His artistic research therefore also extends to the study of multiculturalism with a strong reference to the historicity of the treated materials whose processing underlines the echo of the time.– Domenico de Chirico, 2019
1982, born in Busto Arsizio (Varese), IT
Lives and works in Milan, IT
After earning a bachelor of Pharmacy degree in Parma (Italy), he moved to Milan where he started working with sound as a medium, among others. In 2014 he was nominated as a finalist for the Fondazione Henraux Prize and in 2019 he attended a course at Fondazione Ratti: “History and textile traditions between Asia and Europe from the 7th to the 17th century”, curated by Chiara Buss; he was selected for VIR Viafarini-in-residence and invited to participate in Panorama #03 exhibition at Galería Fran Reus in Palma de Mallorca. His work was featured in Hystery, Issue 14, launched at Art Basel Miami in December 2019. In 2022 he was invited by StudyForArtPlatform, Stockholm, to participate in Bienvenue Art Fair in Paris and he was the 3rd classified of Prisma Art Prize, winning the ArtRights and Artuu awards and the participation in an exhibition at
Contemporary Cluster (2023, Palazzo Brancaccio, Rome).
Vittorio Bianchi acts within the spatial dimension of the surface of the fabric, his privileged artistic medium. The artist goes beyond its limits through a gestural scraping action that attacks the material, in a way that upsets its structure without betraying it: not an act of rupture, in fact, but of revelation, aimed at supporting the urgency of the underlying layer to break onto the surface from the depth that holds back it.
He investigates the sleeping spaces of memory that flow inside the fibers, reviving them in the relief of a breath that regains possession of its legitimate interlude. His is a deaf gesture in which the phrasing woven into the voiceless history of the material echoes. The surface becomes sensitive skin, caressed by the revealing vehemence of the action that exposes its filaments, as if they were the rib of the anatomy of the eternal flow of history.
In doing so, he restores a truce in the opposition between tradition and innovation, a calm that invites a delicate reconciliation in the relationship of interdependence between the persistence of a collective cultural identity and the one of the warp that generated it.
Vittorio Bianchi’s work focuses primarily upon one element, which can be defined more than anything as a gesture, or that of laceration. The two-dimensional nature of the materials used by Bianchi is slavishly called into question by interventions that create absences and therefore open passages to other possible dimensions, underlining their fragility and at the same time the radical elegance and preciousness of what is torn. In fact, the fabrics used by the artist in his works highlight dedicated research ranging from Taiwanese silk to Italian lampas through monochromatic textures and elaborate prints. His artistic research therefore also extends to the study of multiculturalism with a strong reference to the historicity of the treated materials whose processing underlines the echo of the time.
– Domenico de Chirico, 2019