“I Would Like to Stay Here a Little Longer”: Erika Pellicci’s First Solo Exhibition at ME Vannucci

From November 30, 2025 to February 16, 2026, ME Vannucci Gallery presents I Would Like to Stay Here a Little Longer, the first solo exhibition by Erika Pellicci, a young Tuscan artist who in recent years has emerged as one of the most sensitive voices in the new Italian photography scene.

Erika Pellicci, Angela compra le sigarette

Accompanied by a text by Moira Ricci, the exhibition brings together twenty previously unseen photographs, including three large prints on fabric that expand the material and immersive dimension of her work

Entering the exhibition means crossing a threshold—the threshold of a “guest room,” a metaphor evoked by the artist herself. A place that is familiar yet never truly inhabited, steeped in suspended memories and lingering expectations. A provisional space, halfway between refuge and emotional archive, where silent presences seem to move just beneath the surface, between past and present, between what remains and what slips away.

Pellicci’s images function as discreet invitations: each one asks the viewer to pause, to linger in the intimate territory where the artist situates her own vulnerability. The photographs, crafted with great attention to gesture and the body, become listening spaces—visual thresholds that question the way we dwell, observe, and inevitably confront what is fragile, mutable, human.

Erika Pellicci, Casa di Andria

The practice of Erika Pellicci—born in Barga in 1992 and trained between Florence and Bologna—centers on the idea of the body as a form in transformation. It is a body that inhabits and unravels, acts and withdraws, capable of becoming myth, legend, or simply reality filtered through the gaze. Through photography, video, and performance, Pellicci constructs a layered symbolic language in which the figure—often her own—becomes a medium for exploring the boundary between intimacy and collectivity, belonging and dissolution.

Erika Pellicci, Uno.. due.. the.. STELLA

The exhibition marks a new chapter in a career already enriched by international recognition: from awards won in China to museum projects in Italy and abroad, and most recently the Spada Partners Prize 2024 in Turin. After participating in numerous group exhibitions, Pellicci now arrives at her first solo show at ME Vannucci, where she had previously presented her work on two different occasions.

Galleria ME VANNUCCI

Via Gorizia, 122 Pistoia

Date

30 novembre 2025 - 16 febbraio 2026

Laura Grisi at Galleria P420: “The Endless Diagram” Rewrites the Origins of a Pioneer

With The Endless Diagram, opening on November 29, Galleria P420 dedicates a new in-depth exhibition to Laura Grisi—one that promises to redefine the reading of her work.

Laura Grisi, Senza titolo/Untitled, (1964-65)

Curated by Marco Scotini, the show marks a pivotal chapter in the reconstruction of the artist’s trajectory, thanks to the recent discovery—within the Grisi Archive—of a group of works created between 1961 and 1965 that have never been exhibited until now. This precious core of material allows for a radically new perspective on the early career of an artist long acknowledged as one of the most original figures in Italian art of the late twentieth century.

Long before critics linked her almost exclusively to Italian Pop Art, Laura Grisi (Rhodes, 1939 – Rome, 2017) had already demonstrated an extraordinary ability to absorb and rework the international artistic languages of her time. The works from the early 1960s—now shown again for the first time in sixty years—reveal a surprising synthesis of the consumerist imagery of Pop, optical perception studies, the modular structures of Minimal Art, and the emerging interest in the performative and process-based practices that would later fuel Arte Povera.

This was a moment in which the consumer society was expanding—and simultaneously beginning to crack. Artists oscillated between fascination with modernity and rejection of its alienating drift. Grisi intercepted this dual movement early on: on one side appropriating objects, signs, and images from everyday life; on the other, embedding reflections on the role of the viewer, the relationship between technology and perception, and the possibility of turning the artistic experience into a mental and sensory process.

Laura Grisi, Subway, 1967

P420’s exhibition project places these early works in dialogue with selected pieces from the 1970s, the period in which Grisi developed her Natural Elements series—installations that artificially reproduce atmospheric phenomena such as rain, wind, or shifting sand. Here, nature is not merely imitated but recreated as a perceptual, mental, and technological device: an approach that unmistakably defines the uniqueness of her practice, always suspended between science and sensation, between artifice and archetype.

The Endless Diagram is therefore not simply a retrospective, but a critical act of recomposition. P420 continues its long-term commitment to rediscovering Grisi’s work, offering a complete and multilayered reading of an artistic practice that anticipated many issues central to contemporary discussions: the dematerialization of the image, the relationship between technology and nature, and the immersive dimension of artistic experience.

Laura Grisi, Seascape, 1966

Sixty years after her earliest exhibitions, the force of Laura Grisi’s work feels more relevant than ever: an endless diagram capable of renewing itself continuously and restoring to art its vocation to question—and transform—the real.

P420

Via Azzo Gardino, 9, 40122 Bologna

Date

29 novembre 2025 - 24 gennaio 2026

Terry Atkinson at Ca’ Pesaro: His First Solo Exhibition in Italy

With the exhibition Terry Atkinson. The Artist as an Engine of Meaning, the Dom Pérignon Rooms of Ca’ Pesaro host the first major solo show ever dedicated to the English artist by an Italian institution—one of the most original and provocative figures of contemporary conceptual art.

ca pesaro atkinson 2025 ph irene fanizza

Curated by Elisabetta Barisoni and Elena Forin, the exhibition retraces over fifty years of work—from the 1960s to the 2000s—interweaving art, language and politics in a project that is both historical analysis and ethical reflection.

The British artist Terry Atkinson (Thurnscoe, 1939), who recently entered the collections of Tate Gallery in London, was one of the founders of the Art & Language collective, a group that from the 1970s onwards radically redefined the role of the artist as thinker and critic of the art system. His practice emerges from the dialogue between word and image, between concept and vision, questioning the conventions of representation and inviting viewers to examine the relationships between knowledge, power and history.

The Venetian exhibition opens with a large painting on paper dedicated to the Vietnam War, where painting becomes a tool of political and moral analysis. This is followed by the Goya Series and the Enola Gay works—emblematic cycles in which Atkinson investigates war and collective memory. In the coloured skies of the latter series lies the silhouette of the Hiroshima bomber, a symbol of the fragile balance between beauty and destruction, silence and tragedy.

Terry Atkinson, Pink Enola Gay

The Russel cycle, on the other hand, places language at the core of the work: words such as “I” and “This” become instruments for reflecting on the relationship between subject, experience and history. In Atkinson’s works, semantics merges with painting, and language becomes a critical image of the world.

The exhibition also includes a selection of drawings and works on paper from the 1960s to the 2020s, documenting the continuity of his investigation. From early experiments with Art & Language to more recent works addressing the Irish and American conflicts, a consistent tension emerges between theoretical rigour and visual intensity.

ca pesaro atkinson 2025 ph irene fanizza

Also known by various artistic alter egos—including Terry Actor, Terry Mirrors, Terry Dog and Terry Enola Gay—Atkinson has exhibited in major museums worldwide: from Documenta 5 (1972) with Art & Language to the Whitechapel Gallery (1983), and the 41st Venice Biennale (1984), where he participated as an independent artist. In 1985 he was shortlisted for the Turner Prize, confirming his pivotal role in the critical discourse surrounding contemporary art.

Galleria Internazionale d’Arte Moderna

C. del Tentor, 2076

Date

15 novembre 2025 - 1 marzo 2026