{"id":112,"date":"2024-11-28T18:49:09","date_gmt":"2024-11-28T18:49:09","guid":{"rendered":"https:\/\/www.enzoarchetti.it\/?page_id=112"},"modified":"2026-02-05T09:46:52","modified_gmt":"2026-02-05T09:46:52","slug":"biografia","status":"publish","type":"page","link":"https:\/\/www.enzoarchetti.it\/en\/biography\/","title":{"rendered":"Biography"},"content":{"rendered":"\"Enzo\r\n\r\n\r\n\r\nEnzo Archetti was born in Monticelli Brusati (Brescia) in 1946. He lives in Brescia.\r\n\r\nHe began to take an interest in art during his years at High School and after graduating from teacher training he continued his cultural education by graduating in Modern Literature.\r\nDuring the same period, and without interrupting his university studies, he attended drawing and etching courses for two years at the Accademia Carrara in Bergamo, under the direction of Trento Longaretti.\r\n\r\nAs for the use of color, it was a personal research as well as the fusion of different techniques.\r\n\r\nUntil 1990 he divided his time between artistic activity and teaching literary subjects in Public Schools in the province of Brescia.\r\n\r\nHe is married to Mariarosa, the inspiration for many of his works and who has contributed to strengthening the artistic content. In 1973 he entered the artistic scene with his first exhibition in Brescia; in the years immediately following he exhibits in various Italian cities including Milan, Verona, Modena, Brindisi, Florence, Rome and in 1991 in Tokyo at the Galleria Forni.\r\nIn the nineties, what will be his artistic language takes shape, determined by the fusion of different materials, such as canvases, gauze, carpets, ropes, rusty iron plates, with figurative elements.\r\n\r\nIn 2002, he begins a collaboration with Artequadri, which will propose Archetti’s works in many Italian and foreign galleries.\r\n\r\nIn 2004 he exhibits at the Accademie Libanaise in Beirut and in the same year one of his works enters the collection of the Modern Art Museum in Kuwait City.\r\n\r\nFor Archetti, painting is one of the most effective means to tell about himself, others and the world. At the beginning of his artistic activity, in the 70s, he painted reality, then, until the early 90s, he compared himself with the great artists of the past, in particular with Piero della Francesca and subsequently he combined his figurative with the informal maintaining as the dominant element the female figure with cobalt blue eyes. Archetti has always been attracted by large canvases, capable of covering entire walls, it is a passion that led him to set up a space with large supports for the creation of works of considerable vastness.\r\n\r\nIn this laboratory studio he created: in 2005 “La vita che scorre” of 50 square meters placed in a public place in Brescia and in 2007 “La grande Parete” of 7.20 m x 7.30 m high, hosted in the hall of the “Centro delle Idee” in Pandino (Cremona).\r\n\r\nIn 2006 he published an artist’s book “Frammenti d’infinito” with the publisher Serra Tarantola: it is an illustrated story with 44 pictorial works that develops like a large painting of over 100 pages in which Archetti tries to decipher the Infinite.\r\n\r\nSince 2009 he has started working with galleries in Germany, including: Galerie Wehr-Dusseldorf, Galerie Rusch-Hamburg, Galerie Bilder Bingold-Norimberga, Galerie Kaphammel-Braunschweig.\r\n\r\nIn 2011 he held a solo exhibition at the Castello East Gallery in Beijing.\r\nIn 2012 he published a new book “E la gente va”: in this collection of paintings, alternated with writings and two short stories, humanity is seen traveling towards distant destinations among unexpected events, lights and shadows.\r\n\r\nIn 2013 he published “Segni che raccontano sogni”: a journey into the informal.\r\n\r\nIn 2015, collaborations and exhibitions began in Spain, in galleries and public spaces. In the same year, he published \u201cDreams on paper\u201d in which the papers are inebriated with Art and Art helps to\u2026 travel.\r\nIn 2017, he published \u201cPioggia d\u2019infinito\u201d: a collection that allows the mind to rest, to get lost, to rise.\r\n\r\nIn 2019, he inaugurated the new studio in via Veneto in Brescia.\r\n
\r\n\r\n \r\n\r\n\r\n
\r\nTHEMES<\/strong><\/summary>\r\n
\r\n\r\n\r\n\r\nThe first themes addressed by Archetti concerned the analysis of the landscape as space and as Eden: it was a search for possible worlds.\r\nAt the end of the seventies the theme was enriched with female figures: the woman, often the wife, appears as an emblem of poetry, of joy of life and of restlessness and will become the leitmotif of all artistic production.\r\n\r\nIn the eighties the confrontation with the past begins: Archetti enters it with awareness to discover the present, rereads the history of art to update it.\r\n\r\nAt the beginning of the nineties the Archettian investigation develops the theme of time that dominates man: the artist builds his images on walls that tell ancient stories to then destroy them and subsequently recreate the order.\r\n\r\nIn Archetti’s work there is an alternation and fusion of informal and figurative, of feeling and reason. The paintings sometimes tend to complete themselves in sequences: it is the idea that expands for which each painting, in addition to its own autonomous life, also becomes part of the whole. Archetti rediscovers the archaic forms of writing, diary pages, the wonder that comes from niches and hinged openings, books full of ancient references and mysterious shapes.\r\nAt the end of the millennium, in some ways full of dark aspects, Archetti was inspired by the essence of knowledge of the world and the meaning of life of two great figures: Federico Fellini and Piero della Francesca. Characters very distant from each other in time, but close in the subtle play of glances that refer to other possible worlds.\r\n\r\nIn 2000, an explosion of color occurs in Archetti: the theme is Towards the Golden Age, which tends to summarize the unimaginable and heavenly that each of us would like to come true. It is a period of extreme freedom in the line, in the mixture of color, in the thicknesses, in the shapes. We are beyond reality, in which the figures no longer compare themselves with the past, but with the current world and with themselves. Then follows the theme “Symphony”. Archetti, in the introduction to the 2002 catalogue, writes: \u201csymphonies\u201d are colours that chase each other, that overlap, they are white clouds, they are women who detach themselves from the gold.\r\n\r\nSymphonies are stories to be told. They are falling leaves, they are light blue spheres, they are the colours of the sky, but also of the earth and the sea and the bottom of the sea.\r\n\r\nFrom 2005 to 2007 he enriched the content of his works by telling passages of Infinity exhibited in the volume \u201cFrammenti d\u2019infinito\u201d. They are works that chase spaces, lights, voids, silences, dreams.\r\n\r\nIn 2008 the theme of infinity merges in Riflessi d\u2019Infinito: atmospheres full of splendors. It is an exchange of energy between the subjects (figures or elements) and the world around them. They are reflections that bounce and seem to come from far away. The reflections of infinity also bring gusts of gold: material flows of gold thrown from above full of positivity and optimism and contain a clear protest against those art forms that force on negative dynamics.\r\n\r\nSince 2010 he has addressed the theme of the Journey recounted in the book “E la gente va”.\r\nIn 2012 he published a new book “E la gente va”: in this collection of paintings, alternated with writings and two short stories, humanity is seen traveling towards distant destinations between unexpected events, lights and shadows.\r\nIn 2013 he published “Segni che raccontano sogni”: a journey into the informal.\r\nIn 2015 he published “Sogni su carta” in which the papers are inebriated with Art and Art helps to… travel.\r\nIn 2017 he published “Pioggia d’infinito”: a collection of works that allows the mind to rest, to get lost, to rise.\r\nIn 2020 he made a video \u201cEquilibrio luminoso\u201d: it is a search for aesthetic and interior balance.\r\n\r\n\r\n\r\n<\/div>\r\n<\/details><\/div>\r\n\r\n\r\n<\/div>\r\n\r\n\r\n\r\n
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\r\nSOLO EXHIBITIONS<\/strong><\/summary>\r\n
\r\n\r\n\r\n\r\nAfter the first exhibition in Brescia in 1973, numerous solo exhibitions followed in Italy and abroad.\r\nHe achieved particular success in Japan in Tokyo in 1991 presented by the Galleria Forni of Bologna, in 2004 at the Modern Art Museum of Kuwait City and in 2011 in China, Galleria East Gallery of Beijing, an exhibition organized by Artequadri.\r\nIn 2014 the work \u201cRiflessi d\u2019infinito\u201d of 200\u00d7150 cm was placed in the Event Center of Leobersdorf (Austria).\r\nIn 2017 he created the work \u201cMadame la France\u201d of 307\u00d7190 cm for the Pokrovsky Center of Ekaterinburg (Russia).\r\n\r\n\r\n\r\n\r\n\r\nSOLO EXHIBITIONS:\r\n\r\n\r\n\r\n\r\n\r\n
1973 Brescia, \u201cLa Loggetta\u201d Gallery\r\n
1976 Brescia, \u201cUCAI\u201d Gallery\r\n
1980 Iseo, \u201cLa Tela\u201d Gallery\r\n
1981 Montecampione (Brescia), \u201cLa Pleiade\u201d Gallery Melegnano (Milan), \u201cBroletto\u201d Art Gallery\r\n
1982 Milan, \u201cVelasquez\u201d Gallery\r\n
1983 Brescia, \u201cAAB\u201d Visual Arts Laboratory Museum\r\n
1984 Modena, \u201cL.A. Bricklayers\u201d\r\n
1987 Chiari (Brescia), \u201cL\u2019Incontro\u201d Gallery\r\n
1989 Verona, \u201cLa Meridiana\u201d Gallery\r\n
1991 Tokyo, Forni Gallery\r\n
Monticelli Brusati (Brescia), Civic Hall\r\n
Milan, \u201cSugarte\u201d Gallery\r\n
1992 Brindisi, \u201cIl Segno Contemporaneo\u201d Cultural Art Center\r\n
1993 Squinzano (Lecce), \u201cGalleria 992\u201d\r\nVerona, \u201cLa Meridiana\u201d Gallery\r\n
1995 Brescia, Pieve di Urago Mella, \u201cWorks 1992-95\u201d\r\n
1997 Brescia, Pieve di Urago Mella, \u201cFeeling and Reason\u201d\r\n
1999 Rimini, Hotel Gradisca, \u201cFellini Atmospheres\u201d\r\n
2000 Lumezzane (Brescia), Torre Avogadro, \u201cTowards the Golden Age\u201d\r\n
2002 Brescia, Pieve di Urago Mella, \u201cSymphony\u201d\r\n
2003 Bergamo, Gelmini Gallery, \u201cSymphony\u201d\r\nOsnago (Lecco), Concetti d\u2019Arte Gallery \u201cSymphony\u201d\r\n
2004 Beirut, Accademie Libanaisext\r\nKuwait City, Modern Art Museum\r\n
2007 Brescia, Tarantola Bookshop, \u201cFragments of Infinity\u201d\r\n
2009 Pescara, Arteitalia Gallery, \u201cReflections\u201d\r\nPescara, D\u2019Annunzio Theater, \u201cHomage to Enzo Archetti\u201d\r\n
2010 Monticelli Brusati (Brescia), Tenuta La Montina, \u201cFrom Fragments to Reflections of Infinity\u201d\r\n
Paris, Carrousel du Louvre, Art Shopping\r\n
Brescia, Freccia Rossa, \u201cVentata d\u2019oro\u201d, installations\r\n
2011 Beijing, East Gallery, \u201cReflections\u201d\r\n
2012 Travagliato (Brescia), Dimensione Casa, \u201cAnd the People Go\u201d\r\nBrindisi, Temporary First Gallery, \u201cAnd the People Go\u201d.\r\n
Beijing, Art Gallery, Itamila, \u201cReflections of Infinity\u201d\r\n
2014 Bad Kissingen (Germany), Hunsthans Hassloch, Gallerie der modern \u201cReflections of Infinity\u201d\r\n
2015 Marbella, Casino, \u201cTribute to Picasso, international art expo\u201d\r\nMalaga, Cac Mijas Museum\r\n
2016 Verona, Casa Mazzanti Caff\u00e8 \u201cReflections of Infinity\u201d\r\n
S: Paolo (Bs) Municipal Hall, \u201cRain of Infinity\u201d\r\n
Iseo, Oldofredi Castle, \u201cBarefoot, looking at Christo and Jeanne Claude\u201d\r\n
Ibiza, Marta Torres Gallery\r\n
2018 Baf, Bergamo Arte Fiera with \u201cGli Angeli\u201d Gallery\r\n
2019 Lumezzane, Torre Avogadro, \u201cContemporary\u201d\r\n
Quinzano d\u2019Oglio, former Church of Dimesse, \u201cLike the air\u201d\r\n\r\nNATIONAL AND INTERNATIONAL FAIRS\r\n\r\n
Bologna, Art Fair, 1987,1988,1989,1990,1991,1992,1993,1994,1995\r\n
Bari, Expo Arte,1995, 1997,1999\r\n
Milan, Miart, 1996, 1998\r\n
Milan, Macef from 2002 to 2017\r\n
Milan, Furniture Fair, from 2005 to 2017\r\n
Beirut, Artemobili, 2002\r\n
Bergamo, Art Fair, 2004\r\n
Montichiari, Artexpo, 2004\r\n
Vicenza, Vicenza Arte, 1995\r\n
Padova, ExpoArte, 2000,2004\r\n
Tokyo, Expo Flora, 1990;\r\n
Tokyo, Seibu and Mitsukoshi Art section, 1988, 1989, 1990, 1991,1992\r\n
Expo-Art Reproductions: New York, Sydney, London, Paris,\r\n
Frankfurt, 1989, 1990, 1991,1992\r\n
Beirut, Artemobili in 2002.\r\n
Baf, Bergamo Arte Fiera, 2018,2019\r\n
In 2004 the Modern Art Museum in Kuwait City purchased one of his works.\r\n
In 2005 the Museum \u201cArte e Spiritualit\u00e0\u201d in Brescia welcomed the work \u201cCielo Cosmico\u201d into its collection.\r\n
Archetti has always been attracted by large canvases, capable of covering entire walls, it is a passion that led him to set up a large space with large supports for the creation of works of considerable vastness.\r\n
In this laboratory, he created:\r\n
in 2005 \u201cLa vita che scorre\u201d, 50 m2, located in a public place in Brescia;\r\n
in 2007 \u201cLa grande Parete\u201d, 7.20 m x 7.30 m high, hosted in the hall of the \u201cCentro delle Idee\u201d in Pandino (Cremona);\r\n
in 2014 the work \u201cRiflessi d\u2019infinito\u201d 200\u00d7150 cm was placed in the Event Center in Leobersdorf (Austria);\r\n
in 2017 he created the work \u201cMadame la France\u201d 307\u00d7190 cm for the Pokrovsky Center in Ekaterinburg (Russia).\r\n\r\n\r\n\r\n<\/div>\r\n<\/details><\/div>\r\n\r\n\r\n<\/div>\r\n","protected":false},"excerpt":{"rendered":"

Enzo Archetti was born in Monticelli Brusati (Brescia) in 1946. He lives in Brescia. He began to take an interest […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_coblocks_attr":"","_coblocks_dimensions":"","_coblocks_responsive_height":"","_coblocks_accordion_ie_support":"","site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":""},"class_list":["post-112","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.enzoarchetti.it\/en\/wp-json\/wp\/v2\/pages\/112","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.enzoarchetti.it\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.enzoarchetti.it\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.enzoarchetti.it\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.enzoarchetti.it\/en\/wp-json\/wp\/v2\/comments?post=112"}],"version-history":[{"count":29,"href":"https:\/\/www.enzoarchetti.it\/en\/wp-json\/wp\/v2\/pages\/112\/revisions"}],"predecessor-version":[{"id":3437,"href":"https:\/\/www.enzoarchetti.it\/en\/wp-json\/wp\/v2\/pages\/112\/revisions\/3437"}],"wp:attachment":[{"href":"https:\/\/www.enzoarchetti.it\/en\/wp-json\/wp\/v2\/media?parent=112"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}