The ancient and contemporary art gallery ZANINI ARTE is proud to invite you to the upcoming Vernissage of the personal exhibition by:


Saturday 10th of February at 6pm, inauguration curated by Prof. Nadia Melotti, sponsored by the Municipality of San Benedetto Po (Mantova)

The exhibition will take place between 10th February and 18th March.

The quest for simplicity is a philosophy that cuts through our day to day life, recognizing the small gestures which alter the course of our existence. The work of Mauro Pipani is the benchmark of an era which moves towards this direction, which aims at searching for essential moments to culturally rediscover its essence. Within his compositions, the artist employs a markedly distinctive sign to cover ample chromatic surfaces, mobile and unpredictable, as if they were continually shifting, but also becoming more subtle, when it takes on a more delicate trait resembling a signature that can be identified each time.

Triviality cannot be found within Pipani’s work, and even though the subjects are pictured in their everyday life, they are re-elaborated so to give them a new life. This visual simplicity stands out in contrast with many artificial modern pictures, its rapidity of touch is the sign of an invention and an artistic refinement which passes rapidly from thought to action, from an idea to media.

The point of contact between sign and colour, word and painting, the synthesis between poetry and music: this is Mauro Pipani’s world, a hunter of sensations without barriers between different expressions. In the liquid tanks, the subject is frozen in time and becomes almost ethereal. He moves in a terrain made out of the contamination between genres, styles and materials, where the perceptions are captured in the words of a text like in the dynamic of nature, in the dialogue with other people like in the silence of loneliness.

Davide Zanini


The description of nature almost always contains oxymorons and apparent paradoxes, like when we speak of quiet uproars or noisy silences to describe, for example, ever-changing and unsettling marine landscapes or weaves of plots of lands and cultivations that stretch over to infinity in front of our gaze. Mauro Pipani has a particular pre-disposition to describe what lies in the memory, insisting on landscapes which populate memories or lingering on suspended geographies between the sky and the water, with tender and faint emotional effects which carefully mix the indistinct and reality, the imaginary and the lived.

His painting is particularly disposed towards abstraction, but doesn’t forget the shapes of things, showing its essence and its passage in reality. All this is conveyed through an apparent mish-mash of signs, traces and colours which however hold a wholesome balance. Pipani moves from this knowledge achieving an active compensation between movement and painting. And this action, occasionally, transfigures the painting into a pre-text. It sows clues, hanging words, numbers. These are all traces of memory. They are whispers and silences which are expressed tonally in wrinkles of the paint, made of pigments, gauze, paper – a veritable syntax that Mauro Pipani has been using for years in the development of his research. He has always moved along this line, convinced about crossing an intellectual threshold where matter is kept in check and transformed in mere resonance. He has, most of all, started a challenge with the value of the image itself, which is forever made to face a sort of caustic elaboration and transformation.

The space as narrated becomes a silent atmospheric machine and the perceived landscape, even just by intuition, is defined by details, by signs which go on to represent objects: a tree, a house, the shoreline. It is like starting a journey. The journey, as well as representing an experience of the places, is a metaphor of an internal rambling, it is the act of looking and describing or simply let oneself drift towards a universe which is tangible and elusive at the same time. We meet geography without space, not that of maps, but that of tales and life experience. Here we encounter, then, in his great series on canvas, the nature in transformation, with branches scratching the sky, skies celebrating the triumph of change, blind silences waiting for events to happen, through which the quality of triviality emerges. There’s a sentence written in graffiti, the road, a rail, vegetation alongside the sea sneaking between the dunes and the salt works, the murmur of the wind in the movement of the grass. There are, then, other details, taken from the geography of other territories, those of the soul: a wildflower, a tree, fragments of everyday life. They are trapped like chrysalis in the packed space of the tanks – as the artist defines them –fixed in the see through surface of clotted resins which capture, like ambers, signs and traces of colour, graphic signs which extend a silent existence.

Annamaria Bernucci


The artwork is born after a careful arrangement of the used material. Initially I work on the wooden surface where I put into layers with the carefulness and attention of the artisan: gauzes, fabric, glued paper, metallic fragments which generally distinguish the beginning of creation, whether in small or big formats. I keep everything in horizontal position, as if it were a page, then at the end I move it to a vertical position, to “rationalize” it in a pictorial sense. During this slow and complex procedure the universe of images re-merges, the psychological interior thought, which is never premeditated. The creation is borne of lyrical visions, emotive fragments which belong to my story, and has then become internal world, establishing what Freud defined ’the relation between dreams and awaken life’: landscapes which exist within us, which connect us with the reality and emotions of the past, expressions of intellectual life of which we have been spectators or protagonists. These are memories, vivid images, detailed and symbolical which I paint on the rarefactions of piled up paper. Dazzled images are wetted by the silvery marine colours which allude to brackish smells, writings are blinding upon water, for the excess of light. Almost all the time there are words which float in the air like sounds and they are the key to interpret my work, the door to access it. All around, the work constitutes a dreamlike vision which takes the viewer to the brink of the internal abyss of my spectres, of my world. It is a world which at that point, thanks to painting, ceases to be uniquely mine. It becomes the new reality of things. These images are shared and, in my intentions, they ought to conduce the spectator to a slowed-down, parallel reflection. The absence of a human figure keeps the representation of a subjective imaginary vision on a higher level, it provides places where the viewer of the artwork can enter as a protagonist, as a dominant figure, inside the artwork, to become euphorically infected by it.

Often, the colours have a softer aspect, washed out or voluntarily spoiled, but not less solid and precise as a result. This is because my act of observing and feeling the colour belongs to the reality of every day. Better said, it belongs to its visual memory, and not to its interpretation. I do not care, it is not down to me, to interpret the signs and the symbols of the life that I lived. What interests me more, is to give it birth, or rebirth under a new form, as a solid synopsis of a world that isn’t there, but still exists. This is the secret pact between myself and my art. It can be said that part of the world where I lived has been preserved in my work. It is a personal diary made of tales, little or bigger episodes of everyday life permeated by new light.

Mauro Pipani

unnamed-13The Author

MAURO PIPANI (Cesenatico, 1953) lives and works between Cesena and Verona. He graduated in painting at the Accademia di Belle Arti in Bologna with Pompilio Mandelli (1976), and for the last three decades has been making art through painting, photography and projects. He was the focus of dozens of personal and collective exhibitions of national and international breadth. He is present within the Art circuit through many dedicated art galleries. He is part of the international artistic movement “NewFaustianWorld”, set up by Art Sociologist, critic and curator Raffaele Quattrone. Mauro Pipani teaches at Italian Accademie di Belle Arti, currently teaching pictorial techniques and painting at the Accademia di Belle Arti in Verona.

Free Entry 

@: Via Virgilio, 7 San Benedetto Po (Mantova)

tel: 360.952089  Alfredo

tel: 335.6716531  Davide 

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Zanini Arte

Galleria d’arte antica, moderna e contemporanea che affonda le proprie radici nella passione per il collezionismo e nella ricerca di opere autentiche di alto valore.