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Italian Gianni Dessì is born in Rome in 1955. He attended the Academy of Fine Arts of Rome and in the 1976 he graduated in the scriptwriter course held by Toti Scialoja. From 1974 to 1976 he collaborated with the theatre group "la Gaia Scienza" directed by Giorgio Barberio Corsetti and Alessandra Vanzi. He introduces for before the public time in a job in 1977, the within of one organized review from the theatre Beat ' 72: The initiatives of II, edited by Giuseppe Bartolucci, Ulisse Blessed, Simone Carella and Franco Cordelli. Dessì prepares a distance in the tunnel of the Station of Saint Peter in Rome, scandito from short witnesses who the spectators read dipped in make us of blue light. In the june of 1978 it has been exhibited at the Ugo gallery Shoeing in Rome, with to Tawny, Ceccobelli, Giuseppe Gallo, Angel Segneri and Francesca Woodman. Dessì introduced the concept of Penetrations (the four senses), and realized a work directly on the wall of the gallery, for which he employed paper and iron. Thanked to the Ugo Ferranti Gallery introduction into the world of art, he held his first one man show at the Art Fair of Bologna in 1979. The same year he has been on display to Bistica of Sotli, in Slovenia, and exhibited the room of a house of abandoned peasants, that the work embraced the entire atmosphere. In the eighties he was on show in several galleries such as Swart in Amsterdam, Ugo Ferranti in Rome and Yvon Lambert in Paris. It exposes burlaps of great dimensions, painted using technical and material various: oil, moderates, charcoal pencil, wax. In first years of the eighties, he established his studio in the former Pastificio Cerere factory in via of the Ausoni, in the roman quarter of Saint Lorenzo, that became a vital centre of the city and international artistic culture neighbourhood.In 1984, it has been organized in the Pastificio building converted into artist’s studio. the exhibition "Ateliers" in occasion of which Domenico Bianchi, Gianni Dessì, Ceccobelli, Giuseppe Gallo, Nunzio and Piero Pizzicannella, openned their studios to the public. During the eighties and nineties personal and collective shows were been intensified. Among all his shows, we remember his one-man show at the Ugo Ferranti galleries of Rome (1980, 1981, 1982), Folker Skulima of Berlin (1981, 1982, 1985, 1987), Triebold of Basel (1989) and L. To Louver of Venice - Los Angeles (1989); the collective exhibitions "Banchi, Ceccobelli, Dessì, Gallo" to the Groninger Museum (1981), "the Italie aujourd' hui" to the Centre National d' Art Contemporain of Nizza (1985), "New wefts of the art" in the Castle Column of Genazzano (1985), "Years Eighty" in the San Domenico cluster to Imola (1985), "White men, Ceccobelli, Dessì, Rooster" to the Riversides Study of London (1986), "Trait d' Union" to Villa Medical to Rome (1988), "From the return to the order to the callback of painting 1920 - 1987" in the Kunsthalle di Bielefeld (then Kunsthalle, Darmstadt BNS Ateneumin, Oslo; Taidemuseo, Helsinki, 1988); the participation to the Biennial one of Saint Paul (1981), to the "Biennial DES jeunes artistes" of Paris (1982), to the Biennial one of Venice (1984, 1986). The first one-man show in the Gian Enzo Sperone gallery of Rome and at the Sperone Westwater of New York was in 1985. In burlaps of this period the presence of an element is the constant centre Moreover it determines the image, emerging on one surface crossed by painting stratifications, material addings, removals, cuts and cancellations (Pictor pixit, 1984; Great reign, 1984; Announcement 1985, short Cut, 1985; Alive wood, 1985). The title Punto e a capo is emblematic for the painting of 1987 in which the artist it defines with greater superficial clearness of stamp and colour and. In 1988 Campione, a work of great dimensions realized in situ and conceived like one progression of various elements. A burlap white woman, spread on the wall without being without a canvas, a monochrome surface and a plate of primary yellow, he also painted directly on the wall, the element is centred, therefore, it blocks the image, obtained using small canvas an oval turned over with the chassis of $R- wood full view, that it receives to its inside an other small painted burlap. A chassis oval for paintings appears also in Giro in tondo in 1989. Shows activities got intensified in the course of nineties. Among the one-man shows, we remember those in the galleries of Alexander I in Siena (1990, 1995), Volker Diehl in Berlin (1991), Gian Ferrari in Milan (1992), Eight in Bologna (1993). In 1994 he also was on show and at the same time in Paris at the Hôtel de Galliffett, center of the Italian Institute of culture and in the Gallery Di Meo. The Civic Gallery of Contemporary Art of Trento dedicates a wide anthological extension to him in 1995 supervised by Danilo Eccher. Among the collective exhibitions we point out "inner Rome" at the Museum Moderner Kunst - Stiftung Ludwig of Vienna (1991), "Concordantiae" at the Centre Régional d'Art Contemporain of Tolosa (1992), "One generation to Rome" at the Rocca Paolina of Perugia and the Center for the Contemporary Art of Umbertide (1992); "the abstraction redefined" to the National Gallery of Modern Art of Saint Marino (1993), "visible and the invisibile. Italian art 1945 1995"in the Aiki Prefectural Museum of Art di Nagoya (then Museum Contemporary Art, Tokyo; Yonago City Museum, Tottori; City Museum, Hiroshima, 1997). In 1991 he has exhibited the installation Room picta, realized in Rome, within the "Newspaper stand night". In this occasion, in a space of seven meters per one, not accessible to the observable public and showed only from the outside through a glass, Dessì prepared one complex bi-dimensional vision. Following a determined design he painted walls, pavement and ceiling making the work rotate around an element centre making it three-dimensional. The effect that is rising from it, is an anamorphous that transforms the entire atmosphere in one great pictorial image. Room picta in occasion of the one-man show at the Eight gallery in Bologna in 1993 prepared one newly work out of his precedent. Without title in 1994 it is a work of great dimensions realized on the external wall of the Italian Institute of culture to Paris. Without title it is also the work realized on one of the walls of the Palace of the Exposures, in occasion of the participation to XII the Four-year National Exposure of Art of Rome (1996). After a long stay in New York between 1985 and 1989, Dessì currently lives and works in Rome and Saint Hill Giorio (PG) in Umbria. Daniela Lancioni Title: Campione Dimension (cm): 450x300 Technique: oil and tempera wall and canvas Year: 1988  Foto D. Zedman. Courtesy Sperone-Westwater Gallery, New York Titolo: Filo doppio Dimension (cm): 180x180 Technique: oil, ottone on canvas and tempera on wall Year: 1989  Foto M. Capone. Courtesy Sperone-Westwater Gallery, New York Titolo: Seme Dimension (cm): 25x60 Technique: bronze Year: 1995  Foto M. Capone Titolo: Senza Titolo Dimension (cm): 90x120 Technique: cement, fibreglass e tempera on wall year: 1996  Inistallation at XI Quadriennal of Rome. photo M. Giuffreda | |
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