Gianni Piacentino

Gianni Piacentino

nickel frame vehicle with aluminium triangle tankmodel 71 by gianni piacentino

Gianni Piacentino

NICKEL FRAME VEHICLE WITH ALUMINIUM TRIANGLE TANKMODEL 71, 2013–2014

Price on Request

mat metal blue-gray record by gianni piacentino

Gianni Piacentino

MAT METAL BLUE-GRAY RECORD, 1988–2003

Price on Request

blue-amaranth iridescent frame vehicle by gianni piacentino

Gianni Piacentino

BLUE-AMARANTH IRIDESCENT FRAME VEHICLE, 1971

Price on Request

black frame vehicle with light blue-gray triangle tank by gianni piacentino

Gianni Piacentino

BLACK FRAME VEHICLE WITH LIGHT BLUE-GRAY TRIANGLE TANK, 1970–1971

Price on Request

violet-gray window object i by gianni piacentino

Gianni Piacentino

VIOLET-GRAY WINDOW OBJECT I, 1967–1968

Price on Request

pink purple table sculpture by gianni piacentino

Gianni Piacentino

PINK PURPLE TABLE SCULPTURE, 1966–1967

Price on Request

Wednesday, September 17, 2014Saturday, November 8, 2014
Opening Reception: Wednesday, September 17, 2014, 6 p.m. (EST)

Rudi-Dutschke-Straße 26
Berlin, 10969 Germany

VW (VeneKlasen/Werner) is pleased to present a solo exhibition by Italian artist Gianni Piacentino. The show, curated by Centre d’Art Contemporain Geneva’s director Andrea Bellini, will feature a consistent body of works, following the development of his artistic career over the last fifty years, from the monochrome compositions in 1965 to the present day. Piacentino was one of the founding members of Arte Povera, a movement he abandoned early to pursue his own individual and maverick path. Working primarily in polyester-coated and painted wood, he maintained an unwavering commitment to manual skill and highly refined industrial materials. Piacentino’s early minimal sculptures transformed themselves into new shapes that celebrate the idea of dynamism and speed, recalling the vehicles that inspired his projects—motorcycles, monocycles, automobiles, and planes. Creating these works with the same degree of care and attention to detail as industry puts into the production of these machines, Piacentino brings the highest level of handcrafted technique to his perfectly finished forms.
With or without wheels, free-standing or attached to the wall, his objects look like traces of an abandoned utopia. They may be metal plated or finished in pearlescent automotive paints; they are accented by logos made from the artist's own initials or by words related to flight and racing. His works are rich with psychological and intellectual references, making visual comprehension of space and the sublimation of everyday objects that occupy it strangely unfamiliar. Erasing distinctions between individuality and standardization; painting versus sculpture; and everyday objects versus art objects, these boundless objects are distillations of Piacentino’s lifelong disruption of the status quo.