Castelvenere. Everything is Possible: the third edition of the collective exhibition dedicated to emerging artists at the Mondoromulo gallery

Installation View Everything is Possible: alla galleria Mondoromulo la terza edizione della collettiva dedicata agli artisti emergenti

From February 21 to March 21, the Mondoromulo contemporary art gallery in Castelvenere is hosting Everything is Possible, a collective exhibition now in its third edition and a benchmark for discovering new talent on the contemporary art scene.

The exhibition brings together ten artists selected through the Possible award, an initiative created to identify emerging artists without gallery representation and offer them a concrete entry into the art system. Unlike previous editions, this year's selection took place in an unprecedented way: it was not the gallery owner who sought out the artists, but the artists who sought out Mondoromulo, with the selection entrusted to the gallery's collaborating curators and some of the artists already on staff. On display: Marina Buratti, Nicolas Crocetti, Lorenza Iacobini, Filippo Maestroni, Salvatore Palazzo, Laura Pedizzi, Elisa Pietrelli, Davide Prevosto, Vega Flux, Ewa Walkowska.

“Everything is Possible embodies the gallery's philosophy: to offer visibility to artists who do not yet have access to the official contemporary art circuits,” says gallery owner Flavio Romualdo Garofano. “Running a research gallery means making unpopular decisions, taking paths that seem impossible simply because few have the courage to take them. Mondoromulo could have been established in any city of contemporary art, but it would probably have had to limit itself to being a showcase for already popular artists, without the possibility of really investing in local and emerging talent.”

The works on display range from graphics to collages and paintings—the latter being the absolute protagonists of this edition. The collective exhibition is accompanied by three critical texts by curators Francesco Creta and Francesca Pergreffi and artist Dario Molinaro, who is also active in the curatorial and scouting fields.

The opening is scheduled for Saturday, February 21, at 6 p.m.: an opportunity for artists, curators, and collectors—whether experts or novices—to come together, united by their interest in the art of the future.

JENNY SAVILLE to Ca’ Pesaro

Venice is a place where art is an integral part of everyday life and where the artists of the Biennale engage in dialogue with the great Venetian works of art. It is a great honour to have the opportunity to exhibit in Venice.

Jenny Saville

In the year of the Art Biennale, the Ca' Pesaro International Gallery returns to contemporary voices with an extraordinary exhibition by one of the most important painters of our time, Jenny Saville. This is the first major exhibition of Saville's work in Venice and aims to document its development by retracing her career from its beginnings in the 1990s to the present day.

Born in 1970 in Cambridge, Saville attended the Glasgow School of Art from 1988 to 1992, spending a semester at the University of Cincinnati in 1991. Her figurative paintings have evolved to include contemporary debates about the body with all their social implications and taboos. It was during this trip to America that she discovered the work of New York painters such as Willem de Kooning and Cy Twombly. Parallel to her dialogue with the great masters, ancient sculpture and modern European figurative painting, she became interested in the fundamentals of painting explored by abstract painters.

Belonging to the generation of painters and sculptors who distinguished themselves in the United Kingdom in the late 1980s and early 1990s, often referred to as Young British Artists (YBA), Saville breathed new life into painting.

Venice is a place where art is an integral part of everyday life and where the artists of the Biennale engage in dialogue with the great Venetian works of art. It is a great honour to have the opportunity to exhibit in Venice.

Jenny Saville

In the year of the Art Biennale, the Ca' Pesaro International Gallery returns to contemporary voices with an extraordinary exhibition by one of the most important painters of our time, Jenny Saville. This is the first major exhibition of Saville's work in Venice and aims to document its development by retracing her career from its beginnings in the 1990s to the present day.

Born in 1970 in Cambridge, Saville attended the Glasgow School of Art from 1988 to 1992, spending a semester at the University of Cincinnati in 1991. Her figurative paintings have evolved to include contemporary debates about the body with all their social implications and taboos. It was during this trip to America that she discovered the work of New York painters such as Willem de Kooning and Cy Twombly. Parallel to her dialogue with the great masters, ancient sculpture and modern European figurative painting, she became interested in the fundamentals of painting explored by abstract painters.

Belonging to the generation of painters and sculptors who distinguished themselves in the United Kingdom in the late 1980s and early 1990s, often referred to as Young British Artists (YBA), Saville breathed new life into painting.

Simona Uberto - FATUM FUTURA Retrospective Exhibition 1996–2026

The Banca Popolare di Lodi Foundation dedicates to Simona Uberto, in the Bipielle Arte exhibition space, the retrospective Fatum Futura, retracing thirty years of artistic research spanning photography, installation, and visionary landscapes. The exhibition features around fifty works — from the early urban photographs to the mirage-like images of the Fata Morgana series — forming a journey that explores the boundary between reality and imagination, with the title — poised between fate and future — serving as a key to understanding the artist’s poetics.

Simona Uberto, Masse, 2008, black-and-white photographic print on laser-cut aluminum. Photo by Paolo Rinarelli.

Fatum Futura, the major retrospective exhibition curated by Maria Laura Gelmini and dedicated to Simona Uberto (Savona, 1965), opening on 27 February in the Bipielle Arte spaces — the exhibition venue of the Banca Popolare di Lodi Foundation, directed by Paola Negrini — offers a broad and coherent overview of thirty years of the artist’s research. Uberto, who has taught Painting at the Brera Academy of Fine Arts since the 1990s, brings together approximately fifty works spanning photography, installation, collage, sculpture, and environmental interventions.

The title stems from an intuition of the artist and condenses the poetic core of the project: a reflection on the tension between what precedes us and what awaits us — between destiny and possibility, predetermination and a gaze toward the future. “Fatum, from the Latin fari, means that which has already been spoken — the oracle-word that becomes destiny,” explains Uberto, “while Futura indicates what is yet to come, what does not yet exist. It is a space of questions, suspended between what has been said and what we are still building.”

This dialectic between origin and becoming runs throughout her practice: a body of work that always begins from the real — a photographic shot, an urban fragment, a landscape — and transforms into vision, narrative, and mirage.

Since the 1990s, Simona Uberto has moved along a fine line that separates — and connects — documentation and imagination. Early cycles dedicated to urban life (including Interferenze, Aggregazioni, Appartenenze, and Incontri) portray everyday experience as a constellation of micro-narratives: passersby captured in public spaces, minimal movements becoming visual rhythm, geometries trapping suspended moments. These are not simple photographs, but “temporal frames” that render the city a stage for unconscious actions.

Simona Uberto, Border-linee fronte, 2001, installation, variable dimensions, black-and-white photograph on laser-cut wood, painted red.

In recent years, her research has moved beyond the urban dimension, opening onto a new territory: landscape as mirage, mental space, projection. From this shift emerged the Fata Morgana series — images that oscillate between reality and illusion, between the visible and the visionary. The artist dissects the photographic image, enlarges it, flips it, fragments and recomposes it, overturning familiar perspectives and logics. Sky becomes land, water becomes sky, skylines invert: perception wavers, yet it is precisely within this disorientation that the deeper meaning of her work resides. A principle that applies to her entire production: from cut silhouettes to landscape compositions, the image does not reproduce — it reinvents. As Simona Bartolena has written in an essay dedicated to Uberto, her works “are not landscapes but mirages. They deceive us like the phenomenon of the Fata Morgana: fantastic, mutable, destabilizing places that reveal the fragility of our visual certainties.” The effect is what René Magritte described as “the moment of panic”: the instant in which the viewer realizes that represented reality does not coincide with perceived reality.

Simona Uberto’s creative process is both meditative and rigorous. The artist begins with a photographic shot, “as if walking along a small road that becomes a path”: she enters the image, explores it, studies its internal structure, until every point of reference dissolves. Only then does she recompose it into a new form that no longer belongs to the real, but to a suspended elsewhere between memory and invention. In Fatum Futura, this method is amplified: the image becomes sign, the landscape becomes language, the mirage takes shape.

As the curator observes: “Although knowledge of an artist’s working process — while offering additional interpretative keys — is not essential to the experience of the work, in Uberto’s case, understanding the procedure can make a difference. The lightness emanating from her works is the result of meticulous labor, where technological and artisanal aspects converge.”

The artist constructs her works through a balance of mathematics and poetry, control and surrender. It is precisely in this shift — from reality to its poetic translation — that the strength of her practice is rooted.

Installed in the Bipielle Arte spaces — within the Business Center designed by Renzo Piano — the exhibition unfolds as a journey through three decades of work: from early photographic series focused on urban flows to installations that question spatial perception, culminating in the most recent deconstructed landscapes and the visions of Fata Morgana, where nature becomes both enigma and revelation.

The exhibition path is conceived as a passage: visitors move through works that open thresholds and crossings. Each piece challenges the stability of the image, inviting a reconsideration of the relationship between what we see and what we believe we see.

Simona Uberto - FATUM FUTURA

February 28 - March 22, 2026

Opening: Friday, February 27 - 5:30 PM

Via Polenghi Lombardo - 26900 Lodi (LO)