ZANCHIVIEWING ROOM ->
Davide Mancini Zanchi (Urbino, 1986). He holds a Diploma from the Academy of Urbino. His personal exhibitions have been hosted at thePescheria Visual Arts Center in Pesaro (2021), National Gallery of the Marche (2017), at theFattori Museum in Livorno (2016), at A + B gallery (2012, 2014, 2017), by Otto Gallery of Bolognaand Societé Interludio of Turin (2019). Among the group exhibitions: ContemporaneoContemporanei, University of Verona (2019); Unstable Forms, Spazio Siena (2018), Versus, CivicGallery of Modena and Memories at Villa Manin, both curated by Andrea Bruciati; CIY, Ville Belvilleof Paris; Primavera 3, Dena Foundation, Frederic Lacroix Gallery, Paris. He is among the winnersof the Italian Council 2019 call; won the Sanpaolo Invest Award, fourth edition of the City ofTreviglio Art Award (2016), the 2014 Lissone Award at the MAC in Lissone, the Pescheria Award ofthe Pescheria Visual Arts Center in Pesaro in 2011.
Davide Mancini Zanchi’s research moves from visual art, in particular from the traditional mediums of painting and sculpture, to then contaminate and explore other worlds and aesthetics, thanks to a metamorphic and somewhat anarchic attitude. The artist’s work is a continuous repositioning of himself and his work, with respect to two great poles: the first is made up of the complex dynamics of the social context in which he finds himself acting, in terms of relationships, taste and customs. The second goes back to the long and illustrious artistic tradition, in particular Italian, which infiligree runs through all Zanchi’s operations.
The work is not the formal outcome of a production process that arises from shrewd intuitions, but itself the object of a meta-reflection on its statute, becoming an opportunity to activate light-hearted reflections and short circuits with irony, questioning at first person the viewer.
In the works Il tempo è importante dedicarlo a chi ami and L'acqua non ci ha mai rammollito, Zanchi cooks spaghetti and uses them instead of the brush, with a style that mimics the great American Abstract Expressionism, imprinting festive games chromatic on single-color canvases. Right from the titles, the artist declares a happy hijacking of common sense, making his own theadvertising claims of one of the most famous foods in Italy, frequently associated with everydayconviviality, feeling at home and being with the family. On the blue backdrop of Cielus Notturnus Romanticus a myriad of stars stand out, made up of pieces of paper chewed and applied to thecanvas with a small blowpipe: from the irreverent gesture, almost a girl, a poetic and powerfultribute takes shape towards one of the most evocative iconographic motifs from the history of art.
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