Via Gaspare Spontini 8,
20131 Milano
Exhibition extended until December 22, 2025
MON (by appointment)
TUE-SAT 10.30-19.00
SUN CLOSED
(Check for any holiday closures on the website: vistamare.com)
ARTISTS:
Lorenzo Scotto Di Luzio
Carlo Carrà (Collezione Ramo)
3_Lorenzo Scotto di Luzio : Carlo Carrà
2_Lorenzo Scotto di Luzio : Carlo Carrà
1_Lorenzo Scotto di Luzio : Carlo Carrà
3-Lorenzo Scotto Di Luzio
2-1224_carrà_la brocca_1916
Lorenzo Scotto Di Luzio answers questions from
Irina Zucca Alessandrelli, curator of Collezione Ramo
What does drawing mean to you?
It is getting to know one’s ancestors, discovering something about oneself that would otherwise remain dormant.
What materials, techniques, and creative processes do you use when working on paper?
Mostly drawing from memory; the techniques are always charcoal or pencil on paper.
Why did you choose this work from Collezione Ramo?
It is a small drawing by Carlo Carrà: a charcoal jug on paper from 1916, a period when the artist was moving away from Futurism and approaching Metaphysical painting. It is a very simple drawing, I would say elementary: a portion of a cylinder intersecting with a portion of a sphere, with the handle as the only element of whimsy. A simple jug, yet the presence of man emerges unmistakably. This evocative atmosphere ended up shaping my artistic research.
What value does dialogue with the Masters of the 20th century have for you?
The first art catalogues I ever browsed were from early 20th-century Italian artists; De Chirico, Carrà, and many others formed part of my imagination and provided a certain “imprinting.”
However, when drawing, I am quite “omnivorous,” drawing inspiration from anything that comes from the outside world: from art history to comics to daily news, all without a pre-established hierarchy. The dialogue with the Masters of the 20th century, however, remains uninterrupted
LORENZO SCOTTO DI LUZIO (Pozzuoli, 1972) has developed, since the 1990s, an eclectic and multidisciplinary artistic path, freely employing a variety of materials, from photography to video, from installation to drawing. At the core of his research is the sharp irony with which the artist fosters reflection on contemporary society, the art world, and artistic practice itself. Rather than direct critique, his work offers a poetic narrative, often tragicomic, taking shape through a play of references between learned and naïve painting, like a continuous exchange of roles between seriousness and lightness.