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2 - Sagitta. Ordinario-Uomo-Straordinario, Michelangelo Galliani, Studio la Linea Vertical

MICHELANGELO GALLIANI

CRITICAL TEXTS

TATIANA BASSO

BRUNO D'AMORE

CARLOTTA MINARELLI

GISELLA VISMARA

SAGITTA

ORDINARIO-UOMO-STRAORDINARIO

Since its first exhibition, Studio la Linea Verticale has relied on the critical contributions of professionals in the field. Although the curation of the exhibitions is directly linked to the gallery, to stay focused on our research, we consider external critical input indispensable. This external perspective can offer a different interpretation from our own. The gallery's exhibitions are divided into two types: the tripartite title, conceived in a circular fashion, such as "Opaque-Specter-Opaque" or "Terreno-Ultra-Terreno," indicates an exhibition curated by the gallery. Each of these exhibitions includes textual references to the motivations and reflections associated with it, accompanied by one or more texts provided by a critic or curator. On the other hand, non-tripartite titles indicate that the curation of the exhibition is entrusted to a third party, as in the case of "Gli arrabbiati del Battibecco." In this instance, the exhibitions hold significant historical and critical value, aiming to recover historical moments from the past or attempting to add a new piece and a new interpretation to the recent art history. We have had the opportunity to collaborate with and have critical texts written for us by prominent figures in the national art scene, including professional critics, museum directors, and university professors such as Lorenzo Balbi, Tatiana Basso, Valerio Dehò, Lucrezia Ercoli, Pasquale Fameli, Olga Gambari, Carmen Lorenzetti, Roberto Mastroianni, Alessandro Mescoli, Maura Pozzati, Antongiulio Vergine, and Maria Chiara Wang.

NEWS

Since its first exhibition, Studio la Linea Verticale has relied on the critical contributions of professionals in the field. Although the curation of the exhibitions is directly linked to the gallery, to stay focused on our research, we consider external critical input indispensable. This external perspective can offer a different interpretation from our own. The gallery's exhibitions are divided into two types: the tripartite title, conceived in a circular fashion, such as "Opaque-Specter-Opaque" or "Terreno-Ultra-Terreno," indicates an exhibition curated by the gallery. Each of these exhibitions includes textual references to the motivations and reflections associated with it, accompanied by one or more texts provided by a critic or curator. On the other hand, non-tripartite titles indicate that the curation of the exhibition is entrusted to a third party, as in the case of "Gli arrabbiati del Battibecco." In this instance, the exhibitions hold significant historical and critical value, aiming to recover historical moments from the past or attempting to add a new piece and a new interpretation to the recent art history. We have had the opportunity to collaborate with and have critical texts written for us by prominent figures in the national art scene, including professional critics, museum directors, and university professors such as Lorenzo Balbi, Tatiana Basso, Valerio Dehò, Lucrezia Ercoli, Pasquale Fameli, Olga Gambari, Carmen Lorenzetti, Roberto Mastroianni, Alessandro Mescoli, Maura Pozzati, Antongiulio Vergine, and Maria Chiara Wang.

ARTISTSFOCUS

Since its first exhibition, Studio la Linea Verticale has relied on the critical contributions of professionals in the field. Although the curation of the exhibitions is directly linked to the gallery, to stay focused on our research, we consider external critical input indispensable. This external perspective can offer a different interpretation from our own. The gallery's exhibitions are divided into two types: the tripartite title, conceived in a circular fashion, such as "Opaque-Specter-Opaque" or "Terreno-Ultra-Terreno," indicates an exhibition curated by the gallery. Each of these exhibitions includes textual references to the motivations and reflections associated with it, accompanied by one or more texts provided by a critic or curator. On the other hand, non-tripartite titles indicate that the curation of the exhibition is entrusted to a third party, as in the case of "Gli arrabbiati del Battibecco." In this instance, the exhibitions hold significant historical and critical value, aiming to recover historical moments from the past or attempting to add a new piece and a new interpretation to the recent art history. We have had the opportunity to collaborate with and have critical texts written for us by prominent figures in the national art scene, including professional critics, museum directors, and university professors such as Lorenzo Balbi, Tatiana Basso, Valerio Dehò, Lucrezia Ercoli, Pasquale Fameli, Olga Gambari, Carmen Lorenzetti, Roberto Mastroianni, Alessandro Mescoli, Maura Pozzati, Antongiulio Vergine, and Maria Chiara Wang.

ART PRIZES