{"id":15575,"date":"2025-10-08T19:01:57","date_gmt":"2025-10-08T17:01:57","guid":{"rendered":"https:\/\/www.artificialis.eu\/?p=15575"},"modified":"2025-10-09T17:34:47","modified_gmt":"2025-10-09T15:34:47","slug":"8-bolognese-autumn-exhibitions-2025","status":"publish","type":"post","link":"https:\/\/www.artificialis.eu\/?p=15575","title":{"rendered":"8 Bolognese Autumn Exhibitions 2025"},"content":{"rendered":"

\"\"<\/a>After the summer break, the autumn season started with several exhibitions in Bologna. Besides five galleries, also the Museo Lercaro presents currently three shows. More galleries and institutions will follow in the next days.<\/p>\n

Galleria Studio Cenacchi: Vibecke Hetland – Quanto sar\u00e0 mai lato il sole?<\/a>
\nLABS Contemporary Art: People I Know<\/a>
\nMuseo Lercaro: Marco De Luca \u2013 La Superficie dell\u2019Anima<\/a>
\nCAR Gallery: Alessandro Scarabello – Heretical Exercises<\/a>
\nP420: What the Eye Brought Back<\/a>
\nMuseo Lercaro: Post-Scriptum<\/a>
\nGalleria Studio G7: Franco Guerzoni – Fuori dal dipinto<\/a>
\nMuseo Lercaro: Cl\u00e9ment Mit\u00e9ran & Laurent Lafolie \u2013 \u00c9chos des Visages<\/a>
\nUpcoming exhibitions<\/a><\/p>\n

 <\/p>\n

Vibecke Hetland – Quanto sar\u00e0 mai lato il sole?<\/strong>
\n11 September \u2013 8 October 2025<\/p>\n

Galleria Studio Cenacchi<\/em>
\nVia Santo Stefano 63, Bologna<\/em>
\nwww.studiocenacchi.com<\/a><\/span><\/em><\/p>\n

With ten works from 2023 to 2025, the Norwegian artist Vibecke Hetland transforms the story and the music of Mozart\u2019s famous opera \u201cThe Magic Flute\u201d into images. These paintings and embroideries are more than a \u201csimple\u201d illustration, but live their own lives, which resound the music by colours, material and composition. While the huge paintings vibrate in bright colours, the embroideries are delicate and float in the space. Here the contrast between light and dark tones is predominant. Unfortunately, the show will be closed soon, though there will be new exhibitions at the gallery Studio Cenacchi and its annexe (Via Castiglione 81, Bologna) later this month.<\/p>\n

ngg_shortcode_0_placeholderPeople I Know<\/strong>
\nLucia Cristiani – Finja Sander – Elisabeth Sonneck<\/strong>
\n24 September \u2013 1 November 2025<\/p>\n

LABS Contemporary Art<\/em>
\nVia Santo Stefano 38, Bologna<\/em>
\nwww.labsgallery.it<\/a><\/span><\/em><\/p>\n

The LABS gallery invited three female artists from different generations and background to reflect on the relationship between body, material and space. Lucia Cristiani (Milano 1991) creates rather smaller sculptures and pictures with an organic background. Finja Sander (Hildesheim 1996) uses everyday objects and points to the vulnerability of the material. Whereas Elisabeth Sonneck (B\u00fcnde 1962) sets up extensive installations. In common they have a sensitivity for their chosen material, underlining the fragility and at the same time the resistance of it.<\/p>\n

ngg_shortcode_1_placeholderMarco De Luca \u2013 La Superficie dell\u2019Anima<\/strong>
\n11 September – 2 November 2025<\/p>\n

Museo Lercaro<\/em>
\nRiva di Reno 57, Bologna<\/em>
\nwww.fondazionelercaro.it<\/a><\/span><\/em><\/p>\n

With gold elements in his mosaics Marco De Luca recall Byzantine architectural designs in the same technique. However, his two- and three-dimensional works represent organic, sometimes geometric forms to whom the precious material confers a certain aura: The Surface of the Soul.<\/p>\n

ngg_shortcode_2_placeholderAlessandro Scarabello – Heretical Exercises<\/strong>
\n27 September \u2013 15 November 2025<\/p>\n

CAR Gallery<\/em>
\nvia Azzo Gardino 14\/A, Bologna<\/em>
\nwww.cargallery.it<\/a><\/span><\/em><\/p>\n

Alessandro Scarabello\u2019s paintings in \u201cHeretical Exercises\u201d have a fragile image space, where the protagonists refuse in parts their localisation and deviate from their traditional role. This conscient decision of the painter, to rethink his earlier approach is visible. The pictures are nonconformist and radical; his brushstroke is quick to exploit the colour at the moment of its maximum instability. This freedom of expression becomes possible by the mainly huge canvasses. In \u201cPrometheus escapade\u201d (2025) it seems like a bright yellow figure runs to the left image edge, or is it the fire that he brings to the people?<\/p>\n

Herewith Scarabello evades the currently dominant trends of aesthetic. Hence, the title \u201cHeretical Exercises\u201d as an attempt to revolt against the leading practice and focusing on the act of painting itself. Resulting are restless paintings with a fast rhythm, mirroring the uncertainties of our time. The painting of the falling \u201cIcarus\u201d (2022) is a good example. Already fragmented by the split on two canvases, the extremities seem to be in disorder, wrenched, paddling frantically, without finding a grip.<\/p>\n

ngg_shortcode_3_placeholderWhat the Eye Brought Back<\/strong>
\n20 September – 15 November 2025<\/p>\n

P420<\/em>
\nVia Azzo Gardino 9, Bologna<\/em>
\nwww.p420.it<\/a><\/span><\/em><\/p>\n

The exhibition \u201cWhat the Eye Brought Back\u201d is a kind of travel diary, where the founders of the gallery noted their impressions. However, these impressions are rather visual memories than written notes. These imprinted souvenirs originate from encounters in nearly all continents over the years. Therefore, the chosen artworks are not telling one story to constitute an exhibition. They are not homogenous in subject nor technique and installed in the gallery, they are a kind of illustrated broadsheet. Thus, the artistic expressions are varying from figurative paintings to abstract embroideries, intarsia like works but instead of wood with marble and other precious stones, huge charcoal drawings and sculptural installations by 11 artists from different generations and cultural backgrounds:<\/p>\n

Hamra Abbas (1976, Kuwait City, Kuwait \u2013 lives and works between Lahore, Pakistan and Boston, USA), Majd Abdel Hamid (1988, Damascus, Syria \u2013 lives and works between Beirut, Lebanon and Ramallah, Palestine), Maha Ahmed (1989, Lahore, Pakistan \u2013 lives and works in London, UK), Bekhbaatar Enkhtur (1994, Ulaanbaatar, Mongolia \u2013 lives and works in Turin, Italy), Edgar Calel (1987, Chi Xot, Guatemala \u2013 lives and works in Chi Xot, Guatemala), Leonardo Devito (1997, Florence, Italy \u2013 lives and works in Turin, Italy), He Xiangyu (1986, Kuandian, China \u2013 lives and works between Milan, Italy and Beijing, China), Khaled Jarada (1996, Gaza City, Palestine \u2013 lives and works in Paris, France), Xian Kim (1992, Seoul, South Korea \u2013 lives and works in Seoul, South Korea), Iva Lulashi (1988, Tirana, Albania \u2013 lives and works in Milan, Italy), Brett Charles Seiler (1994, Harare, Zimbabwe \u2013 lives and works between Cape Town, South Africa and Leipzig, Germany).<\/p>\n

ngg_shortcode_4_placeholderPost-Scriptum<\/strong>
\n25 September – 16 November 2025<\/p>\n

Museo Lercaro<\/em>
\nRiva di Reno 57, Bologna<\/em>
\nwww.fondazionelercaro.it<\/a><\/span><\/em><\/p>\n

\u201cPost-Scriptum\u201d offers visitors the rare possibility, to contemplate ancient handwritten documents and scripts coming from the Archivio Arcivescovile (Archbishop’s Archives) of Bologna. Besides witnesses of commercial and personal activities like rentals and testaments, there are also religious guidance\u2019s and profane scripts. Accordingly, some items are richly decorated, some less or not at all.<\/p>\n

Two contemporary artworks are opposed to these ancient parchments. The calligrapher Sara Vasini picked up the once common practice of overwriting. She copied Dante\u2019s \u201cParadiso\u201d on 118 pages but superposed the texts to transfigure it. In contrast, the artist duo Antonello Ghezzi used preexisting, printed sales receipts. This could be a reference to commercial documents in the exhibition, or a hint to the technique of printing. Printing replaced first hand copied books but in the time being – in particular in the computer age \u2013 almost all handwritten documentations. Also printed sales receipts are on the verge of disappearing. Antonello Ghezzi re-used and assigned them a documentary if not historic, comparable to the ancient scripts. Moreover, they transport their message \u201cQuello che conta\u201d (\u201cWhat counts\u201d or in a larger sense \u201cWhat matters\u201d). Moreover, the by hand painted arrows on the small bills raise the question in which direction we will or should go. This could be addressed strictly personal or to society.<\/p>\n

ngg_shortcode_5_placeholderFranco Guerzoni – Fuori dal dipinto<\/strong>
\n27 settembre – 27 dicembre 2025<\/p>\n

Galleria Studio G7<\/em>
\nvia Val D’Aposa 4\/A, Bologna<\/em>
\nhttps:\/\/galleriastudiog7.it<\/a><\/span><\/em><\/p>\n

With his current exhibition at the Galleria Studio G7, Franco Guerzoni (Modena, 1948) confirms his long-lasting collaboration with the gallery, where he had his first personal show in 1973. Since his early career he explored the limits of painting, to interpret this technique in an individual way by extending these limits continuously and investigating other fields of art like photography. At the same time, he was interested in archaeology and developed the concept of archaeology without restauration. Later he returned to painting in creating wall paintings.<\/p>\n

His current technique is based on the use of alabaster, stucco or plaster, partly on panel, highlighted by pigments. For \u201cFuori dal dipinto\u201d (Outside the painting) he grouped his new creations around one \u201cpainting\u201d which was conceived for the gallery. The \u201carchaeological\u201d fragments and other works communicate with the first one in a sensitive way.<\/p>\n

At this years\u2019 Bologna art books festival \u201cBOoks\u201d<\/a><\/span> Franco Guerzoni was also represented by the Studio G7 with a special project drawing the attention to his production of artist books.<\/p>\n

ngg_shortcode_6_placeholderCl\u00e9ment Mit\u00e9ran & Laurent Lafolie \u2013 \u00c9chos des Visages<\/strong>
\n16 September 2025 – 15 February 2026<\/p>\n

Museo Lercaro<\/em>
\nRiva di Reno 57, Bologna<\/em>
\nwww.fondazionelercaro.it<\/a><\/span><\/em><\/p>\n

Cl\u00e9ment Mit\u00e9ran and Laurent Lafolie both work on portraits and give them a special quality. Even though the typical form of portrait is recognizable, they blur personal traits, but in different techniques. Lafolie transfers black and white photographs on porcelain tiles. Some superposed, the portrayed appear as shadows on a puzzle of plates and have to be reconstructed by the eye of the contemplator. Whereas the mosaicist Mit\u00e9ran pixilates the faces by his technique. The results of both artists remind digital art. However, the approach is analogue.<\/p>\n

ngg_shortcode_7_placeholderIn the next days, several other openings of exhibitions will follow:<\/strong><\/p>\n

\u2022 AF Gallery<\/a><\/span> (Via dei Bersaglieri 5\/e, Bologna)
\n  Direzione Intrapresa e Volont\u00e0 di Resa<\/strong>
\n  Nicola Bizzarri, Francesco Ibba and Francesco Bendini<\/strong>
\n  9 October \u2013 14 November 2025<\/p>\n

\u2022 Otto Gallery<\/a><\/span> (Via D’Azeglio 55, Bologna)
\n  Altrove o altre volte:<\/strong>
\n  Andrea Facco, Luca Pancrazzi, Lucio Pozzi, Sean Shanahan<\/strong>
\n  11 October – 20 December 2025<\/p>\n

\u2022 Casa Morandi (Via Fondazza 36, Bologna)<\/a><\/span>
\n  Gary Green \u2013 After Morandi<\/strong>
\n  11 October 2025 – 6 January 2026<\/p>\n

\u2022 Galleria Stefano Forni<\/a><\/span> (Piazza Cavour 2, Bologna)
\n  Carlo Mattioli<\/strong>
\n  11 October 2025<\/p>\n

\u2022 MAMbo – Museo d’Arte Moderna di Bologna<\/a><\/span>, Project Room
\n  (Via Don Giovanni Minzoni 14, Bologna)
\n  Kipras Dubauskas. Pirogenia. Folla e demoni<\/strong>
\n  16 October 2025 – 11 January 2026<\/p>\n

\u2022 Galleria de’ Foscherari<\/a><\/span> (Via Castiglione 2\/b, Bologna)
\n  Pushing the Limits<\/strong>
\n  17 October 2025<\/p>\n

\u2022 Galleria Enrico Astuni<\/a><\/span> (Via Iacopo Barozzi 3, Bologna)
\n  Ugo La Pietra. La mia territorialit\u00e0<\/strong>
\n  18 October 2025 – 14 February 2026<\/p>\n

\u2022 Galleria Studio Cenacchi<\/a><\/span> (Via Santo Stefano 63, Bologna)
\n  Assonanze e Dissonanze Musive<\/strong>
\n  Giuliano Babini, Giovanna Galli, Paolo Racagni<\/strong>
\n  21 October – 31 October 2025<\/p>\n

\u2022 Galleria Studio Cenacchi<\/a><\/span> annexe (Via Castiglione 81, Bologna)
\n  Attilio Melfi – A1<\/strong>
\n  24 October 2025 – 9 January 2026<\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

After the summer break, the autumn season started with several exhibitions in Bologna. Besides five galleries, also the Museo Lercaro presents currently three shows. More galleries and institutions will follow in the next days. Galleria Studio Cenacchi: Vibecke Hetland – Quanto sar\u00e0 mai lato il sole? LABS Contemporary Art: People I Know Museo Lercaro: Marco… (read more<\/a>)<\/p>\n","protected":false},"author":1,"featured_media":15624,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[18],"tags":[4061,4398,1643,2036,23,3755,4404,4406,4410,2697,4409,2555,4403,4393,118,4399,3702,4405,4408,4397,4396,147,4395,4401,4402,4407,4394,4400],"class_list":["post-15575","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-exhibitions","tag-4061","tag-alessandro-scarabello","tag-antonello-ghezzi","tag-autumn","tag-bologna","tag-car-gallery","tag-clement-miteran","tag-echos-des-visages","tag-elisabeth-sonneck","tag-exhibitions","tag-finja-sander","tag-franco-guerzoni","tag-fuori-dal-dipinto","tag-galleria-studio-cenacchi","tag-galleria-studio-g7","tag-heretical-exercises","tag-labs-contemporary-art","tag-laurent-lafolie","tag-lucia-cristiani","tag-marco-de-luca","tag-museo-lercaro","tag-p420","tag-people-i-know","tag-post-scriptum","tag-sara-vasini","tag-upcoming-exhibitions","tag-vibecke-hetland","tag-what-the-eye-brought-back"],"_links":{"self":[{"href":"https:\/\/www.artificialis.eu\/index.php?rest_route=\/wp\/v2\/posts\/15575","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artificialis.eu\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artificialis.eu\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artificialis.eu\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artificialis.eu\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=15575"}],"version-history":[{"count":0,"href":"https:\/\/www.artificialis.eu\/index.php?rest_route=\/wp\/v2\/posts\/15575\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artificialis.eu\/index.php?rest_route=\/wp\/v2\/media\/15624"}],"wp:attachment":[{"href":"https:\/\/www.artificialis.eu\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=15575"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artificialis.eu\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=15575"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artificialis.eu\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=15575"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}