The exhibition, entitled Camera 10: Giorgio Griffa – Anni ’70-2000 and curated by Matteo Galbiati, presented about twenty paintings, both on canvas and on paper, made by the famous Turin artist from the Seventies to the Two Thousands. Through these works, it was intended to testify to the different pictorial cycles of Griffa, which intertwine and overlap, accentuating the atemporality of the artist’s pictorial dictation.

Giorgio Griffa was one of the protagonists of the analytical season of Italian painting and a prominent representative of that tendency that in the late sixties engaged some young people to reflect on the intrinsic themes of pictorial language. His research, the object of a recent reappraisal both from a critical and market point of view, is based on a corollary of primary signs-gestures, but also of symbols and codes, which leave the pictorial writing suspended in the void of the raw canvas. Deprived of the frame and liberated in space, the support of color loses its objectivity and finds a different expressive potential in dialogue also with the place that welcomes it, accessing a new phenomenology that declares its nature.

The exhibition took place at the new headquarters of KROMYA Art Gallery in Verona, founded in 2018, which continues its cultural project despite the difficulties of the present, with the certainty that art can be an important resource for the future. The gallery has chosen to call its exhibitions “Camera” and to maintain this title even for the Verona venue, to give the intimacy and familiarity that was especially present in the German galleries born after the Second World War. The visitor is therefore welcomed into an intimate environment, like the one in the Lugano venue, located in what was an early 20th century apartment building.