Elisa Benini, Alice Galizzi, Luca Lombardi, Silvia Rosa
Opening: Tuesday, June 10th, at 6:30 PM
From June 11th to July 31st, 2025
Tuesday to Saturday from 3 pm to 7 pm
Curated by Valentina Schito
Glenda Cinquegrana Art Consulting is pleased to present the summer group exhibition Quotidianità Deposte, curated by Valentina Schito. In a historical moment dominated by speed and immediacy, painting reclaims its place in the present as a medium for reflecting on the everyday. Dedicated to four young Italian painters, Elisa Benini, Alice Galizzi, Luca Lombardi and Silvia Rosa, the exhibition explores a vision of painting that finds an engagement with the present, serving as a medium for reflection on everyday life. United by their training at the Brera Academy of Fine Arts but also by a pictorial practice rooted in a continuous process of transfiguration of reality, the four artists are featured as conceiving the painting as a living archive, a repository of time, memory, and matter, as the curator notes. The canvas becomes a repository site where these images settle, in which what emerges is what remains, after the lived experience, after the reality itself.
The reality fragment recurring in Elisa Benini’s work (Calcinate, Bergamo, 1999) is the flower, which, according to Schito, is never seen as an object but as a deposited movement, a temporal opening, a vibration in the moment of dissolution. In Benini’s working process, the painting is an atmospheric space wherein the subject dematerialises, leaving colour and surface to evoke its presence.
Alice Galizzi (Bergamo, 2000) builds a kind of figuration that is, in essence, an architecture of intimacy. As Schito describes, her paintings represent a mental topography of inhabiting: objects, rooms, windows, and domestic surfaces are compressed and recomposed into a kind of a map of affection. Fragments of architecture and objects become evanescent presences, captured in the act of appearing and disappearing.
The painting by Luca Lombardi (Brescia, 1996) is rooted in a special sensibility to the digital world, and particularly to the practice of scrolling. His painting practice, composed of subtle layers of colour, in which forms, inspired by the chromaticism of the virtual universe, overlap and dissolve into colour fields. As Schito observes, Lombardi’s practice inhabits a liminal zone between control and loss, where the surface is not merely a site of representation but a field of inquiry.
Silvia Rosa’s (Latina, 1998) pictorial practice consists of depositing fragments of digital reality onto the canvas. Her work originates from manipulated fragments of digital images: Renaissance skies, romantic landscapes, and classical compositional structures are all evoked and subsequently dissolved into a new equilibrium, where form is constantly poised on the verge of slipping away, and every reference to reality is filtered through a process of extreme blurring.
