Gianni Caravaggio's works do not represent or narrate, but they are, they exist, in all their clarity and apparent simplicity. They transmit constant vibrations which the pulic is invited to feel and grasp by implementing ever-changing processes of recognition.
Each of his works of art is set on the ground, without a pedestal to separate them from the floor. The artist uses humble materials like flour along with marble and bronze. In Caravaggio’s works the dimension of the floor becomes a true horizon of the events, a shore of possibility. Using the intangibility of shadows as an actual sculptural material, Caravaggio creates a precariously poised object whose visual unity is always on the verge of disappearing. As reflected in Jean-Luc-Nancy’s latest essay on Gianni Caravaggio “An art such as sculpture establishes a mutual creation of places and materials. A stone stands out, it becomes distinct. It appears like a rock fragment. But it is not valued as a piece: it is valued as a rough weight, a thick compact mineral [...] This totality poses and imposes: it is the place, it doesn’t occupy it but it makes it, it accomplishes it. It gives it movement for a start, its fall in situ and its ability to press the ground damaging, scraping or tearing it. What happens here with this stone is an image.”
Born in 1968, he teaches sculpture at Brera Accademy, Milan. In 2002 he received the Special Fund Prize from PS1 in the context of the Italian Studio Program and in 2005 was awarded the Castello di Rivoli Prize in Turin and the Alinovi-Daolio Prize in Bologna. In 2011 he won the Sculpture Prize, organised by Francesco Messina Foundation. He has had solo exhibitions of his work at the Castle of Rivoli in 2006 and at The Maramotti Collection (Scenario) in 2008. His latest works are displayed at The Museum of Modern Art of Saint-Etienne and at The MAGA Museum Gallarate, Italy.