Stefano Fioresi

Stefano Fioresi was born in Modena on July 28th 1965 and studied at ́Istituto Statale Venturi in Modena, where he obtained the Maestro d’Arte diploma in 1983, specialising in public communication, and his artistic sensitivity, his own technique, unique thanks to his expressive and versatile execution, have enabled him to gain international experience at an artistic and professional level. 1984 Afterwards, he worked for large houses in the field of artistic stained glass, an experience that gives him the necessary technical preparation to face prestigious committees. A few years later, he has in fact realized glass plates representing scenes of the great car races for the headquarters of the Italian Automobile Club in Modena, Italy. Since 1989 he has been successfully engaged in the advertising industry, while at the same time he has been active in the field ofartistic graphics.
His favourite passionate subject is the automobile... Among the most notable commissions from this period is a series of panels for the Ferrari headquarters in Maranello, which represent the complex vision of the house with the little horse (1990). Strengthened by his experience in the advertising industry, he innovatively and newly interprets the characteristics of Pop Art of the 70s and 80s. The artist has developed a path that re-reads the syntactic and visual characteristics of mass communication and has developed a new creative approach to artistic figuration that is heading towards a “new Italian Pop Art”.

2019

MY INTERIOR

- Rathaus, Stoccarda - Germany curated by dell’Istituto Italiano di Cultura e Galleria Bech
  critical texts by Chiara Canali

2018

SCRAPS OF LIFE - PEZZI DI VITA

- Castel San Zeno - Sala Austriaca, Montagnana - Italy  curated by Andrea Malaman

2016

FACE TO FACE

- Galleria San Ludovico, Parma - Italy  curated by Chiara Canali

2013

POP & THE CITY

- Galleria Studio C41, Paris - France  curated by Elisa Bertacchini-Benzaquen

 LA VIA DELL’ORO

- Centro Comunale di Cultura, Valenza (AL) - Italy  curated by Roberto MIlani

 CITY ADDICT

- Galleria CerrutiArte, Genova - Italy  curated by Edgardo Cerruti

2012

e-VISITING MOMA

- Galleria MOdenArte, Modena - Italy  curated by Maurizio Vanni

2009

PROSPETTIVE CONTEMPORANEE

- l’Arte dell’Architettura e l’Architettura dell’Arte Galleria La Contemporanea, Torino - Italy  curated by Roberto Milani

2008

NIGHT ‘N’ NUIT

- Galleria San Lorenzo, Milano - Italy  curated by Chiara Canali

2006

Personale nell’ambito della mostra  GRANDI MAESTRI DEL ‘900

- “dalla Metafisica alla Transavanguardia”, Salone Pietro da Cemmo, Museo di Crema, Crema - Italy curated by Giulio Gallo

2006

MUSEUM

- Chiesa di Sant’Onofrio “il Fuligno”, Firenze - Italy  curated by Patrizia Barlettani,
  critical texts by Anna Caterina Bellati

2003

NYC - NEW YORK CITY

- Galleria Factory, Modena - Italy  curated by Maurizio Sciaccaluga

2003

LARA’S FRIENDS

- Young Museum, Palazzo Ducale di Revere (MN) - Italy  curated by Maurizio Sciaccaluga

1993

LE ROSSE A LA MANS

- Galleria Museo FERRARI, Maranello (MO) - Italy

PRINCIPALI MOSTRE A QUATTRO MANI

 2012

BACK ON STAGE - bi-personale

- (with the artist - Fabio Govoni) Galleria Sottopasso della Stua, Padova - Italia  curated by Linda Giusti

2011

GENOVA SENZA PAROLE

- memoria d’immagini a quattro mani - mostra e work in progress del pubblico (with the artist - Nicolò Paoli)
  Palazzo Ducale - spazio Sala Dogana - Genova - Italy  curated by Viana Conti

2009

CONNECTIONS

- evento collaterale del “FESTIVAL FILOSOFIA sulla comunità” (with the artist - Patrizia Giacobazzi)
  Galleria Container, Sassuolo (MO) - Italy  curated by Chiara Canali

PICTURE WITHIN THE PICTURE by Chiara Canali

The picture within the picture by Chiara Canali The theme of “picture within the picture” was represented by the surrealist artist Margritt in the work “La Condizione Umana” and then succ ess ively taken up again in his subsequent paintings. We are inside a room in front of a window showing a landsc ape. The central part iscovered by a painted canvas standing on an easel. T he work analyzes the border between reality and representation and reveals the optical illusion of the superimposition of the landsc ape on the canvas with that outside
the window. But in his works remains the mystery of the demarcation between reality and material, dream and reality, typical of Surrealism, and the motif of the “picture in the picture” returns in Stefano Fioresi’s cycle “MY INTERIOR ”, consisting of twenty large canvases that exactly reproduce the interior of a loft and rooms overlooking the Brookyln Bridge or Manhattan with the New York skyline (between which the Chrysler Building is located).However, the alienation effect of these images is not constituted by the “image within the image”, because the works of art appear natural in this environment, but because a zebra appears in all the rooms on the ground floor, immediately adapting perfectly to the black and white sc ene. Fioresi
has chosen monochrome painting for these works in order to highlight the particularities of the interior without being distracted by the colour. This painting in black and white contradicts the chromatic systemof the majority of positions in contemporary art and at the same time proposes reciprocal interactions with that of photography (which literally means “drawings through light”), which Fioresi uses as a starting point for all his subjects. Monochrome painting is also an important element in the art of the 19th century, reflecting on abstraction, playing with light, which each time produces new and surprising aspects of the black and white phenomenon: from Malevic in Op-Art to the Drip-Painting JacksonPollock, or the paintings
of John, which suggest collages from newspapers, as well as the experiments of many other protagonists such as Gerhard Richter, who show us unusual aspects of the world in black and white.Consequently, the zebra, alien and decontextualized element of his work, becomes an opportunity to reflect once again on the metalinguistics that art can achieve, at a stage when the artist’s choice of monochrome representation reveals his inclination for a strong and express ive code as a meaningful characteristic and meaning of his art. The representation of Fiorese, inspired by Margritt, evokes the disc oncertment of man with reality, or what might appear to be reality, in a constant game of ambiguity as to what belongs to it and what is unreal, because, starting from the world of images, it is plausibly but completely out of place. Moreover, there is nothing symbolic in Fiorese’s works except the will to tell about everyday life and at the same time the life of the paintings, as Magritt also clearly confirms: “When people try to find meaningful symbols with which I
paint, they want to find something secure to hold on to in order to esc ape from emptiness . The People who seek significant symbols are incapable of seeking the poetry and mystery hidden in the images”. in “My Interior” not only is the interior unilaterally viewed through Fiorese’s photographic lens, it also functions as a filter to the world around us.the art of Fiorese recalls the value of images that are not only at the service of reality, it also invokes its autonomy: The zebra is the element that breaks up the two-dimensional space of the canvas and invites us to go further, to look at the familiar relationships between real life and that represented by iconography, in order to read a reality that has deeper dimensions than those that sustain our lives today.