Tag Archive for: #SpazioArte


28 Mar
March 28, 2017

Opening March 7th, h. 7 pm
March 8th 2017 – June 26th 2017

Relais Rione Ponte, in collaboration with Emmeotto gallery, is pleased to announce the exhibition project by the artist Marco Angelini titled Abstract Configurations.



356. untitled – cm 100 x 100 – mixed technique on canvas – 2015 – ph Carolina Farina


The research of Marco Angelini begins from matter, an essential element of endless possibilities where chromatic surface, thanks to the combination of shapes and colors, becomes the connective tissue of heterogeneous modes of expression: the ultimate goal of the work is the exemplification of an idea, a thought, a dream.

The artist, in this exhibition, retraces twelve year of his career conducted between New York, Warsaw and Rome, a selection of thirty – eight works, exquisitely furnished in the spaces of the Relais, it will channel the viewer into a chromatic universe that is, in the first instance, an aesthetic audacity connected to painting.

Material and colors are intertwined, space acquires, via the withdrawal method object, a third dimension that catches the eye and it is stated as a logical continuity between figuration and abstraction, the eternal conflict that carries with any explicit representation of the tangible world.


352. untitled - cm 100 x 100 - mixed technique on canvas - 2015 - ph Carolina Farina

352. untitled – cm 100 x 100 – mixed technique on canvas – 2015 – ph Carolina Farina


“The artwork does not define more as the only comprehensive source of delight for a privileged class, with a special sensitivity, but it is an omnipresence of renewable plastic stimuli, necessary to collective equilibrium”. In Vasarely’s words we find a centuries-old idea: the shape is an element of an hidden reality, a stronger visible appearance. Angelini’s works fit on the heels of the avanguard that is no longer exclusively the preserve of abstract art, his research gets its roots into the concept of “pure visibility”, an aesthetic vision in which the composition is constructed through the significant forms.

The artist’s pictorial itinerary is closely related to the study of society, the seduction of reality breaks into Angelini’s paintings through the objects of our everyday life, whose original function is transformed distorting the meaning and spouting a cognitive process that it is never an end in itself, but which manifests itself as a cornerstone of an intellectual approach.

The dichotomy between abstraction and figuration is a junction point, which possesses the characteristics of an optical experience on the borders between sociology and aesthetics action. If the ultimate end of art is to query the community, Angelini’s work fulfills this task emphasizing the need to circumvent the mere decorative matrix of the picture and let the content has a specific gravity in his quest. “The shape of my painting is the content,” the statement by Ellsworth Kelly is as timely as ever, index of how an artwork can create a new point of view, where the visible becomes the intangible existence.



He studies the phenomenon of the city and considers the ways in which cities inscribe people into dynamic processes of constant transformation.His reference point is formed by his cultural and educational background in sociology. Cities create scenarios in which unconscious impulses are made manifest and placed into interaction through and with technology and the radical new possibilities it creates. In this way, cities become the nucleus and ideal habitat for paradoxes and human contradictions. Marco Angelini turns the painted surface into the meeting place of different shapes and materials, signs, and meanings. His work is an expressive research dominated by matter and different kind of materials, mostly recycled: iron, aluminum, paper, cellophane, polystyrene, nails, screws, recording tapes, photographic films, just to name a few. To this surface the Artist applies pigments, powders, glues, metals, and plastics in order to create artworks characterized by a suspended balance, by a pregnant silence and rarefied atmospheres, as well as an immediately recognizable style. In Marco Angelini’s art, matter – far from embodying graveness – becomes a genuine, transfigured emblem of lightness, transparency and levitation. Marco Angelini is distant from ideological critics or positions and he believes strongly that Art has to play a decisive role in society, to make things visible once more, to generate attention and create new opportunities for sharing, communication and interrogation. The works of Marco Angelini were acquired by several collectors in Rome, Milan, London, Warsaw, New York, Melbourne, Washington and one of them is part of the prestigious private collection of the Fondazione Roma (Palazzo Sciarra).

In collaboration with Emmeotto Arte





A special thank for the participation during the opening
Azienda Vinicola Bisol

20, Giuseppe Zanardelli, Rome
Only by appointment
Phone +39 06 93576629


ACCENNI / ALLUSIONS – Romina Bassu, Lounge

08 Feb
February 8, 2016



Romina Bassu’s works exude ambiguity, they are inhabited by characters who often interact with each other. Although the figurative aspect amplifies the narrative element, the intention of the author is not to “tell” a story with a linear logic. She has indeed most likely the will to create a voltage without the need to create didactic content. Sometimes she hides a face or deletes a look, elements that distinguish and identify a person. These figures are described by Romina Bassu as a “logic of deprivation” she describe those details as erased by time, just like the images of an old movie that has lost sharpness. The painterly gesture to cover the appearance helps to break the formal rigor of a figurative abstraction, flooded combination that accentuates the dramatic aspect. The decision to make it look as if time had stopped 50 years is not just a side effect of the origin of the images. What interests the author of that period are definitely the stereotyped people. The historical distance allows you to more clearly interpret the characters of that time in their psychological stress and their collective behavior.

Romina Bassu nasce nel 1982 a Roma, dove vive  e lavora. Studia all’Accademia di Belle Arti di Roma e presso la Facultad de Bellas Artes di Sevilla. Nel 2004 inizia la sua collaborazione come assistente nello studio di Alberto di Fabio e in quello di Cristiano Pintaldi. Dopo alcuni anni si sposta a Londra dove inizia la serie “I’m stressed out” che si conclude a Berlino con una personale. Trasferitasi in Spagna dà inizio al progetto “Archivo anonimo”, che parte da una minuziosa ricerca di foto antiche che evocano il passato. Con i suoi lavori l’artista cerca di rendere il senso del tempo che scorre sugli esseri umani cancellandoli e trasformandoli in figure nostalgiche. In questa prospettiva crea una “mitologia individuale” nella quale tutti possono riconoscersi.


"Edipo" Acrylic on canvas, by Romina Bassu

“Edipo” Acrylic on canvas, by Romina Bassu 2015


Mostre personali

2015 Mnemosyne, MEB Arte Studio, Novara, Italia. (catalogo)

2014 Archivo anónimo, Galleria Manuel Alés, La Línea de la Concepción. Cadiz, Spagna.

2013 Archivo anónimo, Sala Rafaél Argelés, Fundación de Cultura José Luis Cano, Algeciras| Sala Rivadavia, Diputación de Cádiz , Spagna. (catalogo)

2010 I’m stressed out, Pantocrator Gallery, Berlino, Germania.


"Transfigurazione" Acrylic on canvas, by Romina Bassu 2015

“Transfigurazione” Acrylic on canvas, by Romina Bassu 2015


Mostre collettive


ArtVerona 2015, Galleria Marcolini, Verona, Italia.

Una mostra di arte contemporanea, MEB Arte Studio, Borgomanero, Novara, Italia.

Group psychology (and the analysis of the ego), Galleria Marcolini, Forlì, Italia.

Paesaggi Contemporanei, MEB Arte Studio, Borgomanero, Novara, Italia.

A fil di spada, Studio Pivot, Accademia d’Armi Musumeci Greco, Roma. Italia.

Ritrovarsi, Festival Internazionale d’Arte Contemporanea, Quartiere dei marinai, Sciacca. Italia.



Arte Contemporanea, Sottotitoli, MEB Arte Studio, Borgomanero, Novara. Italia.

Premio Internazionale Marche d’acqua Fabriano Watercolour, Museo della Carta e della filigrana, Fabriano; Museo della carta di Toscolano Maderno, Brescia, Italia. (catalogo)



Art Project Vejer, Casa de la Cultura, Vejer de la Frontera, Spagna (catalogo)

Paradise Now, Extraspazio, Rome. Italia.

Textures collettiva, Palazzo Montevergine, Airola, Benevento. Italia.
Premio Combat
, Museo Civico G. Fattori ex Granai di Villa Mimbelli | Museo di Storia Naturale di Livorno. Italia. (catalogo)
Premio Internacional Fundació Barcelona Olímpica. Arte sobre papel
, Museu Olímpic i de l’Esport, Barcellona,Spagna. (catalogo)

Premio internazionale Bice Bugatti – Giovanni Segantini 2013, Sala Gio.I.A, Nova Milanese

Mailbox, Chance art gallery, Roma | Pescara; Undergallery, Milan. Italia. (catalogo)
Ars Visibilis, MECA Mediterráneo Centro Artístico, Museo de Almeria, Spagna.

Arte gira dreams, MECA Mediterráneo Centro Artístico, Facultad de Bellas Artes de Granada, Spagna. (Web)

No, lo siguiente, Nando Argüelles art projects, Sotogrande, Cádiz, Spagna.



Sincronicidades, Espacio Continuo Gallery, Badajoz, Spagna.

Bienal Marítima, Casa de las Cuatro Torres, Cádiz, Spagna.
Fondo de galería, Nando Argüelles Art Project, Sotogrande, Cádiz, Spagna.

2010 Open Studio, 142-143, Berlino. Germania.

"Transfigurazione" Acrylic on canvas, by Romina Bassu

“Transfigurazione” Acrylic on canvas, by Romina Bassu




These artworks are for sale.


Photo by Alberto Blasetti

For information or private visits, please contact

Relais Rione Ponte : +39 06 9357 6629

Studio Pivot: info@studiopivot.it







ACCENNI / ALLUSIONS – Giulia Marchi Room #4

05 Jan
January 5, 2016





Prima di Essere Schiuma Saremo Indomabili Onde

 By Gemma Padley


It’s easy to believe that chance, that most slippery and unpredictable of occurrences, happens entirely of its own accord. Mostly this is indeed the case, where no amount of planning and toiling would have made the slightest bit of difference to the outcome. But what if chance occurs not exclusively as a result of a mysterious and unfathomable aligning of the stars, but because of hard work, thorough research, and fastidious preparation? For Italian artist Giulia Marchi, the latter is true; a great deal of time, thought and effort goes into the creation of her images, long before the physical ‘making’ stage occurs. Yet, during this intensive preparation process, unexpected but fortuitous moments occur. Her latest body of work is a case in point. Poetically titled Prima di Essere Schiuma Saremo Indomabili Onde (Before Becoming Foam We Shall Be Indomitable Waves), the images in this series look effortless, as though they have been plucked from the elements – earth, air, water. But Marchi has spent months planning how each image will look, and nothing, in this sense, is left to chance. Hours if not days of research have gone into the creation of these images.


For Prima di Essere Schiuma Saremo Indomabili Onde, as is the case with much of Marchi’s work, the artist draws on literature, specifically writings by Julian Barnes, Gustave Flaubert, Herman Melville and Italian poet and translator Cesare Pavese. Marchi scoured texts such as Flaubert’s Parrot by Barnes, and Melville’s literary classic Moby Dick for choicest quotes, which she then combined to create new associations. Her aim was not to respond literally to the texts, but to use combinations of quotes as a springboard to create new imaginary worlds, which she then realised through photography. This is where chance paid a visit. Sometimes a pairing of quotes would leap out at Marchi, sparking an idea for an image, she says. And coincidentally, Marchi discovered that Pavese translated Moby Dick into Italian in 1932, unbeknownst to her when she turned to these writers for inspiration. Without the tireless reading and re-reading, the endless culling of quotes and re-aligning of them with others, these beautiful moments may not have come to pass. Chance here, is a result of consistent hard work – and a little serendipity too of course.


In this sense, it could be said that for Marchi creativity does not exist in a vacuum; her inspirations are the products of an affiliation to the literary creations of others. But to mention this is not to do down Marchi’s creativity; rather it is a nod to the skill with which she dexterously manoeuvres her chosen quotes to create new meanings, and from these, formulate her own unique and otherworldly visual creations. A voracious reader, and a former literature student, Marchi has long found inspiration in words. For her previous project, Multiforms, also published by Danilo Montanari Editore, the artist drew on autobiographical writings by Mark Rothko, and short stories by Jorge Luis Borges, among other writers, while for 17:17, in which Marchi collaborated with Italo-Palestinian artist Mustafa Sabbagh, she was inspired by Oscar Wilde’s The Disciple and numerous interrelated titles.


Born in Rimini in 1976, Marchi worked on her most recent series over a period of a year. The title is a quote by Pavese, but it is Flaubert’s Parrot, a novel that offers glimpses into the famous French writer’s life and being through a separate narrative, and Moby Dick, Herman’s seafaring tale, which provided the main inspiration. Flaubert’s writings such as his diaries also formed part of her research as she endeavoured to get to know each author in the widest possible way. In some of the quotes selected by Marchi we can clearly trace a link to her ethereal images. For example: “amongst those who go to sea there are the navigators who discover new worlds, adding continents to the earth and stars to the heavens,” writes Barnes; a similar sense of wonder, the thrill of the journey, of discovery, is implicit in Marchi’s blue-washed images of skies and landscapes that resemble alien lands. And when we read the above quote in relation to one from Moby Dick, we begin to understand where Marchi is coming from: “It was a clear steel-blue day,” writes Melville. “The firmaments of air and sea were hardly separable in that all-pervading azure.” These words are pure poetry, from which Marchi creates a visual poetry that is uniquely her own. In her images we can almost see, smell and touch these new worlds the authors describe, with their roots in the earth and links to the heavens, stitched together to create a seamless exquisite vista between sea and sky. The quotes may be invisible in the images, but their presence is palpable – we cannot help but feel the weight of words in Marchi’s images, where text serves as an essential backdrop to the visual. Put another way, the work could be described as a meeting point for these unrelated texts, which come together to form beautiful but inexplicable associations.


If Marchi excavates texts to create her images, on another level she works as a sculptor might, drawing on a mix of natural and manmade raw materials – sand, wood, concrete and branches, to name just a few – to craft the scenes depicted in her photographs. Many of the images seem to explore the nature of surface, as though the artist were examining specimens with the aid of a magnifying glass. What she reflects back to us are the depths of unknowable truths, which tantalise and entice, but ultimately give nothing away.


It is difficult to pinpoint what the images in Prima di Essere Schiuma Saremo Indomabili Onde are about, but this ambiguity is entirely intentional. Devoid of context, the images, which play with abstraction, depict in-between, lunar-esque places – non-descript, tranquil yet unsettling – rootless and timeless, but always intriguing. The geographical locations are not important, neither, really, is the subject matter (although Marchi treats both with the utmost respect). More important is the essence of each image, its intangibility; not what it represents but the mood it evokes. Unconcerned with conveying specific meaning, Marchi is happiest leaving her images open to interpretation.


In keeping with her meticulous and hands-on approach to the work, Marchi created a handcrafted book that features her chosen quotes and serves as a vital link between the images in Prima di Essere Schiuma Saremo Indomabili Onde and the texts where it all began, which are at the heart of the series. She used old paper and submerged the book in water to make it look as though it had come from the sea – a joining of reality and fiction in a fitting embrace. Presenting the quotes in this way also highlights their importance to Marchi for whom words and images are equal in status – both an invaluable, inseparable part of her artistic creation.


Room #4

Room #4


Giulia Marchi

0,1 Prima di Essere Schiuma Saremo Indomabili Onde Photographic Print, 2015


Giulia Marchi

205 Prima di Essere Schiuma Saremo Indomabili Onde Photographic Print, 2015


Giulia Marchi

30,2 Prima di Essere Schiuma Saremo Indomabili Onde Photographic Print, 2015


Giulia Marchi

77 Prima di Essere Schiuma Saremo Indomabili Onde Photographic Print, 2015



In collaboration with Matèria Gallery

Photo by Alberto Blasetti

For information or private visits, please contact

Relais Rione Ponte : +39 06 9357 6629

Studio Pivot: info@studiopivot.it





ACCENNI / ALLUSIONS – Andrea de Fusco Room #3

02 Jan
January 2, 2016



In the flags of coloured cloth, waving on the top of mountains, counts their chirping, meaning their noisily trembling in the wind. The acoustic zeal of these moving flags fills the space and not necessarily towards meeting a god, though they are printed on the prayers.

The flags make the space pop to stimulate the air. To hang a flag in a high place, on a windy day, when the wind blows, the air is sublimated because it is enhanced by the tickling of wobbling. Therefore, the irritation of the flags do not ascend to heaven, but have an impact in the environment they fill. Above all, they are interposed tabs to the open space, the empty space is supplied with a reed. The flags are languages​, the wind is bellows for the reeds. This organic does a querulous racket, because it produces whistles shaking the edges of the cloth, as strident organs enervated by the wind. All the pinched of the shivering tissue is an undismayed acoustic buzz.

Here we document a music in its resonant scenery, so it is n organological search, not panoramic. Vibratory phenomena are caught in the silent space and in the horizon of the echo, not a view, because the hung flags are portrayed as musical organs.
There is an acoustic fertility inside the flags, even when at rest, generating a range of tiny noises. Through the fray the edges of the flags are ventilated margins that make rustling noises. The clamor of these beats sound is reduced to a noise measurement of a hiss, like a buzzing bee. The sense of a screech just humming is a roar expressed in a tingling, because the most striking voice of all is reduced to a rattle.

The musical protection of the world  is made with whispers, the cosmos is defended by murmurs, not by great music.


Khardung La Pass II - Analog Photography, 2015

Khardung La Pass II – Analog Photography, 2015


Khardung La Pass I - Analog Photography, 2015

Khardung La Pass I – Analog Photography, 2015


Room #3

Room #3


Khardung La Pass - Analog Photography, 2015

Khardung La Pass – Analog Photography, 2015




06 Nov
November 6, 2015



Quality and Art at Relais Rione Ponte,

Design guesthouse in the heart of Rome

New Opening!  12 november 2015 / 6.30 pm




The 12th of November 2015 Relais Rione Ponte, design guesthouse in the heart of Rome, will open the exhibition Accenni/ Allusions. This will be the first of a series of biannual exhibitions, conceived to offer some of the essential evidences of the “possible worlds” of the current contemporary universe, scattered and sketched inside a private space which intends to be open to Art.

With Accenni/Allusions, guests of Relais Rione Ponte will enjoy the 11 artists, each of whom will characterize a room: Romina Bassu, Elisa Bertaglia, Simone Cametti, Beatrice Cerocchi, Andrea De Fusco, Veronica Della Porta, Gabriele Silli, Mario Rossi and, in cooperation with gallery Matèria, Giuseppe De Mattia, Giulia Marchi ed Emma Wieslander.

The selected works, in some cases created site-specific, will be adjusted for the space and will be available together with the refined furnishings and historic artistic atmosphere of the area.

Velvet, aquamarine and mahogany. Wood, fabric and incredible colours will wrap anyboy entering the Relais Rione Ponte, few steps away from Palazzo Altemps, Chiostro del Bramante and Pantheon.

With Accenni/Allusions, the Relais wants to absorb and elaborate artistic quality around itself, converting it with courtesy and elegance into a varied style, contemporary and essential, cured by pop-up gallery Studio Pivot in cooperation with Flavia Lo Chiatto.

Mario Rossi "Travelers"

Mario Rossi “Travelers”

by Studio Pivot 


Relais Rione Ponte 

Spazio Arte 

Relais Rione Ponte - Spazio Arte

Bertelè art and design for Relais Rione Ponte

12 Oct
October 12, 2015
Junior Suite details

Junior Suite details

Verona, July 2015 – Attention to detail, love of beauty, art and design are the key words that Maison Bertelè uses for all the furnishings, arose from a fine ebony handicraft. This accuracy can be found at the new Relais Rione Ponte, in the famous “Quartiere del Rinascimento” of Rome, between Piazza Navona, Palazzo Altemps and the Basilica of Sant’Apollinare. A unique Relais which offers intimate and relaxing environement, whose interiors are entirely Bertelè and give an allure of style which you will not forget.

All furnishings were created in great artisan cabinetmaker after the art that has always accompanied the creations Bertelè, mixing the wood inlaid with materials such as glass and fine fabrics to give a modern and contemporary atmosphere, with great attention and originality in the enhancement of details.

“We had the privilege to work for the Relais Rione Ponte in Rome and we were able to show the great attention that we put not only in each creation, but also in creative thinking that links our story to every customer”said Elena Baldini, designer from Maison Bertelè “it is important to give customers a sense of exclusivity and uniqueness, that does not concern only the service, but it starts right from the spaces and furnishings that frame the moments lived by the guest in the rooms”. Relais Rione Ponte is very good at this, providing their art spaces in order to create a real interaction between the creativity of each artist and the rooms. Relais Rione Ponte joins a new boutique hotel recently signed Bertelè the HT6 Hotel opened in March 2015 in the heart of the Jewish ghetto in Rome.


Suite Bed



Junior Suite twin beds

Junior Suite twin beds


Deluxe Room bed

Deluxe Room bed

Signature of excellence of Made in Italy in the world, since 1954 Bertelè offers unique furniture, fine attention to detail and choice of colors and fabrics, packed with wisdom and craftsmanship. The division Elena for Bertelè deals specifically with all the key projects for the world hotel industry and contract and is named after the designer of the fashion house, Elena Baldini.



Bertelè Mobili

Terzomillennium press office

Elisa Andreatta

elisa@terzomillennium.net www.terzomillennium.net

Vernissage Keziat “Hybrids”

29 Sep
September 29, 2015

Sunday, September 13th ,2015

Relais Rione Ponte, boutique guesthouse located in the heart of Rome, which fundamental component is the fusion of art and hospitality,  renews its appointment with Modern Art,  opening its new spaces to the “Visions” of Italian artist Keziat.

Vernissage "Hybrids" KEZIAT

Vernissage “Hybrids” KEZIAT


Keziat “Hybrids”  opening on September 13th at 7:00 pm. “Drawings on paper, canvas, made with the simplicity of a pen, video animations and video installations that shows the constant presence of observers media; these are only some of the expressive ways which Keziat uses to unveil her ‘magical tale”. Amalia di Lanno


Keziat "La casa che cammina sopra le altre case" (2015) penna su tela /pen on canvas

Keziat “La casa che cammina sopra le altre case” (2015)
penna su tela /pen on canvas


Deluxe Double room with Connected (2014) pen and ink on tela

Deluxe Double room with Connected (2014) pen and ink on tela


Connected (2014) pen and ink on tela

Connected (2014) pen and ink on tela

Keziat (1973) gives life to imaginary creatures  and worlds. In her drawings ”other” realities break “the taboos of a merely retinol vision” (Andrè Breton) just as it happens in dreaming.

The reinventing of reality by Keziat doesn’t claim likelihood, rather it offers fantastic shelters to ponder over daily life often too arid and schizophrenic.” Emanuela De Notariis


L'albero dei Sogni (2009) Triptych, pen and ink on paper

L’albero dei Sogni (2009) Triptych, pen and ink on paper


Into the room (2015) Dittico penna e china su carta/ Diptych,pen and ink on paper.

Into the room (2015) Dittico penna e china su carta/ Diptych,pen and ink on paper.