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permutations
FRANCESCO PETRUCCELLI
°1977 born in Milan (Italy)
Living and working in Berlin since 2011
Cofounder of Intermission Collective
Education
2011- 2018 Meisterschulabschluss Bildende Kunst – UdK Berlin (by Prof. Strunz and by Prof. Konrad)
2005 – 2011 Master of Arts Humanities (Lettere Moderne) – Università degli Studi di Milano
Prizes and art residencies
2019
Premio Arte Laguna – Finalist
2018
Karl Hofer Gesellschaft Grant – Finalist
Helmut-Thoma-Stiftung Prize – Winner
2017
BangaloREsidency – art residency by Goethe Institut in Bangalore (India)
Selected solo exhibitions
2017
Archaelogica – Rangoli Metro Art Center, Bangalore (India)
Selected group exhibitions
2019
Tropicana – DadaPost, Berlin (Germany)
Diffusions – Kramatorsk Art Museum, Kramatorsk (Ukraine)
Premio Arte Laguna 2019 Mostra dei finalisti – Arsenale, Venezia (Italy)
Function.Anomy – Rathaus Reinickendorf, Berlin (Germany)
2018
Finalists exhibition for the grant of the Karl Hofer Gesellschaft – UdK, Berlin (Germany)
Salon Nr.2 – Galerie Christine Knauber, Berlin (Germany)
2017
Good Food – Goethe Institut, Bangalore (India)
Moderne Zeiten – Galerie Christine Knauber, Berlin (Germany)
At the limits of perception and cognition – Schillerpalais, Berlin (Germany)
2016
Schau08 – Schauwerk, Berlin (Germany)
Francesco Petruccelli, Anja Spitzer, Martha Stolt – Cruise and Callas, Berlin (Germany)
Das Archimedische Prinzip – Zentralstation, Kunst am Spreeknie, Berlin (Germany)
Am Rand des Nichts – erstererster, Berlin (Germany)
Was wir wollen, braucht ihr nicht – Neu West Berlin, Berlin (Germany)
2015
Kuboshow – Flottmann Hallen, Herne (Germany)
Schau07 – Schauwerk, Berlin (Germany)
Zentralstation – Kunst am Spreeknie, Berlin (Germany)
Aufzug zur Chirurgie – Kunst am Spreeknie, Berlin (Germany)
2014
I like it RAW – Neurotitan, Berlin (Germany)
UmWANDlung – UdK, Berlin (Germany)
2013
Simposio di Scultura – Rocca di Montefiorino, Modena (Italy)
Fishman
Rubbish bags, metal
120x40x20 cm
2020
Fishman
Rubbish bags, metal
120x40x20 cm
2020
Nirvana
Rubbish bags, metal, plastic
Variable dimensions
2020
Nirvana
Rubbish bags, metal, plastic
Variable dimensions
2020
Untitled
Mixed media on wood
30x40x1,5 cm
2020
Untitled
Mixed media on wood
30x40x1,5 cm
2020
Bar in a Jesus
Mixed media on wood
30x40x1,5 cm
2020
Bar in a Jesus
Mixed media on wood
30x40x1,5 cm
2020
Fibonacci's Girl
Mixed media on wood
30x40x1,5 cm
2020
Fibonacci's Girl
Mixed media on wood
30x40x1,5 cm
2020
PERMUTATIONS
Francesco Petruccelli
In his closed-off virtual solo exhibition PERMUTATIONS, Francesco Petruccelli shows some of his latest paintings and sculpture installations. Petruccelli’s practice relies heavily on his thorough understanding and respect of art history, and in his works, he shows himself to be “standing on the shoulders of giants” or in layman’s terms “deriving truth by building on previous discoveries”.
PERMUTATIONS are alterations of previous concepts, linear and almost methodically, and this is clear in Petruccelli’s works. Figures from classical paintings are combined with added layers, structures, deformations. The linearity here is not universal, however, it is the artist’s personal evolution we are witnessing after all: it is HIS linear take, in one case forcibly imposed with his fingerprint identifying the broken-glass portrait of the boy (Untitled).
The figures themselves all have their “original” counterparts (or do they? Do we recognise them or do we just think we do?), but these are not overtly shown, nor are they important to understand these works. We recognise the imagery and the transformation they are being subjected to. The most iconic of figures, Christ, is subject to the heaviest of permutations, the bright yellow metal bar seemingly gagging him in the process - the contrast could not be greater.
The sculptures too reveal a different aspect of how recognisable forms can be reduced, altered, and reinterpreted. Is the material burnt, or is that just our interpretation? By deconstructing and reconstructing this reality, we come to this new realisation by means of reduction. Does the body shape of “Fishman” relate to the air mattress of “Nirvana”, considering they are both carcasses in their own right?
The works in PERMUTATIONS also seem to offer insight in a posthuman environment, where the sculptures seem fossilised, frozen in time and the paintings having undergone the test of time.
Do not think Petruccelli’s works as being bleak or without hope. On the contrary, they epitomise the concept of evolution in art, how we can be overwhelmed by what came before us, but also and more importantly, how we can succeed in creating something new and put our name on it, evolve, and it does not have to mean you erase the giants whose shoulders you balanced on.
/Tim van den Oudenhoven
PERMUTATIONS
Francesco Petruccelli
In his closed-off virtual solo exhibition PERMUTATIONS, Francesco Petruccelli shows some of his latest paintings and sculpture installations. Petruccelli’s practice relies heavily on his thorough understanding and respect of art history, and in his works, he shows himself to be “standing on the shoulders of giants” or in layman’s terms “deriving truth by building on previous discoveries”.
PERMUTATIONS are alterations of previous concepts, linear and almost methodically, and this is clear in Petruccelli’s works. Figures from classical paintings are combined with added layers, structures, deformations. The linearity here is not universal, however, it is the artist’s personal evolution we are witnessing after all: it is HIS linear take, in one case forcibly imposed with his fingerprint identifying the broken-glass portrait of the boy (Untitled).
The figures themselves all have their “original” counterparts (or do they? Do we recognise them or do we just think we do?), but these are not overtly shown, nor are they important to understand these works. We recognise the imagery and the transformation they are being subjected to. The most iconic of figures, Christ, is subject to the heaviest of permutations, the bright yellow metal bar seemingly gagging him in the process - the contrast could not be greater.
The sculptures too reveal a different aspect of how recognisable forms can be reduced, altered, and reinterpreted. Is the material burnt, or is that just our interpretation? By deconstructing and reconstructing this reality, we come to this new realisation by means of reduction. Does the body shape of “Fishman” relate to the air mattress of “Nirvana”, considering they are both carcasses in their own right?
The works in PERMUTATIONS also seem to offer insight in a posthuman environment, where the sculptures seem fossilised, frozen in time and the paintings having undergone the test of time.
Do not think Petruccelli’s works as being bleak or without hope. On the contrary, they epitomise the concept of evolution in art, how we can be overwhelmed by what came before us, but also and more importantly, how we can succeed in creating something new and put our name on it, evolve, and it does not have to mean you erase the giants whose shoulders you balanced on.
/Tim van den Oudenhoven
Ipertesta
Mixed media on wood
30x40x1,5 cm
2020
Ipertesta
Mixed media on wood
30x40x1,5 cm
2020
Sales & Inquiries
Tel. +49 178 1479 478
All works in this exhibition are for sale.
Feel free to get in touch with any queries.
Sales & Inquiries
Tel. +49 178 1479 478
All works in this exhibition are for sale.
Feel free to get in touch with any queries.
Distant Star
Mixed media on wood
30x40x1,5 cm
2020
Distant Star
Mixed media on wood
30x40x1,5 cm
2020