Author of Memento L’ossessione del visibile/The Obsession with the Visible, a reflection on the criticism of collective memory, Pietro Gaglianò has curated over 100 exhibitions throughout Italy and Europe.
Pietro Gaglianò teaches Installation and Performance Art and MFA Graduate Seminar in Studio Art: Professional Practicum at SACI. He is currently a member of the Executive Board of the Forum per l’Arte Contemporanea Italiana, and of the scientific board of “Nexst,” festival of Italian non profit spaces. Artistic Director of Scripta Festival, a book festival for contemporary art theory, he has published monographs on contemporary artists, as well as numerous essays in art journals, artists’ catalogues, and books on post-modern art. He has given many presentations in Italy and elsewhere in Europe on contemporary visual culture.
Pietro Gaglianò received a Laurea in Architecture, magna cum laude, University of Florence.
My focus is on the social, urban and architectural contexts within which contemporary artistic practices occur: the relationship between contemporary languages and public spheres. Artists must grapple with tensions, needs, traditions, identities, questions of authenticity, and transformations—and seek motivation through engagement with non-artists. Emerging and established artists, regardless of the tools and languages they use, are able through such engagement to employ various strategies to connect with and make powerful statements about contemporary society. I encourage students to experiment with hybrid forms in which creative languages can be utilized to increase social and individual awareness.
Installations and performance art represent languages specifically devoted to dialogue with a wide and non-specialized audience. Both practices require interaction with and active participation of the spectator. The artist must consider the varied range of responses that may arise through the spectator’s presence, actions, and reactions. For these reasons, I believe that such languages are the most interesting field for experimentation, for the creation of artistic approaches. In exploring these approaches the artist must take into account physical, relational, and diachronic factors.
I have worked for many years with artists, and I continue to do so daily. Through engagement, brainstorming, and sometimes even confrontation, I attempt to encourage and facilitate their conception, planning, and creation of artworks. I employ these approaches both in my profession as a curator and in the classroom as a mentor to emerging artists.