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Mart di Rovereto presents the most extensive retrospective ever dedicated to Anselmo Bucci. Through more than 150 works, the exhibition sheds light on one of the most complex, erudite and independent figures of the twentieth century.


Anselmo Bucci
Anselmo Bucci, Juliette, detail

For a long time relegated to a peripheral position in relation to the leading names of Italian art in the first half of the twentieth century, Bucci’s work is finally being repositioned within its distinctly European historical and cultural context.


The retrospective highlights the pivotal role the artist played in the transition from nineteenth-century figurative tradition to the experiments of the new century, presenting audiences and critics alike with one of the most complex, erudite, and independent figures of the twentieth century.


A painter, printmaker, draughtsman, and writer, Bucci occupies a singular place in the artistic landscape of his time. A key figure in the cultural life between Paris and Milan, he always retained a strong intellectual autonomy, reflected in his ambiguous relationship with the Novecento Italiano group, which he helped found and to which he gave its name, only to later distance himself from it.


His work moves across languages, techniques, and genres with rare freedom, while preserving an internal coherence grounded in a profound visual culture and a deep literary sensibility, both shaped by his direct experience of urban modernity and of the First World War, which he lived on the front line as a war artist.


The exhibition includes loans from major private and public collections, including the Quadreria Cesarini – Casa Museo di Fossombrone, the Musei Civici di Monza, the Museo del Novecento in Milan, the Galleria Nazionale d’Arte Moderna e Contemporanea in Rome, and the Istituto Centrale per la Storia del Risorgimento Italiano.

 
 

Galleria Christian Stein inaugurates its sixtieth year of activity (1966–2026) by presenting Vertex, the second solo exhibition at the gallery by Jason Martin (Jersey, Great Britain, 1970), a visual artist who lives and works between London and Portugal’s Alentejo region.


Jason Martin
Jason Martin, Vacui, 2025Oil on aluminium, 190 × 285 × 10 cm. Courtesy of the artist and Galleria Christian Stein. Photo: Dave Morgan

The exhibition revolves around a core group of six monumental oil paintings on aluminium, distinguished by vibrant chromatic textures and created specifically for the occasion. These are accompanied by two mixed-media works, on aluminium and velvet, whose surfaces take on an almost sculptural quality.


Martin’s aesthetic is defined by a palette of intense colours and remarkable luminosity, in perfect harmony with the light of the gallery spaces overlooking the park of Palazzo Cicogna. The paintings are highly evocative not only for their unmistakable chromatic presence, but also for their titles, which suggest a mythological or spiritual dimension — Alethia, Tantra, Virgo — and recall the cosmological sphere evoked by the exhibition’s title, Vertex.


Jason Martin
Installation view JASON MARTIN - Vertex at Christian Stein Gallery, 2026. Courtesy the Artist and Christian Stein Gallery, Milan. Photo: Agostino Osio

As Sergio Risaliti observes, Jason Martin’s practice is distinguished by a rare coherence, built upon a rigorous fidelity to his painterly language. This continuity does not result in repetition, but rather unfolds as a fertile field of variations, where each work renews the potential of the previous one. In his paintings, matter becomes alive and unstable, generating vibrant surfaces that oscillate between painting and sculpture, between control and unpredictability. It is precisely within this tension — between discipline and surprise — that a sense of wonder emerges, capable of redefining, each time, the experience of looking.

 
 

Azienda Speciale Palaexpo and Intesa Sanpaolo present at Palazzo Esposizioni, from March 17 to July 12, 2026, a major retrospective dedicated to Mario Schifano (Homs 1934 – Rome 1998), one of the most significant and widely recognized figures in Italian art of the second half of the twentieth century.

The exhibition is promoted by the Department of Culture of Rome Capital and Azienda Speciale Palaexpo, produced and organized by Azienda Speciale Palaexpo in collaboration with Intesa Sanpaolo and Gallerie d’Italia, with Eni as main partner and the support of Fondazione Silvano Toti.


Mario Schifano
Mario Schifano, The Collector’s Wife’s Numerous Childbirth, 1984, enamel and acrylic on canvas and frame, 235 × 375 cm. Valsecchi Collection. Photo: Giorgio Benni. © MARIO SCHIFANO, by SIAE © Archivio Mario Schifano.

The tender and deeply sensitive core of his soul is his passion for painting,” wrote critic and poet Cesare Vivaldi in 1963 about the young Schifano. It is to this essential, undeniable, and widely shared appreciation that the exhibition seeks to give resonance, bringing together over one hundred of the artist’s most acclaimed and representative works, drawn from Italian and international public and private collections, including a significant group from the Intesa Sanpaolo art collection.


Curated by Daniela Lancioni, curator at Azienda Speciale Palaexpo, the exhibition retraces Schifano’s artistic biography through his major visual inventions: from the informal, material-based works of the 1950s to the first monochromes of 1960; from the phase inaugurated by the 1963 exhibition Tutto at Galleria Odyssia in Rome to the new iconographies mediated by photographic language and references to art history (from the Futurists to Malevič); from the Paesaggi TV and cinema to the large-scale paintings of the 1980s and the works of the 1990s, in which the artist’s sensitivity to social issues becomes more explicit.


A figure of absolute importance, Mario Schifano moved through the Italian art scene with a trajectory marked by constant innovation, engaging with—and often anticipating—the key developments of the second half of the twentieth century. His work reflects a continuous desire to regenerate painting by exploring new ways of seeing and thinking through different media, including painting, photography, and film, all of which are represented in the exhibition.


The exhibition unfolds in the rotunda and the seven large galleries on the main floor of Palazzo Esposizioni. Following an introductory biographical section—featuring photographs and archival materials—the works are presented in chronological order, highlighting themes, formal choices, techniques, and conceptual premises that flow from one work into another, constantly renewing themselves. Particular attention is given to the first emergence of key ideas, the most well-known cycles, and some lesser-known works.


Where possible, works are displayed in groups, reflecting the artist’s practice of painting in homogeneous series, creating a dialogue between thematic unity and fully autonomous variations. Among the highlights are the reconstruction of the dining room painted by the artist in 1968 for a Roman home, installed in the rotunda of Palazzo Esposizioni, and the complete body of films and short films created by Schifano.

An entire gallery is dedicated to the monochromes of 1960 and the first works on metropolitan landscapes. The films will be screened throughout the duration of the exhibition in the Cinema Hall—free of charge—according to a scheduled program, while within the exhibition visitors can view Schifano’s short films alongside a selection of audiovisual documents about the artist.


With this retrospective, Palazzo Esposizioni Roma offers the public the opportunity to explore in depth the life and work of Mario Schifano, highlighting his inventions, experiments, and transformations, and restoring the complexity of his practice and his never-ideological relationship with contemporaneity. The exhibition is part of Palazzo Esposizioni’s ongoing commitment to studying and promoting figures and movements that have significantly shaped Italian visual culture since the mid-twentieth century, with particular—though not exclusive—attention to the city of Rome.


The initiative is part of a broader research program dedicated to key figures and moments in Roman and Italian art from the 1950s to the 1970s, which also includes recent anthological exhibitions devoted to Cesare Tacchi, Jim Dine, Don McCullin, Boris Mikhailov, and Carla Accardi.

 
 
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