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Arthur Duff, Scattered Edges, 2018-2019, polyester rope, neon lights, courtesy the artist and Marignana Arte, Venice, photo Nico Covre

The essentially sculptural and installative practice of Arthur Duff (Wiesbaden, Germany, 1973) is characterised by a remarkable sense of freedom, whether that be based on the materials he uses, often from a non-artistic sphere, or the firm dialogue established contextually. Regularly his work derives from the research into a relationship and a form of intimacy, which the artist expresses in the space using text, neon or laser technology.
He lives and works in Vicenza (Italy).

Serena Fineschi, Thirty Winter Nights (from Bruegel’s Sky to Bosch’s Garden), 2018, glass wool and green cardboard, 250 x 154 x 8 cm, Courtesy the artist and Marignana Arte, Venice

The artwork by Serena Fineschi (Siena, Italy, 1973) derives from an interest in the matter, in the constitutive elements of making art, as well as in fugacity and constantly changes of existing. Her works, mainly two-dimensional, explore the boundary between the procedural and conceptual practice, with an emphasis ranging from melancholic to pervasive irony.
She lives and works between Siena (Italy) and Brussels (Belgium).

Silvia Infranco, Porifera Metaforma II, 2018, oxides, pigments, wax on paper, 300 x 200 cm, Courtesy the artist and Marignana Arte, Venice, photo Nico Covre

The artistic practice of Silvia Infranco (Belluno, Italy, 1982) concerns the strong bond with organic matter that is utilized to examine the phenomena of change, memory and time. Frequently her works are conceived as a continuous accumulation, removal, maceration and stratification of components, in an incessant process where the remained slight and delicate traces encourage introspection.
She works and lives in Bologna (Italy).

Túlio Pinto, Rectangle #2, 2018, glass and steel, 213 x 85 x 62 cm, Courtesy the artist and Piero Atchugarry Gallery, Garzón and Miami, photo Nico Covre

The quest for balance between conflicting forces is one of the primary poetic elements in Túlio Pinto’s (Brasília, Brazil, 1974) works. In fact, the artist explores the concept of tension by using materials that are distinguished by opposite natures and behaviours. He tests the allowed technical limits thanks to an accurate understanding of their physical properties. He attempts to challenge the matter and show the viewer how often our perceived limits are a result of inaccurate perception that can be overcome.
He lives and works in Porto Alegre (Brazil).

Fabrizio Prevedello, Descending from a mountain quarry inside a backpack (thinking of Carlo Scarpa thinking of Constantin Brancusi) (194), 2017, marble, iron, water, 117 x 197 cm, h. 38.5 cm, Courtesy Cardelli & Fontana, Sarzana, photo Nico Covre

Fabrizio Prevedello (Padua, Italy, 1972) is exclusively devoted to sculpture, employing in a poetic and anti-rhetorical form primary materials, such as plaster, marble and metal. His practice mainly concerns the exploration of landscape and the search for an almost intimate relationship with the materials, often scrap, picked up from quarries or forgotten contexts. The artist produces sculptures with a true and sincere form of care, motivating a reaction by removing the sense of abandonment from the matter.
He lives and works in Versilia (Italy).

Quayola, Remains #L1_004_102, #L2_007_022, #L2_007_021, 2018, inkjet print, 120 x 80 cm each, Courtesy the artist and Marignana Arte, Venice, photo Nico Covre

The research of Quayola (Rome, Italy, 1982) is based on the use of software, computer functions and algorithms, through which he breaks down forms and images that derive from reality or other artworks that belong to our imagination. These inspirations are subsequently digitally reformulated and thereafter, transposed into a two-dimensional or sculptural form. Within his investigation, the tensions between real and artificial, old and new, figurative and abstract, explode demonstrating the inefficiency of the taxonomies with which we usually regulate the world.
He lives and works in London (United Kingdom).

Verónica Vázquez, Textil III, 2016, industrial parts, 187 x 174.5 cm, Textil, 2018, industrial parts, Courtesy the artist and Piero Atchugarry Gallery, Garzón and Miami, photo Nico Covre

Verónica Vázquez (Treinta y Tres, Uruguay, 1970) frequently works with discarded industrial materials – including metal, leather and plastic – which she combines into striking poetic assemblages, employing a technique that reiterates manual gestures. In her work, it is possible to capture echoes of textile art and modernist sculpture combined with a very personal compositional sensitivity, where even the smallest fragment finds its intimate reason for being.
She lives and works in Uruguay.

Marco Maria Zanin, Gallinaro, Padova (Cattedrali rurali Series), 2015, fine art print on cotton paper, 120 x 150 cm, Courtesy the artist and Marignana Arte, Venice, photo Nico Covre

The works by Marco Maria Zanin (Padua, 1983) originate from a visual interest in landscape, the remains of anthropogenic interventions, as well as the physical and symbolic legacies of rural civilisation, which he investigates using photography. His research starts from an anthropological approach and the comparison of old times, conventions and modalities of which he highlights the incompatibility, as accentuated often by the images of artefacts that no longer have a function. He lives and works in Padua (Italy) and San Paolo (Brazil).