Indietro

Biography
Turi Simeti was born in Alcamo, in the province of Trapani in 1929. He moved
to Rome in 1958 where he got in touch with the art world getting to know Alberto
Burri and to spend time in his studio. These inspirations gave rise, in the early
Sixties, to an initial production of works comprising various materials. In these
years he also spent long periods of time in London, Paris and Basel.
In the early Sixties, in line with contemporary experiences at the international
level motivated by a shared desire to free artistic expression from tradition and
pre-established codes through the acquisition of monochromy and relief as the
sole compositive forms, his language defined and structured itself around a
geometric element, the ellipse, which was to become the code of his artistic work.
In 1963 Simeti participated in the “Review of Figurative Arts of Rome and
Lazio”, the Premio Termoli and the exhibition “Arte Visuale” in the Palazzo
Strozzi in Florence, thus sharing the dynamics of visual and structural research
close to the programmed art and the New Trend. Simeti participated in several
exhibitions which were part of this current, such as “New Trend 3” in Zagreb in
1965, and the exhibitions held in the Il Cenobio Gallery in Milano, in Modena and
in Reggio Emilia in 1967, as well as other important international art shows
dedicated to that area of research, including “Programmed Art - Aktuel 65” and
“White on White” in Bern in 1965 and 1966.
His participation in the “Zero Avantgarde” project, which made its debut in
1965 in Lucio Fontana’s studio in Milan, then followed by exhibitions in the
galleries Il Punto of Turin and Il Cavallino in Venice, played an even greater role
in featuring Simeti’s work as part of this specific scenario. In 1965, once he had
moved to Milano, Simeti held his first solo exhibition in the Wulfengasse Gallery
in Klagenfurt. The next year he exposed in the Galleria Vismara with a catalogue
presentation by Giuseppe Gatt.
Between 1966 and 1969, he was invited as Artist in Residence by the Fairleigh
Dickinson University and he spent long periods of time in New York where he set
up a studio and produced numerous art works, within the rigorous poetic which
he had been gradually defining.
Exposed in numerous galleries in Italy (Il Chiodo in Palermo, Giraldi in Livorno,
Stefanoni in Lecco), as from the second half of the Sixties, his distinctive work
started attracting great attention in Switzerland and in Germany, where his
fortune was to grow over the years (in 1971 he held a show in the prestigious M
Gallery of Bochum, at Loehr in Frankfurt, in the Bettina gallery in Zurich).
In 1971, in line with the climate of contestation of the period, Simeti staged a
performance in the La Bertesca gallery in Genoa with the “Destruction of a
sailplane”, storing its rests in blue, signed and numbered cans. However, this
event did not entail any radical transformation of his work on surfaces and
volumes, although it was to reflect a further sense of rarefaction of the projecting
elements, witnessing closer bonds with the poetics of minimalism.
In the early Seventies he presented his work in other individual exhibitions in
Bergamo, Verona, Rottweil, Dusseldorf, Oldenburg, Köln, München, and
participated in a number of group exhibitions, such as “Extension” in the Casa del
Mantegna in Mantua, thus confirming his participation to the research carried out
in the constructive milieu.
During these years, Simeti’s work was shape-up mainly as consequential
research, in the transition from single elements to diptychs and polyptychs with a
projecting element, often decentralized, and with an experimentation of different
formats and outlines, reaching effects of greater spatial complexity during the
Eighties.
In the second half of the Seventies his exhibitions brought him to various
European cities such as Basel, Dusseldorf, and Koblenz. In 1980 the Municipal
Picture Gallery (Pinacoteca) of Macerata hosts an individual exhibition. As from
the same year he started working in a new studio in Rio de Janeiro, spending
long periods of the winter time in that city and exposing his artwork over the
following years, receiving important recognition.
After having installed a sculpture in Gibellina in 1980, he held various
exhibitions in Sicily, in the Pagano Gallery of Bagheria, in the Opera Universitaria
of Palermo sario Bruno in Sciacca. In 1982 he presented a solo exhibition at the
Studio Grossetti in Milan.
Subsequently his work has been presented in numerous private galleries
abroad, such as the Passmann Gallery in Fribourg and the Wack Gallery of
Kaiserslautern in 1983, the Maier Gallery in Kitzbüehl and the Ahrens Gallery in
Coblenz in 1984, the Paulo Figueiredo Gallery in San Paolo of Brazil and the 44
Gallery in Dusseldorf in 1985, the Apicella Gallery in Bonn in 1986 and the
Monochrome Gallery in Aachen in 1987. After years of intense work at the
International level, Simeti came back to Italy in 1989 with a solo show presented
at the Vismara Gallery in Milan. His works were exposed with those by
Castellani, Bonalumi and others in exhibitions such as “The extroflexed Canvas
in the Milanese Area from 1958 until Today” at the Arte Struktura Gallery in 1989
and “‘58-‘80 Bonalumi - Castellani – Simeti: Three Itineraries”, presented the year
after in another Milanese venue, the Millennium Gallery, thereby stressing that
the extroflexion by Simeti featured contiguous but also antithetical values with
respect to the analogous compositive and constructive techniques of Castellani
and Bonalumi.
In 1991 he presented a wide selection of works at the Civic Museum of
Gibellina, with a catalogue presentation by Elena Pontiggia. During the Nineties,
in addition to individual exhibitions of recent works in Rio de Janeiro, Biberach,
Kaiserslautern, Milan (Vinciana gallery), Bolzano and Trapani, other
retrospectives were presented in 1996 in the Kunstverein of Ludwigsburg and in
Erice, the latter with a catalogue preface by Marco Meneguzzo.
At this point his work featured a multiplication and dispersion of the volumetric
and projecting oval elements on the surface, with a more intense and diversified
coloration, recovering values of architectural relation to an increasingly evident
extent.
In 1998 he held an individual exhibition at the Kain Gallery of Basle, followed
the year after by other exhibitions in Biberach (once again in the Uli Lang
gallery), Ladenburg and Mannheim and by a participation in the exhibition “Art in
Italy in the Seventies” at the Salerniana in Erice.
Other recent individual exhibitions of the artist have been presented at the
Harry Zellweger Art Studio in Basel and in the Uwe Sacksofsky Gallery in
Heidelberg, both in 2000. In 2001 Simeti’s work was exposed at the Municipal
Gallery of Modern Art Gallarate. Between 2002 and 2003 he held numerous
exhibitions in Italy and abroad, amongst which shows at the Fondazione Mudima,
Milan, the Gallery Rino Costa in Casale Monferrato, the Galleria Bergamo, in the
city of Bergamo, the Maier Gallery in Kitzbühel, the Gallery Wack, in
Kaiserslautern, Immoblilia in Verona, the Giraldi Gallery, in Livorno, Arte Silva, in
Seregno, and Carte d’arte Mostre, in Catania. In 2004 Simeti’s held a show at the
Galleria Poleschi in Milan, presented by Luca Beatrice. The following year, in
2005 a solo exhibition was organized in Lugano at ARTantide.com. Again in
Lugano, the BIM - Banca Intermobiliare proposed an exhibition of Simeti’s work
in 2006. In 2006 Excalibur Gallery in Solcio di Lesa organized a personal
exhibition with a catalogue by Flaminio Gualdoni. In novembre 2007 la Fiera
D’Arte di Padova invited him for an anthological exhibition as a side event to the
Fiera.
Amongst the various exhibitions held in the most recent years, it’s worth
pointing out his personal shows held at the GlobArt Gallery in Acqui Terme in
2007, accompanied by a voluminous catalogue, his 2008 show presented by
Paolo Campiglio at the Poleschi Gallery in Milan, as well as his shows held in
Genoa at the “Spazio Satura” Palace and at the Armanda Gori Casa D’Arte in
Prato, then taken to the Fiera D’Arte in Cremona and at the Maretti Arte Monaco
of Montecarlo where in 2009 he exposed a selection of his most recent work.
In October 2009 an installation of large white paintings in studio d’arte
contemporanea Pino Casagrande in Roma and in febrary 2001 a two mounth ex
position of large painting in the galleria Salvatore + Caroline Ala in Milano, in
august a large one man show retrospective to his hometown of Alcamo.
Lives andBiography
Turi Simeti was born in Alcamo, in the province of Trapani in 1929. He moved
to Rome in 1958 where he got in touch with the art world getting to know Alberto
Burri and to spend time in his studio. These inspirations gave rise, in the early
Sixties, to an initial production of works comprising various materials. In these
years he also spent long periods of time in London, Paris and Basel.
In the early Sixties, in line with contemporary experiences at the international
level motivated by a shared desire to free artistic expression from tradition and
pre-established codes through the acquisition of monochromy and relief as the
sole compositive forms, his language defined and structured itself around a
geometric element, the ellipse, which was to become the code of his artistic work.
In 1963 Simeti participated in the “Review of Figurative Arts of Rome and
Lazio”, the Premio Termoli and the exhibition “Arte Visuale” in the Palazzo
Strozzi in Florence, thus sharing the dynamics of visual and structural research
close to the programmed art and the New Trend. Simeti participated in several
exhibitions which were part of this current, such as “New Trend 3” in Zagreb in
1965, and the exhibitions held in the Il Cenobio Gallery in Milano, in Modena and
in Reggio Emilia in 1967, as well as other important international art shows
dedicated to that area of research, including “Programmed Art - Aktuel 65” and
“White on White” in Bern in 1965 and 1966.
His participation in the “Zero Avantgarde” project, which made its debut in
1965 in Lucio Fontana’s studio in Milan, then followed by exhibitions in the
galleries Il Punto of Turin and Il Cavallino in Venice, played an even greater role
in featuring Simeti’s work as part of this specific scenario. In 1965, once he had
moved to Milano, Simeti held his first solo exhibition in the Wulfengasse Gallery
in Klagenfurt. The next year he exposed in the Galleria Vismara with a catalogue
presentation by Giuseppe Gatt.
Between 1966 and 1969, he was invited as Artist in Residence by the Fairleigh
Dickinson University and he spent long periods of time in New York where he set
up a studio and produced numerous art works, within the rigorous poetic which
he had been gradually defining.
Exposed in numerous galleries in Italy (Il Chiodo in Palermo, Giraldi in Livorno,
Stefanoni in Lecco), as from the second half of the Sixties, his distinctive work
started attracting great attention in Switzerland and in Germany, where his
fortune was to grow over the years (in 1971 he held a show in the prestigious M
Gallery of Bochum, at Loehr in Frankfurt, in the Bettina gallery in Zurich).
In 1971, in line with the climate of contestation of the period, Simeti staged a
performance in the La Bertesca gallery in Genoa with the “Destruction of a
sailplane”, storing its rests in blue, signed and numbered cans. However, this
event did not entail any radical transformation of his work on surfaces and
volumes, although it was to reflect a further sense of rarefaction of the projecting
elements, witnessing closer bonds with the poetics of minimalism.
In the early Seventies he presented his work in other individual exhibitions in
Bergamo, Verona, Rottweil, Dusseldorf, Oldenburg, Köln, München, and
participated in a number of group exhibitions, such as “Extension” in the Casa del
Mantegna in Mantua, thus confirming his participation to the research carried out
in the constructive milieu.
During these years, Simeti’s work was shape-up mainly as consequential
research, in the transition from single elements to diptychs and polyptychs with a
projecting element, often decentralized, and with an experimentation of different
formats and outlines, reaching effects of greater spatial complexity during the
Eighties.
In the second half of the Seventies his exhibitions brought him to various
European cities such as Basel, Dusseldorf, and Koblenz. In 1980 the Municipal
Picture Gallery (Pinacoteca) of Macerata hosts an individual exhibition. As from
the same year he started working in a new studio in Rio de Janeiro, spending
long periods of the winter time in that city and exposing his artwork over the
following years, receiving important recognition.
After having installed a sculpture in Gibellina in 1980, he held various
exhibitions in Sicily, in the Pagano Gallery of Bagheria, in the Opera Universitaria
of Palermo sario Bruno in Sciacca. In 1982 he presented a solo exhibition at the
Studio Grossetti in Milan.
Subsequently his work has been presented in numerous private galleries
abroad, such as the Passmann Gallery in Fribourg and the Wack Gallery of
Kaiserslautern in 1983, the Maier Gallery in Kitzbüehl and the Ahrens Gallery in
Coblenz in 1984, the Paulo Figueiredo Gallery in San Paolo of Brazil and the 44
Gallery in Dusseldorf in 1985, the Apicella Gallery in Bonn in 1986 and the
Monochrome Gallery in Aachen in 1987. After years of intense work at the
International level, Simeti came back to Italy in 1989 with a solo show presented
at the Vismara Gallery in Milan. His works were exposed with those by
Castellani, Bonalumi and others in exhibitions such as “The extroflexed Canvas
in the Milanese Area from 1958 until Today” at the Arte Struktura Gallery in 1989
and “‘58-‘80 Bonalumi - Castellani – Simeti: Three Itineraries”, presented the year
after in another Milanese venue, the Millennium Gallery, thereby stressing that
the extroflexion by Simeti featured contiguous but also antithetical values with
respect to the analogous compositive and constructive techniques of Castellani
and Bonalumi.
In 1991 he presented a wide selection of works at the Civic Museum of
Gibellina, with a catalogue presentation by Elena Pontiggia. During the Nineties,
in addition to individual exhibitions of recent works in Rio de Janeiro, Biberach,
Kaiserslautern, Milan (Vinciana gallery), Bolzano and Trapani, other
retrospectives were presented in 1996 in the Kunstverein of Ludwigsburg and in
Erice, the latter with a catalogue preface by Marco Meneguzzo.
At this point his work featured a multiplication and dispersion of the volumetric
and projecting oval elements on the surface, with a more intense and diversified
coloration, recovering values of architectural relation to an increasingly evident
extent.
In 1998 he held an individual exhibition at the Kain Gallery of Basle, followed
the year after by other exhibitions in Biberach (once again in the Uli Lang
gallery), Ladenburg and Mannheim and by a participation in the exhibition “Art in
Italy in the Seventies” at the Salerniana in Erice.
Other recent individual exhibitions of the artist have been presented at the
Harry Zellweger Art Studio in Basel and in the Uwe Sacksofsky Gallery in
Heidelberg, both in 2000. In 2001 Simeti’s work was exposed at the Municipal
Gallery of Modern Art Gallarate. Between 2002 and 2003 he held numerous
exhibitions in Italy and abroad, amongst which shows at the Fondazione Mudima,
Milan, the Gallery Rino Costa in Casale Monferrato, the Galleria Bergamo, in the
city of Bergamo, the Maier Gallery in Kitzbühel, the Gallery Wack, in
Kaiserslautern, Immoblilia in Verona, the Giraldi Gallery, in Livorno, Arte Silva, in
Seregno, and Carte d’arte Mostre, in Catania. In 2004 Simeti’s held a show at the
Galleria Poleschi in Milan, presented by Luca Beatrice. The following year, in
2005 a solo exhibition was organized in Lugano at ARTantide.com. Again in
Lugano, the BIM - Banca Intermobiliare proposed an exhibition of Simeti’s work
in 2006. In 2006 Excalibur Gallery in Solcio di Lesa organized a personal
exhibition with a catalogue by Flaminio Gualdoni. In novembre 2007 la Fiera
D’Arte di Padova invited him for an anthological exhibition as a side event to the
Fiera.
Amongst the various exhibitions held in the most recent years, it’s worth
pointing out his personal shows held at the GlobArt Gallery in Acqui Terme in
2007, accompanied by a voluminous catalogue, his 2008 show presented by
Paolo Campiglio at the Poleschi Gallery in Milan, as well as his shows held in
Genoa at the “Spazio Satura” Palace and at the Armanda Gori Casa D’Arte in
Prato, then taken to the Fiera D’Arte in Cremona and at the Maretti Arte Monaco
of Montecarlo where in 2009 he exposed a selection of his most recent work.
In October 2009 an installation of large white paintings in studio d’arte
contemporanea Pino Casagrande in Roma and in febrary 2001 a two mounth ex
position of large painting in the galleria Salvatore + Caroline Ala in Milano, in
august a large one man show retrospective to his hometown of Alcamo.
Lives andBiografia
Turi Simeti nasce ad Alcamo, in provincia di Trapani nel 1929. Si trasferisce a
Roma nel 1958, dove avvia i primi contatti con il mondo dell’arte, e conosce tra
gli altri l’artista Alberto Burri di cui frequenta lo studio. Da queste sollecitazioni
deriva all’inizio degli anni Sessanta, una prima produzione di opere
polimateriche. In questi stessi anni, Simeti soggiorna inoltre per lunghi periodi a
Londra, Parigi e Basilea.
Nei primi anni Sessanta, in sostanziale sintonia con coeve esperienze in
ambito internazionale motivate da una comune volontà di azzeramento della
tradizione e dei codici precostituiti dell’espressione artistica, il linguaggio di Turi
Simeti si definisce attraverso l’acquisizione della monocromia e del rilievo come
uniche forme compositive e si struttura principalmente intorno a un elemento
geometrico, l’ellisse, che diventerà la cifra del suo lavoro artistico.
Nel 1963 prende parte alla “Rassegna Arti Figurative di Roma e del Lazio”, al
Premio Termoli e alla mostra “Arte Visuale” presso Palazzo Strozzi a Firenze,
dimostrando di condividere le dinamiche delle ricerche visive e strutturali vicine
all’arte programmata e alla Nuova Tendenza. Simeti partecipa con le sue opere a
varie rassegne che nascono all’insegna di tale corrente, come la mostra “Nuova
Tendenza 3” a Zagabria nel 1965, e le esposizioni tenute nella galleria Il Cenobio
di Milano, a Modena e Reggio Emilia nel 1967, così come altre importanti
rassegne internazionali dedicate a quell’area di ricerca, quali “Arte Programmata
- Aktuel 65” e “Weiss auf Weiss” a Berna nel 1965 e 1966.
Ancor più importante per l’acquisizione dell’opera di Simeti a un panorama
specifico, risulta il suo inserimento nel progetto “Zero Avantgarde”, che fa la sua
prima uscita nel 1965 nello studio di Lucio Fontana a Milano, per proseguire con
esposizioni nelle gaIlerie Il Punto di Torino e Il Cavallino di Venezia. Nel 1965,
trasferitosi a Milano, realizza la sua prima personale nella Galerie Wulfengasse
di Klagenfurt. L’anno seguente tiene una personale nella Galleria Vismara,
presentata in catalogo da Giuseppe Gatt.
Tra il 1966 e il 1969, invitato come Artist in Residence dalla Fairleigh
Dickinson University, si trattiene per lunghi periodi a New York, dove allestisce
uno studio e realizza numerose opere all’interno della poetica rigorosa che è
andato definendo.
Esposto in numerose gallerie italiane (Il Chiodo a Palermo, Giraldi a Livorno,
Stefanoni a Lecco), già nella seconda metà degli anni Sessanta il lavoro di Simeti
riceve interesse in Svizzera e in Germania, dove la sua fortuna andrà crescendo
negli anni (nel 1971 espone nella prestigiosa galleria M di Bochum, da Loehr a
Frankfurt, nella galleria Bettina a Zürich).
Nel 1971, nel segno di un’adesione al clima di contestazione dell’opera, Simeti
realizza una performance nella galleria La Bertesca di Genova con la
“Distruzione di un aliante”, di cui conserva i resti in bidoni blu firmati e numerati.
Ciò non comporta però una trasformazione radicale del suo lavoro sulla
superficie e sui volumi, anche se nei suoi lavori verrà manifestandosi un ulteriore
senso di rarefazione delle presenze aggettanti, dimostrando un avvicinamento
alle poetiche del minimalismo.
Nei primi anni Settanta realizza altre personali a Bergamo, Verona, Rottweil,
Düsseldorf, Oldenburg, Köln, München, e partecipa ad alcune mostre collettive,
come “Estensione”, nella Casa del Mantegna di Mantova, confermando
l’adesione del suo lavoro alle ricerche in ambito costruttivo.
In questi anni l’opera di Simeti va configurandosi come una ricerca
consequenziale, nel passaggio da opere singole a dittici e polittici con un
elemento aggettante che viene spesso decentrato, e quindi con la
sperimentazione di formati e sagome differenti, che raggiungeranno effetti di
maggiore complessità spaziale nel corso degli anni Ottanta.
Nella seconda metà degli anni Settanta la sua attività espositiva lo porta in
diverse città europee come Basilea, Düsseldorf, Coblenza. Nel 1980 la
Pinacoteca Comunale di Macerata ospita una mostra personale. Dallo stesso
anno inizia a lavorare in un suo nuovo studio a Rio de Janeiro, città in cui
trascorre lunghi periodi invernali e dove negli anni successivi espone ricevendo
importanti consensi.
Nel 1981, dopo aver collocato una scultura a Gibellina l’anno precedente,
espone sempre in Sicilia alla Galleria Pagano di Bagheria, presso l’Opera
Universitaria di Palermo; nel 1982 tiene una personale nello Studio Grossetti di
Milano.
Negli anni seguenti le sue opere vengono accolte in numerosi spazi privati
all’estero, quali la Galerie Passmann di Friburgo e la GaIerie Wack di
Kaiserslautern nell’83, la Galerie Maier di Kitzbüehl e la Galerie Ahrens di
Coblenza nel 1984, la Galeria Paulo Figueiredo di San Paolo del Brasile e la
Galerie 44 di Düsseldorf nel 1985, la Galerie Apicella di Bonn neI 1986 e la
Galerie Monochrome di Aachen nel 1987. Dopo anni d’intensa presenza
all’estero, Simeti torna ad esporre in Italia nel 1989 con una personale allestita
nella Galleria Vismara di Milano. L’accostamento alle opere di Castellani,
Bonalumi e altri nelle mostre “La Tela Estroflessa nell’Area Milanese dal 1958 ad
Oggi” presso la Galleria Arte Struktura nel 1989 e “‘58-‘80 Bonalumi - Castellani -
Simeti /Tre Percorsi”, sempre a Milano, nella Galleria Millenium, l’anno
successivo, mette in risalto come l’estroflessione praticata da Simeti assuma
valori contigui ma anche antitetici rispetto alle analoghe tecniche compositivocostruttive
applicate da Castellani e Bonalumi.
Nel 1991, presentato in catalogo da Elena Pontiggia, espone un’ampia
selezione di lavori al Museo Civico di Gibellina. Nel corso degli anni Novanta,
oltre a personali di opere recenti a Rio de Janeiro, Biberach, Kaiserslautern,
Milano (galleria Vinciana), Bolzano e Trapani, altre retrospettive hanno luogo nel
1996 nel Kunstverein di Ludwigsburg e a Erice, la seconda con testo in catalogo
di Marco Meneguzzo.
La sua opera va configurandosi ora attraverso la moltiplicazione e la
dispersione degli elementi volumetrici-aggettanti ovali nella superficie, con una
colorazione più intensa e diversificata, recuperando valori di relazione
architettonica sempre più evidenti.
Nel 1998 tiene una personale alla Galerie Kain di Basilea, seguita l’anno
successivo da altre esposizioni a Biberach (di nuovo nella galleria Uli Lang),
Ladenburg e Mannhein e dalla partecipazione all’esposizione “Arte in Italia negli
anni 70” presso La Salerniana di Erice.
Altre recenti personali dell’artista sono realizzate presso lo Studio d’Arte Harry
Zellweger di Basilea e nella Galleria Uwe Sacksofsky ad Heidelberg, entrambe
del 2000. Nel 2001 Simeti espone alla Civica Galleria d’Arte moderna di
Gallarate. Tra il 2002 e il 2003 numerose mostre sono allestite in Italia e
all’estero, tra cui la Fondazione Mudima, Milano, la Galleria Rino Costa, Casale
Monferrato, la Galleria Bergamo, Bergamo, la Galleria Maier, Kitzbühel, Galerie
Wack, Kaiserslautern, Immoblilia, Verona, la Galleria Giraldi, Livorno, Arte Silva,
Seregno, Carte d’arte Mostre, Catania. Nel 2004 le opere di Simeti sono esposte
presso la Galleria Poleschi di Milano con una presentazione di Luca Beatrice.
Segue nel 2005 un’esposizione a Lugano nello spazio ARTantide.com. Sempre a
Lugano, nel 2006, la galleria BIM - Banca Intermobiliare propone una personale
dell’artista. Ancora nel 2006 la Galleria Excalibur di Solcio di Lesa propone una
personale presentata in catalogo di Flaminio Gualdoni. Nel novembre 2007
Simeti è invitato dalla Fiera D’Arte di Padova per un’antologica organizzata come
evento collaterale.
Tra le numerose mostre degli ultimi anni vanno segnalate le esposizioni
personali alla GlobArt Gallery di Acqui Terme nel 2007 accompagnata da un
corposo catalogo, una personale introdotta da Paolo Campiglio, alla Galeria
Poleschi di Milano nel 2008, le mostre organizzate presso il palazzo dello
“Spazio Satura” a Genova e all’ Armanda Gori Casa D’Arte a Prato, portata poi
alla Fiera D’Arte di Cremona ed anche l’esposizione alla Maretti Arte Monaco di
Montecarlo dove ha esposto nel 2009 una selezione delle opere più recenti. Nell’
ottobre 2009 una istallazione de grandi operi bianche nel studio d’arte
contemporanea Pino Casagrande a Roma e nel febbraio 2010 espone per due
mesi grandi opere nella galleria Salvatore + Caroline Ala, a Milano, in agosto una
grande personale antologica ad Alcamo sua città natale.
Vive e lavora a Milano