm, which I transposed to the Cromogrammi”5. They were exhibited for the first time in Turin at the Martano Gallery in 1970.
An idea of the creation process is given by a sequence from a video included in Ipotesi 80, the exhibition held in Bari in 1977 and curated by Maurizio Fagiolo dell’Arco: the colors obtained by boiling herbal substances were poured onto the folded canvas in an ever-changing process of absorption6.
Pietro Favari described Boero’s art and its consequent results as follows:
Renata Boero’s works of art […] are characterized by a balance between the aesthetic quality of the finished object and the importance of the creation process, whose protagonist is color, or rather dye. It is obtained thanks to her research into raw materials (herbs, roots, dirt) and their subsequent manipulation and cooking. Accordingly, she uses dye and the sensual fullness of its expressive potential: smell of herbs, color variations, lumps of matter, streaks and other effects are produced on the folded rough canvas. Besides the strong visual suggestion, the result is a sort of anthropological analysis of the way of painting, a global –but provocatively primeval– revival of the pictorial practice, which is almost regarded as a magical act7.
Broadly speaking, the canvases are large. In 1976, she made a 65-foot canvas for the installation at the Baglietto shipyard in Varazze. It was located on the beach by the sea, as if to start a dialogue with the surrounding nature.
In 1974, while she continued working on the Cromogrammi, she began the series called Specchi (Mirrors). In those works, she discovered the “energy of the gesture” and at the same time felt the need to create a “freeze-frame”. One of the Specchi was exhibited in 1978 at the International Cultureel Centrum in Antwerp. It was thanks to this series, which she continued for about ten years, that she was invited to the 1982 Venice Biennale, where she displayed Specchio Z of the same year. It consisted of three canvases (each one was 11 feet wide and 8 feet high) painted with plant colors, in which Luciano Caramel discerned a sort of “visionariness of matter”8. On the occasion of Boero’s solo exhibition at the Polena Gallery in Genoa in 1981, Filiberto Menna wrote about her latest production:
“Renata Boero has replaced the two dominant dimensions of her earlier works –the horizontal and vertical one, which always stand on the surface and emphasize its pattern of colors and matter– with an overall field of painting, where the usual spatial coordinates top and bottom, left and right, surface and depth get lost. Shapes –finally free from restraints and outlines– spread forcefully throughout the canvas. They come into being and develop according to their own logic and then stop at an undetermined spot, in which the energy of the gesture and the amounts of color peter out”9.
In 1985 she began her Blu di legno (Wooden Blue) series. It originated from an accidental discovery: an earth-toned root turned dark blue during the drying process:
“Once again, it was a material that suggested how I should proceed. The wooden blue started to become predominant and mysterious. And more architectural, too. Energy no longer spread out into space, but entered a more structured and spiritual place, namely a cosmic architecture”10.
Over time, the predominant energy charge of the Blu di legno gradually began to weaken and withdraw into well-defined and “structured” environments, into wide shapes that dominated the area of the canvas. This gave rise to the series called Architetture (Architectures) and Enigmi (Enigmas). Such works, together with the previous ones, were included in Boero’s solo show curated by the then director Paolo Biscottini at the Civic Museums in Monza in 1988. They were also exhibited at the Casa del Mantegna in Mantua four years later, in 1992. The different stages of her artistic development were reconstructed through each hall: the Hall of Cromogrammi (1970–75), the Hall of Blu di legno (1987–91), the Hall of Enigmi(1988–91), the Hall of Architetture (1989–91), the Hall of Specchi (1978–81) and, lastly, the Hall of Drawings (1990)11.
In the same year, she made the Prisenti di Gibellina, a tapestry made of canvas and foam rubber sewed with the aid of the women of Gibellina. It represented the map of the Sicilian town, which was reconstructed after the devastating earthquake in 1968. The next year, the artwork was displayed in the Italian Pavilion at the 45th Venice Biennale in the “Transiti” section, curated by Achille Bonito Oliva.
In 1995 Boero travelled to Africa; it was an important milestone that enriched her artistic language. There, she created the Crani (Skulls), the dark faces characteristic of those people. As she said, at night they blended into the darkness, so it was difficult to see anything but the glimmer of their big eyes. The outcome of such experience was the book Africa, published in 1999 by Eidos (Mirano and Venice) with illustrations by Renata Boero, introduction by Paolo Fossati and some verses by Charles Carrère. In the same year, she presented the book at the Turin Book Fair and, after participating in the 1959-60 and 1986 edition, she took part in the 13th Rome Quadriennale.
In 2005, she was invited by the University of San Diego in California to hold classes on her artistic experience. There, she threw herself into watercolor painting, which she used for the first time in the Acquerelli di San Diego (San Diego Watercolours) series presented at the exhibition “Borderline”.
In 2007, her art entered two Slovenian museums: the Nova Gorica City Gallery and the Maribor Art Gallery (UGM), which held the exhibition “Cromogrammi” curated by Luca Beatrice.
In the same year, she had a solo show at the Cardelli & Fontana Gallery in Sarzana.
In 2008, she participated in the exhibition curated by Davide Di Maggio and Lóránd Hegyi entitled “The Bearable Lightness of Being - The Metaphor of the Space”, which was one of the collateral events at the 11th International Architecture Exhibition. It was followed by a solo show at the Belarusian National History and Culture Museum in Minsk. In the same year, the artist created the installation Sequenze (Sequences) at the Cardelli & Fontana Gallery in Sarzana on the occasion of the 5th Festival della Mente. In the text Farfalle (Butterflies) conceived for the event, Mario Canepa, an artist’s friend and collector of her art, wrote:
“So, Renata Boero: the new works are certainly not Cromogrammi, they date back to the 1970s. These here are… What are these called?
“Remember that it’s spelled with a K!” she said, but now I’ve forgotten the name. All I have left is this K, a sign.
I can remember the pictures, even though they’re not easy to describe. They’re closer to silence, to pause than to music. They’re a breather in order to remember better …”12.
The installation consisted of some videos, the Kromogrammi and the letter “K” a symbol that now represents her–, which she also used to make a sculpture for Villa Mondolfo in Como. In the same year, she shot two videos: Kour Koum and Prima dell’applauso, the latter based on Mario Canepa’s book Prima dell’applauso. Renata Boero, quasi un ritratto (Before the Applause. Renata Boero, almost a portrait), Pesce Editions, Ovada, 2007.
In 2009 she took part in the exhibition “Venezia Salva. Omaggio a Simone Weil (Safe Venice. An homage to Simone Weil)”, a collateral event at the 53rd Venice Biennale that celebrated the 100th anniversary of the birth of the French philosopher. Since the participating artists were asked to create an original cahierwork, Renata Boero made an artist’s book devoted to her latest works: Germinazioni (Germinations), a variant of the early Cromogrammi.
They prove that the statement made by her friend, the art historian Paolo Fossati who wrote about her art on a number of occasions–, is still current:
“[…] the emphasis placed on the Cromogrammi –which have been crucial since the very beginning– is not excessive. They are still the key to interpreting Boero’s entire production and the subtle explanation for the art that she developed over the following two decades”13.
In 2010 and 2011 the artist participated in several exhibitions in Argentina, which took place: in the Central Hall of the Argentina Pavilion (located at the campus of the National University of Córdoba), at the “Arias Rengel” Provincial Museum of Fine Arts of Salta, the “Timoteo Navarro” Provincial Museum of Fine Arts in San Miguel de Tucumán and the Municipal Museum of Fine Arts of Río Cuarto.
1 Raccontare, raccontarsi. Conversazione con Maria Perosino. Gennaio 1996, in Paolo Fossati, Renata Boero, with the contribution of Maria Perosino, “Artisti contemporanei” series (curated by Giulio Guberti), Essegi Editions, Ravenna, 1997, p. 50.
2 , p. 49.
3 Ibid, p. 50.
4 Ibid, p. 53.
5 Ibid, p. 50.
6 See: Paolo Fossati, Renata Boero, cit., pp. 42-47.
7 Pietro Favari, Renata Boero, in «La Repubblica», 27th March 1977.
8 Luciano Caramel, in La Biennale di Venezia. Settore Arti Visive. Catalogo generale 1982, «La Biennale di Venezia» Editions, Venice, 1982, pp. 130, 141.
9 Filiberto Menna, in Figure dallo sfondo Exhibition catalogue, curated by Marilena Pasquali (Pavilion of Contemporary Art, Ferrara, 26th February - 25th March 1984), Grafis Editions, Bolonia, 1984, p. 104.
10 Raccontare, raccontarsi. Conversazione con Maria Perosino. Gennaio 1996, cit., p. 57.
11 Renata Boero, Exhibition catalogue, Essays by Marisa Vescovo, Silvia Vegetti Finzi, Martina Corgnati and Tommaso Trini, Mantua, Casa del Mantegna, 15th February - 15th March 1992, p. 47.
12 Mario Canepa, Farfalle, Sequenze, V Festival della Mente, Cardelli & Fontana Gallery, Sarzana, 2008.
13 Paolo Fossati, La stanza accanto, in Id., Renata Boero, cit., p. 20.
La Fabrique, Toulouse.
Gallery Martano, Turin. Galleria Il Brandale, Savona. Centrosei Arte Contemporanea, Bari. Per una tela di 20 metri, Gallery dei Carbini, Varazze.
Gallery Martano, Turin.
Gallery Franco Cicconi, Macerata.
Galleria d’Art Actuel, Knokke, Belgium.
Istituto di Storia dell’Arte, University of Palermo.
Boero/Acconci, International Cultureel Centrum, Antwerp.
Modern Art Gallery, Vienna.
Galerie Anne Van Horenbeeck, Bruxelles.
Cromogrammi, Sala Comunale, Alessandria.
Gallery 4 Venti, Palermo.
Gallery Chantal Crousel, Paris.
Galerie Carinthia, Klagenfurt (Austria).
Grifone Arte, Messina.
Istituto di Storia dell’Arte, University of Salerno.
Gallery E Tre, Rome.
Gallery Quadrum, Lisbon.
Studio La Città, Verona.
Gallery Martano, Turin.
Gallery La Polena, Genoa.
Gallery Il Gabbiano, La Spezia. Galerie Anne Van Horenbeeck, Bruxelles.
Con il giallo curcuma, Studio G7, Bologna.
Le Landeron, Neuchâtel.
Gallery Nane Stern, Paris.
Gallery La Polena, Genoa.
Il mercato del Sale, Milan.
Scenography for Il Suono giallo di Kandinsky, Teatro della Tosse, Genoa; Teatro due, Rome.
Gallery del Falconiere, Ancona.
Studio Ghiglione, Genoa.
Civic Museums, Serrone della Villa Re-ale, Monza.
Boero/Nunzio – Artisti a confronto, Studio G7, Bologna.
Gallery Centrosei, Bari.
Break Club, Rome.
Ado Gallery, Antwerp.
Gallery del Falconiere, Ancona.
Gallery Centrosei, Bari.
Telamone Centro d’Arte, Lecce.
Scultura per un museo all’aperto, Portofino.
Cultural Institute, Oslo.
Casa del Mantegna, Mantova.
Cultural Institute, Helsinky.
Framart Studio, Naples.
L’alfabeto gestuale della memoria, Arte 90, Isernia.
Palazzo Comitini, Palermo.
Cromogrammi 70, Telamone Centro d’Arte, Lecce.
Carnet de voyage, Artiscope, Bruxelles.
Gallery L’Incontro, Imola.
Een tentoonstelling van Renata Boero, C. C. De Werft, Geel.
Loggetta Lombardesca, Ravenna.
Installation, Öland, Sweden.
Gallery Artiscope, Bruxelles.
Africa, Centro studi Mediterraneo, Bruxelles.
Il viaggio, Museum of Contemporary Art, La Valletta, Malta.
Museum of Modern Art, La Casa del Giorgione, Castelfranco Veneto. Carnet de Voyage, Gallery Artiscope, Bruxelles.
Attraverso il Mali, Scuola Normale Su-periore of Pisa, Pisa.
Venti metri quadrati di rame, Maglione.
Museo della città, Stockholm.
Borderline, University of San Diego, California.
Cavenaghi Arte, Milano.
Kromogrammi, Gallery Lubyana.
Cromogrammi, Gallery Cardelli & Fontana, Sarzana.
Kromogrammi, Mestna Galerija, Nova Gorica.
Kromogrammi, Umetnostna Galerija,Maribor.
Scultura per un museo all’aperto, Portofino.
Sequenze, Gallery Cardelli & Fontana, Sarzana.
Renata Boero, National Museum of History and Culture of Belarus, Minsk (Belarus).
Mappe, Universidad Nacional de Còrdoba, Argentina, incooperation with the Italian Cultural Institute.
Hall Central del Pabellón Argentina - Ciudad Universitaria UNC, Córdoba. Museo Provincial de Bellas Artes “Arias Rengel”, Salta.
Museo Provincial de Bellas Artes “Ti-moteo Navarro”, San Miguel de Tucumán.
Museo de Bellas Artes, Rio Cuarto. Renata Boero, Castello Aragonese d’Ischia.
Cardelli & Fontana, Sarzana.
Colossi Arte Contemporanea, Brescia.
Gallery Open Art, Prato.
Gallery Spazia, Bologna.
VIII Quadriennale Nazionale d’Arte, Palazzo delle Esposizioni, Rome.
Gallery Martano, Turin.
Support surface, Toulouse.
Palazzo Ducale, Genoa.
Ubu Re, 12 modi di fare teatro, curated by L. Luzzati e T. Conte, Teatro della Tosse, Genoa.
Accrochage, Palazzo Ducale, Genoa. La sedia e il mare, super8 min.5, Genoa.
Accrochage, curated by J. Lepage, Toulouse.
Gallery Martano, curated by P. Fossati, Turin.
Palazzo Ducale, Genoa. Gallery Fiamma Vigo, Venezia. Contemporary Art Festival, Ascoli Piceno.
Colore, curated by M. Fagiolo Dell’Arco e L. Caramel, Modigliana (Forlì).
VI International Open Encounter on Vi-deo, CAYC, Centro de Arte y Comunicación, Venezuela.
VII International Open Encounter on Video, Fundacià Juan Miró, Barcelona.
Ipotesi ‘80, curated by M. Fagiolo Dell’Arco, Bari.
Out bound in bound, Gallery Zona, Florence.
X Premio Città di Gallarate, Gallarate. Il volto sinistro dell’arte, Gallery De Amicis, Florence.
Mater materia, Gallery Zona, Florence Segno-identità, curated by M. Vescovo, Pi-nacoteca Civica, Ravenna.
Vita e paesaggio, curated by V. Fagone, Capo d’Orlando, Sicily.
Mail-Art/Evento 77, Ferrara.
Factura, curated by S. Sinisi e F. Menna, Palazzo Comunale, Acireale.
Incontro video, Graz.
Gritta Insam, Vienna.
La nouvelle tapisserie, Gand.
Une éspace parlée, Galerie Gaetan, Geneva.
Le disegnazioni del senso, curated by G. Accame, Pinacoteca Civica, Ravenna. Kunst kan klein, Kunstgalerij Embryo, Leuven.
CAYC, Centro de Arte y Comunica-ción, Mexico.
Galerie Linssen, Bonn.
Biennale della grafica, Palazzo Strozzi, Florence- award D.D.R. Scatola d’amore, Adro (Brescia).
48 artisti e il Barabino, Genoa.
Liber, pratica internazionale del libro d’artista, Padua.
Biennale van de Kritiek/Biennale de la Critique, Internationaal Cultureel Cen-trum, Antwerp - Palais de Beaux Arts, Charlerois.
De sensu rerum et magia, a cura di M. Vescovo, Gallery Fabjbasaglia, Bologna. Perspective italiennes, Musée de Saint-Etienne.
Nouvelles tendences italiennes, Centre Action Culturelle, Macon.
Le stanze del gioco, curated byi P. Fossati e P.G. Castagnoli, Pinacoteca Civica, Ravenna.
Kunst kan klein, Kunstgalerij Embryo, Leuven.
Ecologie/récuperation, curated by J.P. Van Tieghem, Richard Foncke Gallery, Gent (Belgium).
Art about art, curated by F. Bex, Galerie Anne van Horenbeeck, Bruxelles. Art Sale, Primo Piano, Rome.
Vive la couleur, Centre Pompidou, Paris.
Art about Art, Galerie Anne van Horenbeeck, Bruxelles.
Arte Critica 80, curated by P. Fossati, Galleria Nazionale d’Arte Moderna, Rome.
La sciarpa di Isadora Duncan, Modern Art Galerie, Vienna.
Cine qua non, Sant’Apollonia, Florence. Lavori in corso, Teatro Falcone, Genoa.
Carte da di/segno, Gallery Forma, Genoa.
Il disegno interno, Gallery Arte Centro, Milan.
Copertina d’artista, Gallery La Bussola, Turin.
Pendant, Galleria Arte Centro, Milan.
XVI Biennale di San Paolo, curated by B. Mantura, Brasil.
Arte Critica 81, curated by F. Menna, X Quadriennale di Roma, Galleria Nazionale d’Arte Moderna, Rome.
Linea della ricerca artistica in Italia 1960-80, X Quadriennale di Roma, Galleria Nazionale d’Arte Moderna, Rome.
Libro d’artista, Centre Pompidou, Paris.
Mostra, curated by A.Bonito Oliva, Palazzo di Città, Acireale.
Metronòm livre d’artiste, Berlinés, Barcelona.
Lavori in corso, Gallery d’Arte Moderna, Bologna.
100 in 1, Studio La Città, Verona.
Egregi percorsi, Teatro Falcone, Genoa.
Biennale di Venezia, 40ª Mostra Internazionale d’Arte, Italian Pavilion, curated by L. Caramel, Venice.
Arte Critica 82, curated by I. Panicelli, Magazzini Marshall, Chicago. Arte Der, Bilbao.
30 anni di arte italiana - Oggetti espressivi
Concetti percepibili, Musei Civici, Lecco. Il materiale delle arti, Castello Sforzesco, Milan.
Morbide e Trame, Galleria Civica, Ascoli Piceno.
Triennale Le Landeron, Neuchâtel.
Libro d’arte, Villa Imperiale, Genoa.
L’immaginazione materiale, curated by S. Sinisi, Palazzo Pretorio, Certaldo.
9 Artisti Italiani, curated by V. Bramanti, Palazzo Comunale, Campi Bisenzio. Senza tema, Studio La Città, Verona.
L’occhio del cielo, curated by M. Vescovo, Casa del Mantegna, Mantua.
Palais des Beaux Arts, Bruxelles. Artistes en boîte, Fabien de Cugnac, Ostenda.
Papiro o la trama dell’Alchimia, Palazzo Comunale, Sciacca.
Colore, Gallery Rotta, Genoa. Award Campigna, curated by Barilli, Forlì.
Gallery Martano, Turin.
Kunst mit eigen-sinn, Museum Moderner Kunst, Vienna.
Attraversamenti, Spazi Pubblici, Perugia.
Parco Massau, Ferrara.
Figure dallo sfondo, Padiglione d’Arte Contemporanea, Ferrara.
Cromocryme, super 8 sonoro 7 min., Museum Moderner Kunst, Vienna. Dodici artisti italiani contemporanei, curated by V. Bramanti, Comune di Sulmona. Espace city II, Bruxelles.
Tapisserie et structure, Bruxelles. Sapere/Sapore arte in Italia 1958/85, Castello Aragonese, Bacoli, Naples. Premio del Golfo, curated by P. Restany e F. Menna, Castello di Lerici. L’immagine primigenia, curated by L. Ca-ramel, Galleria Morone, Milan. Anni ‘70 in Liguria, C.A.L.A. Fieschi, Sestri Levante.
XI Quadriennale di Roma, curated by F. Menna, EUR – Palazzo dei Congressi, Rome.
Premio Città di Monza, curated by P. Biscottini, Villa Reale, Monza.
La struttura del gesto, curated by P. Serra Zanetti, Sala1, Rome.
Opera fresca, Studio G7, Bologna. Ventisette Gallerie Italiane, La Polena, Genoa.
Artisti e Sport, CONI, Rome.
Aspetti della pittura italiana, Rio de Janeiro, San Paolo, Brasil.
Biennale Nazionale d’Arte Città di Milano, Palazzo della Permanente,
Biennale di Piacenza, Piacenza.
La costellazione del Segno, Museum di Termoli.
Artisti e scuole, Rotonda di Inverigo. Arte svelata - Collezionismo privato a Como dall’800 ad oggi, Fondazione Ratti, Como.
Exposition, a cura di F. Bex, Museo M. Clark, Antwerp.
Disegno italiano del dopoguerra, Galleria Civica di Modena – Museum of Frankfurt.
Il passo dell’acrobata, University of Salerno.
Studio Ghiglione, Genoa.
Identità per l’arte, Palazzo della Provincia, Savona.
Il grande circo, Studio La Città, Verona. Autobiografia del Blu, Arco di Rab, Rome.
Grandi dimensioni, Villa Borzino, Busalla.
Artisti, Galleria Civica d’Arte Con-temporanea, Marsala.
Abstract , a cura di F. Menna e G. Cortenova, Palazzo Forti, Verona – Dort-mund.
Index 2, a cura di F. Gallo, Galleria d’Arte Moderna, Paternò.
Figurabile, curated by A. Bonito Oliva, Studio Ghiglione, Genoa.
Le collezioni difficili, curated by L. Pistoi, Fortezza da Basso, Florence.
Crinali, curated by A. Bonito Oliva, Parco Massari, Ferrara.
Autoritratto non ritratto, curated by O. Calabrese, Villanova di Ravenna. Boero-Olivieri-Verna-Dadamaino, curated by F. D’Amico, Breack Club, Rome. Extra Moenia, Capo d’Orlando.
Arte come scienza - G. Marconi, Bologna. Figure e forme dell’immaginario, San Rocco, Reggio Emilia.
Il piacere di abitare, Ente Fiera Verona, Verona.
Linee parallele, piccole tracce per un incontro all’infinito, Gallery Il Sole, Perugia.Page d’artiste, + o - zero, Institut Supe-rieur du Language Phylosophique, Bruxelles.
Aspetti della pittura italiana dal dopoguerra ad oggi, curated by A. Bonito Oliva e T. Trini, Museo Nacional de Belles Arte, Rio de Janeiro / MASP, San Paolo del Brasil.
Astratta, Palazzo della Permanente, Milan.
Milano Punto Uno, Studio Marconi, Milano / Gallery La Polena, Genoa. Cosmica, curated by A. Bonito Oliva, Studio Ghiglione, Genoa.
Textilia, Basilica Palladiana, Vicenza. Il futuro presente - arte contemporanea ita-liana dalle collezioni private, Ente Fiera, Bologna.
Internazionale d’Arte Contemporanea, Palazzo della Permanente, Milan. Ritratti per un nome, 2C, Rome.
Artisti italiani, Kulthurnset, Stockholm.
Cinema d’Artisti, Palazzo delle Esposizioni, Rome.
Château de Brasschaat, Brasschaat.
Gli anni ‘70, Gallery Martano, Turin. Terra... Terra, curated by A. Miglietti, I Vasai, Milan.
Artae, Centro Congressi, Ferrara. Artisti allo specchio, Gallery Milano, Milan.
Gallery Bianca Pilat, Milan.
Noir, Gallery Galliata, Alassio.
Cartae, Gallery del Falconiere, Ancona / Kunst Beveren, Belgium.
Borderline, curated by A. del Guercio, Landscape, Monteciccardo.
Paesaggio con rovine, curated by A. Bonito Oliva, Museum of Gibellina.
Percorso nell’arte degli anni Settanta, Sala Comunale, Alessandria.
Biennale di Venezia, 45ª Mostra Internazionale d’Arte, Transiti, Italian Pavilion, curated by A. Bonito Oliva, Venice.
Palazzo della Ragione, Milan.
Art e Tabac, curated by P. Restany, Scuderia di Palazzo Ruspoli, Rome. Libro e segnalibro, Senigallia.
Arte e Ambiente – Boero/Nagasawa, Ar-zachena, Sassari.
Teatro 91 - Passeggiate italiane, Museum of Modern Art, Beijing.
Art is Life, Lingotto, Turin.
XXXII Biennale Nazionale d’Arte Città di Milano, Palazzo della Permanente, Milan.
La grande scala, Galleria d’Arte Moderna, Bergamo.
Il Collezionismo, Le Stelline, Milan. Collezione Marzotto, curated by R. Bos-saglia, Museo della Permanente, Milan.
Ad ognuno la sua bandiera, Galleria Civica, Padua.
Anni ‘70, Studio Graziano Vigato, Alessandria.
Gallery Annemarie Dubron e Anny Patty, Bruxelles.
Galleria Vinciana, Milan.
Presenze, Palazzo Ruini, Reggio Emilia.
Arte Brera, Kastelruth, Bolzano.
Baj & Company, Castello di Lerici, Lerici.
Terra nera, Etna, Milo.
Biennale di Venezia, 46ª Mostra Internazionale d’Arte, Identità e differenze -
Libri d’Artista, Venice.
Riflessione e ridefinizione della pittura astratta - Premio Gallarate, curated by V. Fagone e P. Fossati, Pinacoteca Civica, Cento.
La Grande Scala – Teleri italiani e altri grandi formati di artisti contemporanei, Galleria d’Arte Moderna, Bergamo.
Accrochage, Museum voor Moderne Kunst, Ostende.
Artisti liguri alle Biennali di Venezia, Pa-lazzo Ducale, Genoa.
Tutto è foglia, curated by S. Zecchi, Alassio. Tabakmuseum, Osterreichisches, Austria.
Artisti italiani, Museo di Olympia, Greece.
Premio Corneliani, Palazzo della Trien-nale, Milan.
Ottodonneunuomo, curated by L. Cherubi-ni, Quadreria, Lecco.
Church of S. Caterina, Acqui Terme. Fiore, Gallery Dina Carola, Naples. Pagine in parete, Gallery Tommaseo, Trieste.
Gallery Traghetto, Venice.
Artisti alla Nuova Accademia 1980-1995, Centro San Fedele, Milan.
Abadir, Monreale, Sicily.
Mediterranea, Galleria Arte Moderna, Tirana.
XIII Quadriennale Proiezioni Duemila. Lo spazio delle arti visive nella civiltà mul-timediale, Palazzo delle Esposizioni, Rome.
Alleviare irrefrenabili impulsi, a cura di P. Finelli, Collegio fratelli Cairoli, Uni-versità di Pavia.
Il grande formato nell’incisione contemporanea, Mart, Museo di Arte Moderna e Contemporanea di Trento e Rovereto.
Sueños de papel – Cuadernos de Artista, curated by M. Meneguzzo, Italian Cultural Institute of Buenos Aires.
Festival di Lubiana, Lubiana.
Anatomia dell’irrequietezza, curated by L. Beatrice, Palazzo della Penna, Perugia.
Biennale di Venezia, 11ª Mostra Inter-nazionale di Architettura, La Sostenibile Leggerezza dell’Essere – collateral event, Venice.
Pittura aniconica (1986-2007), Casa del Mantegna, Mantova.
Il Rosso e il Nero. Dall’ideologia degli anni ’70 alla pittura contemporanea italiana, Gallery Silvano Lodi & Due, Milan.
Jean Cocteau. Le Joli Coeur, Gallery del Centre Culturel Français, Palazzo delle Stelline, Milan.
Loggetta lombardesca, Ravenna.
Maestri di Brera, Shanghai.
Biennale di Venezia, 53ª Mostra Internazio-nale d’Arte, Venezia salva. Omaggio a Si-mone Weil – collateral event, Venice. Bocconi Art Gallery, Bocconi Univerity, Milan.
In Medi Terraneum. Esposizione Internazionale Simultanea di Videoarte, Cordoba - Madrid – Palermo.
Biennale di Venezia 12ª Mostra Internazionale di Architettura, Oltre il giardino - un giardino globale – collateral event, Venice.
I Opera. Sulle orme di Padre M. Ricci, Palazzo Buonaccorsi, Macerata. NOVE100, arte, fotografia, architettura, moda e design, curated by A. Quintavalle, Palazzo del Governatore, Parma. Museo d’Arte Contemporanea Villa Croce, Genoa.
L’aur’amara, Gallery MC New York, curated by B. Domenech.
Lumi – Festa delle luci, Sinagoga, Casale Monferrato.
Biennale di Malindi, curated by A. Bonito Oliva, Kenya.
Cristo oggi, curated by A. Del Guercio, Palazzo de Cuppis, Fano. Naturellement, curated by Guy Gilsoul, Artiscope, Bruxelles.
Arché futura, curated by G. Frazzetto, Chiesa di S. Caterina, Lipari. Attraversamenti – Crocevia di culture con-temporanee, curated by G. Frazzetto e A. Rocca, Villa Pace, Messina.
Museo Mambrini, Santa Sofia, Campigna.
King Size, Gallery Spazia, Bologna.