EROS RENZETTI curriculum vitae

EROS RENZETTI curriculum vitae
Eros Renzetti, 1980 (photo by Eddy Brofferio)
EROS RENZETTI
Biography
APPARATUS
Sets and costumes
Projects
Written works
Exhibitions
Public collections
Bibliography
Biography
by Ines Millesimi
1965
Eros – Giancarlo, the name with which he was christened, is now just a memory stored in the births registry - Renzetti was born in Rome on the 8th
of February. It might seem a quirk at first but Eros is the name his family has affectionately called him from the very beginning, given his startling
resemblance to his brother, who was stillborn three years previously, and whose name was Eros.
Like Dalí, who always felt the inward presence of his brother, who also died three years before Dalí was born and who had looked a great deal like
him, Eros too grew up with this arcane sentiment of the double. He soon began to dedicate himself to drawing and experimenting with various
techniques since, from an early age, he had a notion that once he was an adult he would be an artist. A vivid memory that Eros would cherish from
childhood was seeing the film Ziegfield Follies starring Fred Astaire and being impressed by the sets and by the costumes worn for those perfectly
synchronized and perfect dances.
1979-1985
From 1979 on he attended Istituto Statale d’Arte Roma I (ISA) in via Silvio d’Amico 111, leaving school with an Art teaching diploma in 1982. There
he studied sculpture under the guidance of Carlo Lorenzetti as well as painting under Paolo Cotani. Both of these artists were well-known in the art
world and not just in Italy or in Rome. These were the years when Lorenzetti was seeking a stark and spiritual lyricism in rigorously abstract form.
The sign hovering in space is made up of the modulation of the reflecting sheet of metal, able to transmit a formal idea of freedom and lightness
that is anti-monumental. Cotani, interested in the language of photography after rubbing shoulders with well-known American photographers, was
the protagonist of an Analytical or New Painting, which came in the wake of the experimentations of Arte Povera. His art in those years achieved
the essence of minimalism while never straying from the traditional repertoire of painting.
EROS RENZETTI curriculum vitae
In 1984 Eros Renzetti was awarded his leaving school diploma in Applied Art at the Istituto d’Arte, graduating in Metal and Jewellery Art under
Eliseo Mattiacci, another well-known international artist who, in the Eighties, explored the theme of astronomic space with works and installations
that succeeded in transmitting a strong cosmic energy. Under Mattiacci, who was then a professor of enamels, he produced various masks made of
enamelled copper.
Eros picked up the art of designing jewellery with the greatest of ease, and he was able to develop this talent with the great professional who had
worked with Cagli, Mirko, Afro and Cannella in Rome in the Fifties for Mario Masenza the jeweller. From these brief notes, which sum up the
schooling of the young Eros, a clear picture emerges of, firstly, what stimulating settings the classrooms of the Istituto d’Arte were then, and,
secondly, what changes have taken place in the thirty years since he left to gradually limit the “practical” approach in the workshops of these
schools which, in the wake of the educational reform, became Art lyceums. Thus, in a context where the broadest range of technical skills were
taught, Eros designed jewellery and modelled small sculptures of mostly invented figures portrayed in hieratic poses. Meanwhile, he kept company
with Italo Mussa, art critic and theoretician of the so-called Pittura Colta, consolidating an increasingly genuine interest in the art of figuration and
discarding- despite maintaining a respect for and a consciousness of this type of expression- a form approaching abstract experimentation,
installations and the most extreme contemporary trends which, all the same, had influenced his earliest training. He became increasingly attracted
to the creative world of the theatre, of set-building, costumes and atmospheres that are spectacular in the way they unfold “in the here and now”.
He saw the show Flowers, pantomima per Jean Genet starring Lindsay Kemp at the Teatro Brancaccio in Rome, and was totally mesmerised. He
would have further opportunities to meet the great British mime artist, with whom he would exchange various drawings. In the meantime, in 1979,
when Eros was just fourteen years old, some of his drawings were spotted by the visionary artist Fabrizio Clerici, a leading artist in Rome, in Italy,
and abroad, whose expression was cultured and extremely sophisticated, hovering between metaphysical suspension and surrealism.
Encouraging Eros to pursue this path and to increasingly hone his techniques, Clerici invited him to visit his studios in Rome and in Barattoli, in the
municipality of Monteroni d’Arbia Siena. Here, in Barattoli, in the church hall adjoining the house, there is a contemporary copy of Rutilio Manetti’s
seventeenth century painting Tentazione di sant’Antonio, and it was precisely in this magical place that Leonardo Sciascia, on a visit to his friend
Clerici, found the inspiration and idea for his book Todo Modo. Eros underwent a prolonged and pivotal apprenticeship at Fabrizio Clerici’s studio,
becoming his assistant and sharing his home until he died in 1993.
From that moment on he took charge of preserving the memory of the artist and running his large historical archive. Thus Eros Renzetti had the
opportunity to work alongside a highly independent artist who was difficult to pigeonhole in any group or category.
As Clerici was not just an artist but also a highly sophisticated intellectual, who was friendly with and held in esteem by eminent figures in the world
of art, literature and international cinema, Renzetti was invited along on the numerous trips Clerici made in the Eighties to Egypt, Paris, and New
York. Eros met a number of very different people at that time: Leonor Fini, Salvador Dalí, Federico Fellini, Dalida, Brigitte Bardot, Serge Gainsbourg,
Rock Hudson, María Félix, François Mitterrand, Boris Kochno, Silvana Mangano, Alida Valli, Georges Perec, Ingrid Bergman, Isabella Far de Chirico,
Vittorio Gassman, Laura Betti, Leonardo Sciascia, Hebert von Karajan, Giulietta Simionato…each of whom succeeded in leaving a deep impression
on him, contributing to the development of his character, which was anxiously inquisitive, sensitive and very kind but also capable of asperity and
aloofness.
In the meantime Renzetti made masks and costumes for various plays. It was in Paris and in Saint Dyé-sur-Loire that he first met Leonor Fini, with
whom he struck up a close friendship. They would continue to meet until her death in 1996, with and without the company of Fabrizio Clerici, who
had been a friend of the painter since 1943. For Eros Leonor would become an enlightened muse, free and unshackled to any historical period,
inspirer of new dreams (they would spend entire evenings discussing Füssli and Pontormo). This meeting was not just intellectual magnetism or a
random union of souls belonging to very different generations.
Both shared the same artistic approach and working method (they exchanged drawings, postcards and photographs, which documented meetings,
stories or events containing alchemical moand theatrical elements). Both had the same slow and controlled working method. The brush-stroke had
to be imperceptible, almost as though the image painted were a magical and spiritual apparition. Eros did a small oil portrait of Leonor in 1983 and
others at different times, as a token of his admiration, while Eddy Brofferio, a mutual friend of Clerici and Leonor Fini, and a brilliant photographer
who worked in both America and Europe, took various portraits of him, which now belong to the prestigious Alinari collection in Florence, seeing
him almost as the reincarnation of a Caravaggio model.
1986-1991
Beginning in 1986 Eros took courses in set design taught by Fabio Vergoz as well as stagecraft taught by Giorgio Scalco at the Fine Arts Academy in
Rome, graduating in 1990. Vergoz established the chairs of set design at the Fine Arts Academy in via Ripetta in Rome and at the Academy of
Viterbo, and taught many Italian Oscar-winning set designers. His detailed stories of the sumptuous production he took part in at Cinecittà in 1959
on the set of Ben Hur were the stuff of legend with his students. Renzetti’s interest as a young set and costume designer was focussed mainly on
EROS RENZETTI curriculum vitae
ballet and dance theatre. He also met Kazuo Ohno, an important Butoh dancer. Due to its anti-narrative and the slow movement of the bodies
which create, as in tableaux vivants, a suspension of time, this type of dance attracted him immensely, to the point that it influenced some of the
drawings he produced at this time. The subjects of his graphic work were, above all, imaginary half-length portraits of disturbing and devilish
cardinals, traced with pencil or a silver nib. He also designed and produced an important setsculpture for H.M. De Montherlant’s show Pasifae,
staged at the Teatro Romano in Nora.
1992-1994
After seeing the anatomical waxes preserved in the museum of Le Specola in Florence, he painted a series of tablets which he would call Teste
anatomiche, where the knot of veins and capillaries constitutes the structure of even more deeply disturbing faces.
One of these tablets would be particularly admired by Leonor Fini, who would encourage Eros to further explore this visionary coté that investigates
beneath the skin of things. In Rome with Fabrizio Clerici he visited the Sistine Chapel and climbed up onto the scaffolding that had been erected for
the restoration of the Last Judgement. In 1994 the National Academy of San Luca purchased il Ritratto di Fabrizio Clerici, painted by Eros in the
summer of 1992 at the artist’s studio in Barattoli in the countryside near Siena, for its picture gallery.
1995-1999
He held his first solo exhibition at the Cà d’Oro gallery in Rome, where he exhibited twenty works, including eight paintings and twelve works on
paper. A dedication from Leonor Fini, written for the occasion, was published in the catalogue: “Dear Giancarlo, when I look for a long time at your
lovely drawing of the face, which perhaps is bizarrely masked, and also that soft light that veils the two creatures that burn with desire for one
another, one sees from your artistic touch the contradiction that engulfs everything and instils fear”. In 1996 “The Best” magazine dedicated an
article to him written by Charles Reynaud des Sablon. He exhibited a large painting with the title Visioni sonore at the Studio S-Arte Contemporanea
gallery in Rome on the occasion of the exhibition Corpo a corpo. Tre maniere di guardare al corpo. He took part in the Sixth International Biennial in
Cairo with Password, an oil painting of vast proportions. A monographic issue of “Psicoanalisi Contro” magazine came out illustrated with his
drawings and paintings. In 1998 he was invited by Alitalia to show his work in various group exhibitions. He designed the graphics for a pull-out that
came with the magazine “Freccia Alata News” (no. 4, 1998). In the following year he held a solo exhibition at the J.F. Kennedy Airport in New York
and produced a silk screen painting on silver sheeting for the Pegaso prize.
2000-2007
The protagonists of the series of paintings with which he inaugurated the new century were bodies and faces which emerged within iridescent
spaces generating mysterious nonsenses with a forceful visionary impact. He also produced Testa alata and Pegaso, two numbered silkscreen
paintings. In 2002 he produced a painting on Cleopatra shown in the group exhibition Cleopatra at the Egypt Academy in Rome and, subsequently,
in a travelling exhibition in Egypt and the Republic of Azerbaijan. In April 2003 he inaugurated the exhibition Cleopatra. Michelangelo all’Arte
Contemporanea at the Alexandria Center of Art in Alexandria in Egypt; the same exhibition was subsequently moved to the Akhnatoon Center of
Arts-Zamalek. In July he produced two paintings for the Giffoni Film Festival shown in the group exhibition Un mondo d’immagini per chi immagina
il mondo. In 2004 he took part in the contemporary art exhibition Salone di Maggio. La natura e l’uomo in Rome at the Monument to Vittorio
Emanuele II. He also showed Opium, a specially painted tempera, in the exhibition Uroburo o dell’Eterno Ritorno (omaggio a Cocteau) held at the
Archivio di Stato di Parma in 2005. In December he exhibited in New York at J.F. Kennedy Airport and saw the publication of his first monograph.
The paintings dating from 2004 to 2007, executed using mixed technique, some of which were large format, focussed on male subjects of knights
and warriors, represented tone on tone on luminescent and monochromatic backgrounds. Blocked in static poses, or encapsulating a moment in
time, these science fiction figures in profile, with aerodynamic helmets and bull necks, inherited the elongated, frontal eyes depicted by the Ancient
Egyptians and Giotto, but also certain structural archaisms typical of the naked warriors of the temple of Athena Aphaia on Aigina.
2008-2010
In Milan he took part in the exhibition entitled Jean Cocteau le joli coeur. Omaggio ”alla moda” di un seduttore, Palazzo delle Stelline, Centre
Culturel Français. In July 2009, within the sphere of the Giffoni Film Festival in Giffoni-Valle Piana (Salerno), he took part in the exhibition Artabù.
Icone della trasgressione while, invited by Museo Revoltella in Trieste, he showed a painting in the exhibition entitled Leonor Fini L’Italienne de
Paris, along with the works of artists including Dorothea Tanning, Pavel Tchelitchew and Jan Lebenstein in a section dedicated to well-known friends
of the great surrealist artist. On this occasion celebrated visionary art expert Laura Gavioli, curator of the section, interviewed him about his
relationship with Fabrizio Clerici and Leonor Fini. In 2009 he showed work in Rome in two group exhibitions entitled Maestri in grafica and La
grafica d’autore dal ‘900 ad oggi and in the exhibition, curated by Carmine Siniscalco, entitled Muro contro muro, held on the occasion of the
twentieth anniversary of the fall of the Berlin wall. At the Silber Gallery in Rome, in an exhibition entitled Giovanni Cozzi Eros Renzetti Anteprima, he
showed some photographs by celebrated fashion photographer Giovanni Cozzi alongside his sculptures, both linked by a strong sense of glamour. In
2010 he was invited by Galleria Cà d’Oro in Rome and by Fondazione de Chirico to take part in a travelling exhibition Omaggio a de Chirico, a group
EROS RENZETTI curriculum vitae
exhibition held at various venues (Sculpture Foundation of Bergamot Station, Los Angeles; New York University, New York; Saint Thomas High
School, Miami). At the homonymous exhibition held in Rome in 2008 (Galleria Cà d’Oro, curated by Antonio and Gloria Porcella) Renzetti wrote this
comment in the catalogue: Before de Chirico came Georges; in my memories of adolescence that is what his wife Isabella Far called him, reminiscing
about him in those long conversations with Fabrizio Clerici which I sat in on in the Eighties. Fabrizio often spoke of his brotherly connection with
Alberto Savinio and of how he had swapped mostly painting and tempera recipes with Giorgio de Chirico as early as 1938. Subsequently I saw many
publications and at the Art Institute I learned the titles of almost every one of his paintings by heart. But the first one I actually saw was Melanconia,
painted in 1912, in London. What lingered with me after seeing some of his works ( I recall the large anthological exhibition in Rome at the Galleria
Nazionale d’Arte Moderna) was the attitude of sweet abandon of many of his figures. It was a form of abandon, even though at times it was not so
sweet, which I assimilated and blatantly mimicked in some of my paintings. Per de Chirico is my current homage to the painter of metaphysics: a
digital elaboration which associates a little known painting of his - La profezia del saggio painted in 1915 - with one of my androgynous knights.”
In 2010 he showed his work in a solo exhibition in Rome entitled Di padre in figlio, held at the Galleria Monserrato Arte ‘900. While his objectsculptures of the Ritrovamenti series– heads made of different materials and in hybrid fibreglass, decorated to the point of hyperbole- reverse the
sense of the memento mori of the celebrated skull made of platinum and eight thousand diamonds with which Damian Hirst scandalised the public
in 2007, the ambiguous vanitas expressed by the beautiful male bodies of armigers which metamorphose into pink flamingos take us to a world of
imagination made up of x-rays (capturing what lies under the skin of things) and dressing up (constructing lateral thinking and the personality),
while continuing to shock with their glamour. Almost as though to mock again the absurd tragicomedy of the real, Eros began to experiment with
cross-pollinations, but also with whimsicalities and with semblances. As in the past he took his lead from the old masters but, increasingly, turned to
fantasy cinema.
One finds surprising analogies between his knights at the end of the Nineties and some films, such as 300 (2007), directed by Zack Snyder, or the
character of Jake Sully in Avatar (2009), directed by James Cameron, who somewhat resembles a head he painted in 2000. There is, moreover, no
lack of oblique tangencies with pop music, with videos and with the staging of the shows of Madonna and Lady Gaga. This being in one’s own
historical period in terms of the figurative imagination is, however, underpinned by a traditional mode of painting. Today Eros Renzetti still works
employing a slow, controlled and perfect technique that involves a skilled dexterity which is not visible to the eye but is there nonetheless.
2011
In February he showed two works at the exhibition Quindici artisti in memoria della Shoah at the Old Jaffa Museum of Tel Aviv and was invited to
the Venice Biennial where he exhibited at the Italy Pavilion curated by Vittorio Sgarbi. On this occasion Vincenzo Consolo wrote: “ I chose to show
the works of artist Eros Renzetti at the next Venice Biennial in the Italy Pavilion because the work of this artist made a great impression on me and
completely won me over. His male figures with helmets, similar to that of the warrior of Dodona, seen in profile, his “presences” of faces, his nudes,
his “tattoos” and, above all, his colours reminded me of the great surrealist paintings of Leonor Fini, of Fabrizio Clerici or of Alberto Savinio”.
Sets and costumes
Ballo è bello
Edited by Vittoria Ottolenghi
Gigantomachia, Nando Citarella’s La Paranza theatre company
Design and production of a gigantic Cyclops mask
Comacchio, piazzetta Tre Ponti, 11th of August 1989
Pasifae
By Henry Millon de Montherlant
(translation by Luca Coppola)
Sets by Giancarlo Renzetti from an idea of Fabrizio Clerici
Costumes by Giovanna Buzzi – Sartoria Tirelli
Music by Francesco De Melis
Directed by Mauro Avogadro
Nora, Teatro Romeno, 11th of July 1991
Milan, Ex Chiesa di San Carpoforo, 18th of July 1991.
EROS RENZETTI curriculum vitae
Projects
Masks and costumes for a performance by Vincenzo Mazzarella and Paolo Bielli performed on the occasion of the exhibition “Prima della
Quaresima” Uomini, Santi, Dei, pagliacci e coriandoli. Rome, Galleria Monserrato Arte ‘900, 28th of January-25th of February 2011. Masks
worn by Vincenzo Mazzarella Apparenza rossa n. 1 (January 2011); Paolo Bielli Apparenza blu n. 1 (January 2011)
Cuore di pietra, 2011
stone, plastic, cycas, paste, metal, 10 x 15 x 8 cm
base 13.5 x 14. 7 cm
Sculpture – object shown at the exhibition: Nascondi la pietra che caino non la trovi, Lecco, Torre Viscontea, 13th of February – 6th of March 2011.
Masks for Naike Rivelli for Giovanni Cozzi’s photo shoot, Tor San Lorenzo, Ardea, 11th of April 2011.
Masks worn by Naike Rivelli : Apparenza blu n. 1 (January 2011); Apparenza oro n. 1 (April 2011).
Texts
Giancarlo Renzetti, presentation, in Fabrizio Clerici. Una retrospettiva, exhibition catalogue, Perugia, EFFE Fabrizio Fabbri Editore 2004.
Eros Renzetti, Omaggio a de Chirico, exhibition catalogue, p. 53, Milan, Electa 2008. Eros Renzetti, Artabù. Icone della trasgressione, exhibition
catalogue, Salerno Creo & Stratego 2009.
Exhibitions
Solo
2009-2010
Rome, Di padre in figlio, Galleria Monserrato Arte ‘900, 21st of October-12th of November, 2010.
Rome, Giovanni Cozzi Eros Renzetti Anteprima, Silber Gallery, 12th of December, 2009-12th of February 2010.
2005-2006
New York (U.S.A.), Eros Renzetti, J.F. Kennedy Airport, December, May 2006.
1999
New York (U.S.A.), Giancarlo Renzetti, J.F. Kennedy Airport, June, July.
1996
Rome, Corpo a corpo. Tre maniere di guardare al corpo. A.R.G.A.M. 1996, (Primaverile Romena 1996 - Arte in Europa), Studio S-Arte
Contemporanea, 15th of April, 11th of May.
1995
Rome, Giancarlo Renzetti. Dipinti e disegni, Galleria Cà d’Oro, 26th of June, 26th of July.
Group
2011
Rome, L’Italia è un colore sognato, Monserrato Arte ‘900, 17th of March-8th of April.
Lecco, Nascondi la pietra che caino non la trovi, Torre Viscontea, 13th of February-6th of March.
Tel Aviv, Quindici artisti in memoria della Shoah, Old Jaffa Museum, 1st- 28th of February.
Rome, “Prima della Quaresima” Uomini, Santi, Dei, pagliacci e coriandoli. Galleria Monserrato Arte ‘900, 28th of January-25th of February.
2010-2011
Venice, 54. Esposizione Internazionale d’Arte La Biennale di Venezia, Arsenale Padiglione Italia a cura di / curated by Vittorio Sgarbi.
Rome, Nel giorno dell’Immacolata Concezione a voi diamo la bellezza nella perversione della forma, Galleria Monserrato Arte ‘900, 8th of
December-10th of December 2011.
Padula (SA), Muro contro muro, senza pietà, Certosa di San Lorenzo, Antica Spezieria, 22nd of April-9th of May.
Los Angeles, Omaggio a de Chirico, Sculpture Foundation di Bergamot Station, Santa Monica, Los Angeles, April.
Salerno, Muro contro muro, Punto Einaudi, 27th of February - 20th of March.
EROS RENZETTI curriculum vitae
New York, Omaggio a de Chirico, New York University, 15th of February -15th of March.
Miami, Omaggio a de Chirico, Saint Thomas High School, 18th of January.
2009-2010
Rome, Omaggio a de Chirico, Galleria Cà d’Oro and various venues, from 30th of November 2009.
2009
Rome, Carte d’autore, Studio S-Arte Contemporanea, 21st of December 2009-18th of January 2010.
Rome, Omaggio a de Chirico, Galleria Cà d’Oro, 30th of November 2009.
Rome, Muro contro muro, Studio S-Arte Contemporanea, 9th of November-5th of December.
Rome, I grandi Maestri della grafica. La grafica d’autore dal ‘900 ad oggi, Galleria L’Indicatore, 10th of October.
Rome, Maestri in grafica, La grafica d’autore dal ‘900 ad oggi, Silber Gallery, 23rd of July-30th of September.
Trieste, Leonor Fini L’Italienne de Paris, Museo Revoltella, 4th of July - 4th of October.
Giffoni-Valle Piana (Salerno), Giffoni Film Festival. Artabù. Icone della trasgressione, Convento di San Francesco, 15th-25th of July.
2008
Rome, Omaggio a de Chirico, Galleria Cà d’Oro, 6th of November-6th of December.
Milan, Jean Cocteau le joli coeur. Omaggio ”alla moda” di un seduttore, Palazzo delle Stelline, Centre culturel français, 24th of October-4th of
December.
2007
Rome, Primaverile A.R.G.A.M. 2007, Salone di Primavera. Ricerca ed Elogio della Forma, first edition, Museo Venanzo Crocetti, 22nd of May- 22nd of
June.
Rome, La forma ritrovata, dipinti di artisti contemporanei, Galleria Il Riquadro, October.
2005
Parma, Uroburo o dell’Eterno Ritorno (oMay a Cocteau), Archivio di Stato, 1st-31st of October.
2004
Rome, Salone di maggio. La natura e l’uomo, Complesso del Vittoriano, 7th-26th of May.
Baku (Azerbaijan), Cleopatra. Da Michelangelo all’Arte Contemporanea, Museo Shirvanshakh, Sala del Trono, 19th- 29th of December.
2003
Alexandria (Egypt), Cleopatra. Da Michelangelo all’Arte Contemporanea, Alexandria Center of Art, April.
Cairo (Egypt), Cleopatra. Da Michelangelo all’Arte Contemporanea, Akhnatoon Center of Arts-Zamalek, June.
Giffoni-Valle Piana (Salerno), Giffoni Film Festival. Un mondo di immagini per chi immagina il mondo. Declinazioni d’arte sull’universo giovanile,
Convento di San Francesco, 19th-28th of July.
Rapolano Terme (Siena), Nuovo surrealismo, visionario e fantastico, Antica Grancia, July.
2002
Rome, Cleopatra, Accademia d’Egypt, 16th of May, 16th of June.
Rome, Cleopatra, Studio S-Arte Contemporanea, 19th of June, 25th of July.
1999-2000
Rome, Che bella (la) figura!, Studio S-Arte Contemporanea, 20th of November 1999, 21st of January 2000.
1998-1999
Orvieto, Trenta artisti per Umbria Jazz Winter, Palazzo del Popolo, 28th of December 1998, 10th of January 1999.
L’Aquila, Artisti per la 705ª Perdonanza Celestiniana, Fortezza Spagnola, 14th of August, 26th of September.
1997-1998
Rome, 50 in Bianco e Nero, Studio S-Arte Contemporanea, 25th of November 1997, 5th of January 1998.
Perugia, Ventiquattro artisti per Umbria Jazz, Rocca Paolina, 10th –19th of July.
1997
Rome, Segnalazioni, A.R.G.A.M. 1997, Accademia delle Arti e Nuove Tecnologie, 10th of June, 20th of July.
Rome, Art Convention Italia (Altamarea), Galleria L’Indicatore.
1996-1997
Cairo (Egypt), Sesta Biennale Internazionale del Cairo. Padiglione italiano, The National Centre of Fine Arts, December 1996, February 1997.
EROS RENZETTI curriculum vitae
1996
Rome, Festival d’Autunno 1996 (Argamarte In Scena e Fuori Scena), Accademia delle Arti e Nuove Tecnologie, 25th of October, 25th of November.
Rome, L’Altra Arte?, Palazzo Barberini, 26th of October, 7th of November.
1995
Naples, Viaggio nell’Italia dell’Arte, Ente Autonomo Mostra d’Oltremare- Galleria Mediterranea, 10th-20th of July, various Italian cities.
1994
Cesenatico (Fo), Arte a confronto, Galleria d’Arte “Il Quadrato”, 10th-24th of December.
Rome, Ricordando Fabrizio Clerici, Accademia Nazionale di San Luca, 10th-30th of June.
Public collections
Rome, Accademia Nazionale di San Luca
Bibliography
2011
Corrado Premuda, Leonor Fini. Da Trieste in poi, in the process of being published.
-Quindici artisti a Tel Aviv per la Shoah, in “Il Messaggero”, 24th of January.
- Il Giornale dell’Arte Vedere a Rome, supplement to “Il Giornale dell’Arte”, no. 28, p. 18th of February.
2009
Corrado Premuda, Il ritorno di Leonor Fini in Italia, in “La Voce in più - Cultura”, supplement to “La Voce del Popolo”, Fiume (Croazia), 18th of July.
Laura Gavioli (interview with Eros Renzetti edited by), La panthera pardus, il Re Luna, Il San Sebastiano- Fabrizio Clerici, Eros Renzetti, Leonor Fini,
exhibition catalogue, in Leonor Fini L’Italienne de Paris, edited by Maria Masau Dan, Trieste, Museo Revoltella, 4th of July- 4th of October.
2007
Marco Carapezza, Voyage à lîle de Motya, in Fabrizio Clerici, exhibition catalogue, Sellerio, Palermo.
2006
Marisa Zattini, Eros Renzetti, in Nei labirinti iniziatici dei corpi ermetici dell’arte, «graphie» VIII, 2nd of June.
- “Ulisse”, 257, January.
-Arte, 392, April.
-Arte, 393, May.
2005-2006 Nicoletta Campanella, Eros Renzetti. Le trame di Venere, EFFE Fabrizio Fabbri Editore, 2005. - Interview: Eros Renzetti. Lo stile dell’arte, in
Tutto Tabacco, 52, 1, January 2006.
2005
Mauro Carrera, Eros Renzetti, in Jean Cocteau, il poeta, il testimone, l’impostore, exhibition catalogue, Parma, Archivio di Stato, 1st-31st of October,
Mattioli 1885.
Elena Fermi, Eros Renzetti, biographical details, in Jean Cocteau, il poeta, il testimone, l’impostore, exhibition catalogue, Parma, Archivio di Stato,
1st-31st of October, Mattioli 1885.
2004
Carmine Siniscalco, introduction in Salone di maggio. La natura e l’uomo, exhibition catalogue, Rome, Complesso del Vittoriano, 7th-26th of May,
Palombi Editori.
Marco Carapezza, Giancarlo Renzetti, in Fabrizio Clerici.Una retrospettiva, exhibition catalogue, Rome, Complesso del Vittoriano, 14th-29th of
February, EFFE Fabrizio Fabbri Editore.
2003
Massimo Duranti, presentation in Un mondo di immagini per chi immagina il mondo. Declinazioni d’arte sull’universo giovanile, exhibition
catalogue, Giffoni, Convento di San Francesco, 19th-28th of July, EFFE Fabrizio Fabbri Editore.
Antonella Pesola, apparatus in Un mondo di immagini per chi immagina il mondo. Declinazioni d’arte sull’universo giovanile, exhibition catalogue,
Giffoni, Convento di San Francesco, 19-28 July, EFFE Fabrizio Fabbri Editore.
- “Ulisse”, year XXIII, no. 232, July.
Ernesto D’Orsi, La forma del Sogno. Giancarlo Renzetti, in “Forum”, year III, no. 5-6-7, June, July, August.
EROS RENZETTI curriculum vitae
2000
Angelo Capasso, Ritratto di Renzetti in abito scuro, in “Arte In”, no. 67, June, July.
- Cronache AZ, no. 677, 29 February.
- Il “pianeta aviazione” nelle schede di Air press, Rome, Editoriale Aeronautica.
- “Chi”, no. 29, 19th of July.
Angelo Capasso, Corpo e tela, in “Modus vivendi”, no. 25, August, September.
Antonella Pesola, ad vocem 10 Anni di Alitalia per l’Arte, Rome, Alitalia Istitutional Relations and Communications.
- Il Giornale dell’Arte Contemporanea, supplement no. 1 in “Il Giornale dell’Arte”, no. 196, February.
1999
Massimo Duranti, presentation in Artisti per la 705ª Perdonanza Celestiniana, exhibition catalogue, L’Aquila, Fortezza Spagnola, 14th of August,
26th of September.
Angelo Capasso, exhibition presentation Giancarlo Renzetti, J.F. Kennedy Airport, New York, June, July.
- “Arte”, no. 311, July.
- “Arte”, no. 312, August.
- “Ulisse 2000”, no. 184, July.
- “Arte In”, no. 61, June, July.
1998
Massimo Duranti, introductory lecture to the exhibition Ventiquattro artisti per Umbria Jazz, Perugia, Rocca Paolina, 10th-19th of July.
- “Arrivederci”, no. 100, June.
- “Arrivederci”, no. 106, December.
- “Freccia Alata News”, no. 4.
- “Quadri & Sculture”, no. 31, June, July.
- “Arte”, no. 299, July.
Massimo Duranti, presentation in Trenta artisti per Umbria Jazz Winter, exhibition catalogue, Orvieto, Sala Expò, Palazzo del Popolo, 28th of
December 1998, 10th of January 1999.
1997
Francesco Gallo, Art Convention Italia - Altamarea, Bologna Edizioni Bora.
- “Quadri & Sculture”, no. 25, April, May; no. 26, June, July.
- A.R.G.A.M., 1997. S.V.P. Primaverile Romena 1997.
Segno Valore Pittura. Associazione Romena Gallerie d’Arte Moderna.
- Mostre estate, brochure published by Comune di Rome.
1996
Charles Reynaud des Sablons, Giancarlo Renzetti. Un jeune classique, in “The Best”, no. 44.
- “Psicoanalisi Contro”, year 13, no. 9.
Angelo Capasso, Giancarlo Renzetti: segni-disegni, in “Cahiers d’art”, no. 16.
Carmine Siniscalco, Giancarlo Renzetti, in Sesta Biennale Internazionale del Cairo, Italian pavilion– exhibition catalogue, Cairo, The National Centre
of Fine Arts, December 1996 - February 1997.
Gianfranco Bartalotta, Teatro: Un “festival d’autunno” a Rome, in “Terzoocchio”, no. 81, December.
Matteo Smolizza, Giancarlo Renzetti, in L’Altra Arte ?, exhibition catalogue,
Rome, Palazzo Barberini, 26th of October, 7th of November.
- Galleria Italia, supplement to “Quadri & Sculture”.
- “Quadri & Sculture”, n. 18, February, March.
- Renzetti in lotta con la metafisica, in “Arte”, no. 273, May.
- Renzetti continua a cesellare i suoi silenzi, in “Arte”, no. 274, June.
1995
Vito Apuleo, Giancarlo Renzetti, in “Il Messaggero”, 3rd of July.
Gabriele Simongini, Giancarlo Renzetti-Contemplazione per penetrare realtà interiori, in “Il Tempo”, 13th of July.
Ines Millesimi, Giancarlo Renzetti, in “Artel”, no. 27, July.
EROS RENZETTI curriculum vitae
Francesco Revel, Renzetti, il fotografo delle emozioni-Metafisica, in Catalogo dell’Arte Moderna Italiana, no. 31, Milan, Editoriale Giorgio
Mondadori.
Andrea Cilento, Giancarlo Renzetti, in Viaggio nell’Italia dell’Arte, travelling exhibition catalogue, Naples, Galleria Mediterranea, 10th-20th of July.
- “Rome c’è”, 29th of June, 5th of July.
- Vernissage, supplement to “Il Giornale dell’Arte”, no. 134, June.
- “Quadri & Sculture”, no. 12, January, February; no. 14,
May, June and supplement; no. 15, July, August; no. 16, October, November.
1994
Francesco Revel, Renzetti, il fotografo delle emozioni- Metafisica, in “Quadri & Sculture”, no. 7, supplement
Carlo A. D’Emilio, Giancarlo Renzetti. Uomini-archetipi, in “Quadri & Sculture”, no. 9.
Francesco Revel, Realismo visionario di Giancarlo Renzetti-Individua atmosfera, in “Quadri & Sculture”, no. 9, supplement.
Costanzo Costantini, Giancarlo Renzetti, in Omaggio a Fabrizio Clerici-Il pennello è come un laser, in “Il Messaggero”, 20th of June.
Mario Quesada, Giancarlo Renzetti, in Clerici, pittore dell’anima, in “La Repubblica”, 30th of June.
1991
G. Del., Pasifae approda in terra di Sardegna, in “Il Giornale”, 29th of June.
Franco Manzoni, Pasifae, perversa regina, in “Corriere della Sera”, 11th of July.
Gianfranco Capitta, Nel segno del toro, in “Il Manifesto”, 14th of July.
Maria Teresa Giannoni, Per amore di un toro, in “Il Tirreno”, 15th of July.
Marco Manca, De Montherlant, inno alla voglia, in “L’Unione Sarda”, 15th of July.
Franco Quadri, L’amante del dio Toro, in “La Repubblica”, 17th of July.
Dante Cappelletti, “Pasifae” rito notturno ricordando Coppola , in “Il Tempo”, 17th of July.
Giampaolo Spinato, Pasifae regina di Creta, in “Tutto Milan - La Repubblica”, 18th-24th of July.
Maria Grazia Gregori, La Francia degli anni Trenta dietro il fatale amore di Pasifae, in “L’Unità”, 22nd of July.
Magda Poli, Pasifae, L’amore impossibile, in “Corriere della Sera”, 22nd of July.
Ugo Volli, In palcoscenico, in “La Repubblica”, 20th of August.
-, Notte dei poeti e mito di Minosse, in “Espresso sera”, 11th of July.
G. Del., In Sardegna Avogadro fa rivivere sulla scena il mito di “Pasifae”, in “Il Giornale”, 14th of July.
Annuari d’Arte Moderna e Contemporanea
- ad vocem, in Catalogo dell’Arte Moderna Italiana, no. 31, 1995; no. 32,1996; no. 33, 1997; no. 34, 1998 Milan, Editoriale Giorgio Mondadori.
- ad vocem, in “Art Diary-Italia”, Milan, Flash Art, 1996.
- ad vocem, in Top Arts. Catalogo Nazionale dell’Arte Contemporanea, Osimo, Rossano Massaccesi Editore, 1997.
- ad vocem, in Annuario d’Arte Moderna-Artisti
Contemporanei 1999, 2000, 2001, 2002, 2003 Rome, Editrice A.C.C.A. in… Arte, 1999.
- ad vocem, in Comanducci. Dizionario Universale.
- ad vocem, in “Art Diary International”, Flash Art