“Laurel, they are back with those chants and incantations! I don’t know VIRGIL, but there’s definitely something going on upstairs ….”
12 luglio – 20 settembre 2022
Comunicato Stampa


The exhibition presents eight works, coming from three artists of different generations, which delve on the aftermath of the expressionist movement in the MittelEuropean area, as if gently hinted by VIRGIL.

We are pleased to present “Laurel, they are back with those chants and incantations!

I don’t know VIRGIL, but there’s definitely something going on upstairs ….” An exhibition of a very few selected works from Robert Hromec, Naoki Fuku and Renato Calaj.

As if evoked by unfathomable gestures of Ermete Trismegisto, layers of reagents, carefully applied on the shiny skin of an aluminium plate are carefully woven and transmogrified by the hand and tools of Robert Hromec(1970).

Printmaker and Artist , influenced by seven master printmakers of the 1980s, his plates are canvases, each a unique piece. His pieces are the result of the interaction of traditional printmaking techniques and painterly, free flowing, mixed media image making. In these most recent works shown, an expressionist color matrix is combined with figurative silhouettes which create together with carvings and inlays a unique style and language.

Naoki Fuku (1974), his portraits of large dimensions, made as the tradition dictates, are the result of the performance of the artist who, enthralled by music, with precise and expressive gestures applies the physiognomy of his emotions on the thick paper using the blackest ink. A reminiscence of the now gone Gutai Group collective born in Osaka in 1954 but altogether sporting a characteristic influence of the large portraits of the European artist George Baselitz.

Renato Calaj (1992)overlays the self over the city creating an expressive abstraction. This passage is witnessed by a constant flow of construction and deconstruction applied on the surface of his artworks. A skin, that first settles on, and then is disrupted to be reapplied again. The canvases vibrate enraptured in the role of witnessing this constant change induced by time.

But as his spray paint gestures enact the change of the dull suburban grayness into excited state of the art, they define a web of existential relationships in his recently created system between city and man which encompasses the abandoned and invisible urban space as well as the invisible self of man.

An expressionist declaration of Renaissance dubbed by the long gone hand of the poet and guide, VIRGIL.

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