In an increasingly dematerialized and digitized culture, Gregorio Botta retrieves the importance of the body (ours as well as of any other thing). To this purpose he employs materials that have an ancient bond with man, and are somehow inscribed in our cultural DNA, such as wax, lead, glass, water, iron, fire, marble, lately even leaves, grasses and flowers – materials transformed into something more lightweight, ethereal, suspended, which speak to our frailty and ephemerality.
Gregorio Botta (Naples, 1953). After his first solo show at the Segno Gallery in Rome (1991) he received great attention from critics on the occasion of various exhibitions, such as Transparencies of Italian art on the silk road curated by Achille Bonito Oliva, Beijing (1993); XII Quadriennale, Rome (1996); National Gallery of Modern Art, Rome (1998). His works belong to public and private collections, including the Galleria Nazionale, Rome; MAXXI, Rome; Macro, Rome; Palazzo delle Esposizioni (permanent work), Rome; Madre, Naples; Mart, Rovereto; Musma, Matera; European Community Bank, Frankfurt; Philip Morris, New York. Among his solo exhibitions, we remember those at Simóndi Gallery, Turin (2023, 2020); Studio G7, Bologna (2021, 2017); Galleria Nazionale, Rome (2020); Chiesa di San Giovanni dei Fiorentini, Rome (2019); MAC, Lima (2016); Triennale, Milan (2015); MACRO, Rome (2012); Fondazione Volume!, Rome (2009); Certosa di Padula, Padula - SA (2005); Galleria AAM-Architettura Arte Moderna, Rome (1997). His group exhibitions include those at Museo Madre, Naples (2022); MAXXI, Rome (2017); MAMC, Saint-Etienne (2015); XIV Quadriennale, Palazzo Reale, Naples (2003); Galleria Nazionale, Rome (1998).