The gallery opened in 1994 with the exhibition Dadamaino Morellet Uecker. It takes part in the international contemporary artistic debate presenting artists of different generations, alternating Italians and foreigners, in order to both create a dialogue and allow comparisons. The exhibitions are conceived directly by the artists in close relationship with the gallery space and thus the gallery develops a first market activity, being a point of reference for the international market. On the occasion of each exhibition, a bilingual catalogue is published with a critical essay from renowned scholars, illustrations of the works displayed in the gallery and a bio-bibliography.
Da vicino. “In ascolto dell’inudibile risuono dell’opera”, 2016, exhibition view, A arte Invernizzi, Milan. Courtesy A arte Invernizzi, Milan. Photo: Bruno Bani, Milan
Furthermore, the gallery is invited by museums, foundations and public institutions, both in Italy and abroad, to cooperate in the realization of monographic or group exhibitions of the artists that it represents, and is a point of reference for directors and curators. The gallery represents the estate of Mario Nigro (1917-1992), Rodolfo Aricò (1930-2002) and Carlo Ciussi (1930-2012). Since 1994, the gallery has participated in the most important international art fairs.
François Morellet, Mappe visive, 2017, exhibition view, A arte Invernizzi, Milan. Courtesy A arte Invernizzi, Milan. Photo: Bruno Bani, Milan
Exhibitions
City
Exhibition
Date
Milano
Scultura come pensiero che trasforma, Mauro Staccioli
Until 04.05.2023
“I was in close contact with art from a young age, having a poet father who always associated with artists. The opening of the gallery should be read in this context, like a continuation of an umbilical cord that ties my life to art.”
Epicarmo Invernizzi. Courtesy A arte Invernizzi, Milan. Photo Bruno Bani, Milan
In conversation with Epicarmo Invernizzi, A arte Invernizzi
What is the value for contemporary society of art on display in galleries? What is the role of the gallerist in Italy today?
I believe that the gallery is an essential component of the art sphere, since it gives the pieces a chance to face the world. As a gallerist, I have the opportunity to interact with the viewer through my choices, establishing a dialogue and providing stimulus towards new cognitive directions. The gallery is the place where this urgency is expressed, where we offer stimulus for travelling on the wave of the imagination.
A arte Invernizzi, via Domenico Scarlatti 12, Milan. Courtesy A arte Invernizzi, Milan. Photo: Bruno Bani, Milano
How did your career in art begin?
I was in close contact with art from a young age, having a poet father who always associated with artists. The opening of the gallery should be read in this context, like a continuation of an umbilical cord that ties my life to art. In this space, I would like to offer visitors an opportunity to experience what I myself have felt before the mystery of art.
When and how did you first set up your gallery?
I opened the gallery in Milan in 1994 and here it would be impossible for me to avoid referring to the environment I grew up in. While my primary aim was to make it a breeding ground for ideas and a driving centre for initiatives, I owe it first and foremost to my background. Indeed, I began organising exhibitions and conferences in public spaces in the mid-1980s and I worked for two years with the Padiglione d’Arte Contemporanea in Milan.
A arte Invernizzi, via Domenico Scarlatti 12, Milan. Courtesy A arte Invernizzi, Milan. Photo: Bruno Bani, Milano
Talk to us about the space you chose for your gallery and its location.
I opened the gallery in 1994 in a historical building, having opted against a “white cube” and instead chosen a space where the works could dialogue with the exhibition setting. The original architectural structure was maintained during the renovation of the space, in order to create something unique in the rapport between work and environment.
What kind of art do you deal with?
The exhibitions that I organise give space to different generations, Italian and non, to create dialogue, generate comparison and provide a complex overview of the contemporary scene. As already observed in an interview in 1995, it is that which is, in the present, also future memory, since it provides access to new cognitive possibilities, originating new possibilities of meaning.
