BIOGRAPHY OF PAOLA BONANI
Giuliano Giuliani was born in Ascoli Piceno on March 24, 1954. His vocation for sculpture and the choice of stone as material for his works are rooted in the imagination of his early years: in the hours spent watching his father and uncle at workin the family cave at Colle San Marco. A place that has always belonged to him: purchased a few years before the artist's birth, he was inherited by him after the dismantling of the excavation activities in the eighties. And it is there that even today Giuliani lives and works. «My first stones: the techniques I stole in the quarry - remember Giuliani - as well as the tools of the job (mallet, pitta, scratch, buciarda, whisks, chisels, hammers ...). Trying not to make my father angry "(G. Giuliani, Biography, in cat., Ferrara, 2002, page 53). It is in that place that he learns the first technical rudiments and with them the conviction that work is inextricably linked to a close confrontation with matter, to the accomplishment of fatigue, which engages mind and body, in the continuous attempt to bend to their own ideas the roughness of the stone and to explore its limits and fragility.
Between 1971 and 1975, Giuliani attended the Istituto Statale d'Arte in Ascoli Piceno. During the last year of studies, the sculptor holds his first solo show at the Galleria Nuove Proposte of Ascoli from 22nd to 29th March 1975. He presents a group of twelve works in travertine, all realized in the first half of the decade. It is a series of nudes and torsos, which, despite the insistent reference to the human figure, immediately reveal a non-traditional plant of the form. Carlo Melloni, who presents Giuliani in the exhibition catalog, cites some illustrious precedents for his works and writes: "The juxtaposition with Moore is not accidental because it is clear that Giuliani knows the sculptures of the English master, just as he does not ignore certain works. di Fontana, Leoncillo and Marini, just to mention the names of our local sculptural tradition (...). His latest works - few, in truth, to be able to express a complete judgment - show the appreciable tendency to emerge from certain emphatic and purovisualistic patterns, typical of a type of academic sculpture, to arrive at less defined forms: torsus and vaguely torsos. headless in an interpenetration of volumes that want to express transport towards a vitalistic, tactile and sensual naturalistic rather than optical »(C. Melloni, Giuliano Giuliani, cat.Ascoli Piceno, 1975).

 
The following year, with a work entitled Un regalo per Angelo, also depicting a body whose shapes barely emerge from the rough stone, the artist is awarded with the "G.B. Medal. Salvi 1976 "on the occasion of the XXVI Edition of the G.B. Salvi, hosted in the Palazzo Oliva in Sassoferrato from July 25th to August 22nd. At the end of the seventies, Giuliani enrolled at the Academy of Fine Arts in Macerata.Here follows the lessons of Valeriano Trubbiani in the sculpture section. In the same period, the artist realizes a series of works that titled Particolari anatomici, in which the human figure is reduced in fragments and barely recognizable portions.
During the eighties, Giuliani exhibited the anatomical details in several collective exhibitions (for the complete register of the exhibits, see the list at the foot of this same volume), including: the Review of Piceno artists. Art as a critical conscience of society in the Sala delle Colonne of the Municipality of Ascoli Piceno from December 23, 1980 to January 7, 1981; Art in the Marche today, hosted at the Sangallo Palace in Tolentino in December 1983; the XXXVI Contemporary art exhibition "G.B. Salvi "and" Piccola Europa ", held from 20 July to 17 August 1986 at the Palazzo Oliva in Sassoferrato (Giuliani is invited in the section dedicated to young Marche artists 1950-1959); the Marche exhibition. An artistic survey in the territory, by Armando Ginesi, held since September 24th November 22, 1987 at the Palazzo Pianetti di Jesi.


The anatomical details, even more than the previous sculptures, highlight Giuliani's distance from academic teaching. In this regard, Melloni observes: "Giuliani did not follow the master (highly skilled metal manipulator) in the use of materials, preferring the ungrateful and heavy travertine of the paternal cava of Colle S. Marco. But the "betrayal" of the master is not limited to this instrumental data. While Trubbiani inclines to a finished sculpture, in an ideological as well as a technical sense, because he believes every time to load his sculptures with unequivocal symbols and meanings, Giuliani eschews, by his own nature, from any message. His plastic work consists of fragments, of blocks often left partially rough (...). I mean that in these works the naturalistic syndrome is not absent, but the artist does not highlight it in its crystallized physical form, preferring to leave to the observer the task of subjectively penetrating matter, to go to the discovery of that latent background of which Giuliani suggests the idealistic thickness, but not the brute and well-known connotation "(C. Melloni, Giuliano Giuliani, cat., Ascoli Piceno, 1980-1981).
Between October and November 1988 Giuliani was invited by Mariano Apa and Giovanni Venturini to the exhibition Dialoghi nell'arte / 3. Forma Figura, held at the Palazzo Ducale in Gubbio. The artist participates with some works realized at the end of the previous decade (Torso of 1976-77, Cariatide of 1977-79 and Capelli of 1978). Apa, who since then frequently returns to take care of the artist's work, underlines on this occasion his particular conception of sculpture, as intense work on the material: «Giuliani takes up the ancient art of making the work of stone alone, of chiselling travertine to infuse the desired shape into the unformed mass. (...) Giuliani wants to print in his conscience the ideality of sculpture as a "living language", as a body odor, as a story of history. Renewing the syntax of tradition, the Piceno sculptor arrives to repropose the energy of the primordial force, of the energy that made men stand upright and allowed the declamation of his name. (...) Anachronistic to conceive, that everything is projected into the future, because the difficult art of sculpture is the place of the verification of its energies, of its intimate vital energy, that Giuliani introduces as from within travertine, so that more than "remove ", It seems that Giuliani sculpts by" addition ", giving life and existence to the shapeless material" (M. Apa, Giuliano Giuliani, cat., Gubbio, 1988).

In 1989 Giuliani was awarded a prize at the Marche Regional Award. Biennial of Contemporary Art, which takes place from 2 September to 1 October at the Palazzo degli Anziani in Ancona. The following year, therefore, he was invited to the section of the national award-winning artists of the same exhibition, hosted at the Ancona Fair from 15 July to 31 August 1990. At the end of the eighties, the artist makes a small number of sculptures (including Androgino of 1987, Woman with a green face of 1988, Donna e monte of the same year and La Bella of 1989), in which he makes a partial recovery of the figure human. It is, however, precisely at that very moment that the need for a total renewal of language and the need to abandon any figurative referent is being made in him. The new address seems to be heralded by the work of Pelle in 1989, in which Giuliani, by digging the bust of a headless figure, reduces its body to the external covering only. Between the end of 1989 and the first half of 1990, he realized Il muro, which was exhibited in September 1990 at the Ripe 90 exhibition. The volumes of the urban design in Ripe di San Ginesio (with the title Parete and without the plaster insertions presently presents). Finally, between 1990 and 1991, he performed works such as Il tempio e La vela, both travertine and gypsum, L'ameba, in travertine, gypsum and cloth pigment, Africa, in travertine, gypsum and pigment and the shield , in travertine. With this group of works his research reaches the most mature phase. The sculptor creates with the stone, which remains viscerally linked, completely new forms compared to the previous ones. His intervention on the subject becomes more invasive. Once the block has been removed from the wall of the quarry, Giuliani works a surface on it and transfers the image of the sculpture as it is configured in his mind. Later, instead of closing the form in a volume, with a long and tiring work, digs the back of this same image to reduce the block to a film a few millimeters in thickness, to deny the same nature of stone, the his weight, his resistance. «Obsessive, patient is the process of dematerialization, of excavation, of emptying with which he transforms the compact and hard block into a thin sheet with modular movements. The restlessness of doing subsides in the achievement of the luminous transparency of a freely modeled stone sheet "(C. Lorenzetti, Giuliano Giuliani, in" Quaderni di scultura contemporanea ", Rome, 2001, p.31). Travertine is thus transformed into a membrane, through which cracks (some of which are foreseen in the initial project, others generated by the stresses to which the artist subjects the material) pass air and light.

Unlike what happened in the early sculptures, now Giuliani no longer operates on the full but on the void, it no longer builds volumes but envelopes of space, it no longer creates a mass with an encumbrance but comes to define a space circumscribing its limit. A similar synthesis of image corresponds to this process of reduction imposed on matter. Abandoned the representation of the human figure, the forms of his sculptures are simplified to the point of touching in some cases the abstraction. To this, however, the evocative power of the titles is opposed, which the artist attributes to most of his works and in which there is still a distant echo of reality.

The sail, L'amoeba, L'Africa, together with La mensola and L'onda, realized in 1992, come all exhibited in the first personal exhibition held by the artist in Rome from October 22nd to November 23rd 1992 at the Galleria de 'Serpenti. Mariano Apa in his presentation in the catalog writes: «Travertine for Giuliani is the darkness from which to distil the forms imbued with light: porous, opaque, sensually impressed by the supple plaster that transfigures the body of travertine" from the inside ".
The martiniana "Sculpture lingua morta" is read by Giuliani with the Wildt de "The art of marble", (the work of art is) "decided because you have concept in mind" and "... that no side benefits so much on others to break the balance, so as to get you out of that harmony of plans, volumes, lines, which must be for you the principle, the way and the end ". (...) "... A peculiar balance of fullness and emptiness thus constitutes the characteristic of your conception and the raison d'être of your work". The excavated travertines are receptacles, stoups, empty laps where primitive ossified intuitions are caressed by strong saltiness; a heart throbs in the diving suit, a crack opens in the architectural detail, and Giuliani lets us imagine, around the work, the whole body of man, of the building of a pieve ... »(M. Apa, Fragility guarded, cat., Rome, 1992).
 
Also in 1992, Giuliani took part in the exhibition L'ulivo ritrovato. Meeting of young artists, organized in the historic center of Cervaro from 21 to 28 June, where he was awarded the "Press Award". From 19 July to 30 August he exhibited the shield and L'amoeba at the I Rassegna d'Arte Contemporanea. Motu proprio. Abstraction and / or Figuration, edited by Carlo Melloni in Monteprandone. In the second half of the year he presented three works (Il Patibolo, 1992, Il tronco, 1992, Il purgatorio, 1992) in Penne, in the courtyard of San Giovanni, on the occasion of the review of Art and Architecture. Eleventh Biennale City of Penne. From November 14 to December 8 he is invited to the exhibition 7 Confluences 7. Painting in the Marche region in Fabriano.
In 1993 he made L'eremo, L'fresco and Mattezza or her, three sculptures in travertine with plaster inserts. As had already happened in some previous works, Giuliani uses plaster to fill a void on the surface of the stone (The wall), or to complete a form (The temple), or to add a figural element to the body of travertine (La vela e The hermitage). What interests him is the contrast between the two materials: "The plaster is for me the other part, almost the other soul of the sculpture; the sculpture born from the take away is flanked by the sculpture that comes down from putting. Artifice overlaps with the already given; and to white, the shadow of white "(C. Lorenzetti, Colloquium with Giuliano Giuliani, cat., Ferrara, 2002, p.52).
 
The hermitage was presented by Giuliani in May 1993 at the Dialogo exhibition at the Pinacoteca Civica di Ancona. At the end of the year the artist exhibited, alongside Rocco Natale and Egidio Del Bianco, at the exhibition Orientamenti della Scultura at the Civic Pinacoteca of Macerata. Regarding his latest work and the use of plaster, Anna Caterina Toni writes: "The sculptural forms created by the artist take on the meaning of symbols, evoke primordial images, but at the same time enhance the qualities of the stone, its transformation into the absorption of light, for the emergence of natural colors, for the anfractuosities inherent in its organic essence, in an intact product in its purity and integrity. The primitivism of Giuliani's works is therefore recognizable and identifiable in the characters of severe essentiality, simplicity and linearity of the compositions, in the atmosphere of sacredness of the find.
Recent experiments, carried out on the material in recent years, have led the artist to complete the natural voids of the stone with insertions or completions of the missing parts, made of plaster. (...) Giuliani folds the material to combinatorial possibilities, which cancel the primary naturalistic language, rarefied and univocal, in an expressive adaptation to the inventive possibilities of artistic creativity. The insertions and interventions in plaster underline the presence of man, his discretion in respecting the find or in wanting to modify it according to his own intentions "(A.C. Toni, Orientazioni della scultura, cat., Macerata 1993-1994).

Between 1994 and 1996, the collective exhibitions Giuliani took part in were: Geografia dell'Altrove. Spirituality of abstract art, curated by Mariano Apa at the Pinacoteca Comunale di Terni from 1st to 24th July 1994; the Marche Prize 1994. Biennial of Contemporary Art at the Mole Vanvitelliana of Ancona from the 1st December 1994 to the 31st January 1995 (he will exhibit again in this review in the following edition of 1996); the Iconografi exhibition, curated by Mariano Apa at the Hermitage of San Marco and the Art Institute of Ascoli Piceno in December 1994; the XXVI Alatri Biennial of Art. Trends of the contemporary, ordered by Micol Forti and Luigi Fiorletta at the Cloister of San Francesco di Alatri from September 21st to October 31st 1996; and the exhibition Places of time. Artistic itinerary held in Aprilia from 2 November to 22 December of the same year.
In 1997 Giuliani declared about his work: «I could define the current moment as a moment of crisis. I have concluded a phase of my research and this brings me to the need to have a lot of concentration, to reconstruct a whole series of cards and be able to reach conclusions. (...) I hope that in my stones there is a spiritual quantity that, even if few, some can grasp. In the future I would like to give more spirituality, a sort of mystical involvement (...) something special must happen in front of my work. One should glimpse not only "the beyond", but also the immanence of something highly spiritual "(Meeting with the artists, cat., Aprilia, 1997, p.110).

That same year he created two new sculptures, Ostia and Gilberto and Elmo, which further specify two perspectives of his research. The former responds openly to the artist's intention to load his works with a meaning that transcends them. As already happened with Il tempio (1990-91), with L'ambone (1994-96), and as it will be with the Montagna Cattedrale (1998) and with the Porta (2000), Ostia through the evocation of a symbol recalls the celebration of the rite, or rather of that unique moment in which the human dimension seeks to overcome itself and enter into communication with the supernatural and the divine. The traces of this tension are impressed by Giuliani in the matter itself, in its change of state, in the alchemical transformation of the stone into a surface permeable to light and air, in the elimination of waste in search of the virtuous soul of matter.

Speaking of Ostia, Fabrizio D'Amico wrote: «marble is mutilated and traversed by the work carried out by the sculptor on his smooth skin; and the gaps in the travertine, sometimes supplemented by a white chalk, are left in evidence elsewhere: let it be known, finally, the long way towards the form that has traveled, that one recognizes its suffering: that the title itself, moreover, , it does not conceal. (...) The symbolic suggestion is strong in Giuliani: contained by that harsh saying, obtained by the fragmentation of a unity, of a perfection, which is in the Marchesian sculptor with evidence of unconfessed hope and dreaded landing "(F. D'Amico, A fairy tale in the abyss, in "La Repubblica", Rome, October 27, 1997).
With Gilberto and Elmo, instead, the sculpture establishes a more definite relationship with the space in which it is inserted, as it will also happen in Senza titolo (2001), realized for the Museum of Contemporary Sculpture of Torre Martiniana di Cagli, or in the most recent He is resurrected-Spirals (2004-2006). In the work of 1997, the travertine slab is enveloped in sinuous movements, its volutes surround the outer space and move it through a more tight alternation between areas of light and points of shadow (a rhythm also accentuated by the contrast between the color of the stone and that of plaster). "Let me not stay in the three dimensions, where death hides", wrote Arturo Martini. In response to these words, Giuliani's stone, laboriously freed from its encumbrance and its weight, extends into space, captures it and moves it, giving the observer a new perception of the place where the sculpture is inserted.

Ostia and Gilberto and Elmo are both exhibited in October 1997 at the exhibition, curated by Roberta Perfetti, Bianco & Nero. Roberto Almagno, Giuliano Giuliani, and Ernesto Porcari, at the former Church of Santa Rita in Rome. That same year Giuliani was invited by Floriano De Santi to the 49th edition of the Michetti Prize. The imaginary archetypes in contemporary art, held at the Palazzo San Domenico in Francavilla al Mare from 2 August to 14 September.
From the end of the nineties to today, the artist takes part in numerous other collective exhibitions.
In 1998, for example, he exhibited at the VIII Biennale of sacred art organized at the Museo Staurós of Contemporary Sacred Art in San Gabriele, curated by Maurizio Calvesi. Giuliani will also be present at the next four editions of the exhibition until 2006. Also in 1998 he was invited to the exhibition Nuove contaminazioni. Sculpture, space, city, organized by Enrico Crispolti, between July and September, at the Gallery of Modern Art of Udine. In the same months he took part in the exhibition The Marchesian sculpture from the post-war period until today 1945-1998, curated by Floriano De Santi at the Mole Vanvitelliana in Ancona. In 2000 he was one of the artists gathered in Matera, from 24 June to 30 September, in the Periplo of Contemporary Sculpture 2, curated by Giuseppe Appella, Pier Giovanni Castagnoli and Fabrizio D'Amico. While, from 15 September to 15 October, he exhibited at the BNL exhibition: a Bank for art beyond patronage. Young artists at the beginning of the new millennium at the Chiostro del Bramante in Rome, curated by Enzo Bilardello. In the summer of 2001 he was invited to the XLVI National Exhibition of Contemporary Art.

Intenso essential, ordered at the Civic Gallery of Contemporary Art in Termoli. From August 4 to 31 one of his small sculptures is sent to Tokyo for the Small Stone Exhibition at the Plaza Gallery. At the end of 2001, the Untitled work became part of the collection of the Center for Contemporary Sculpture in Cagli. On the occasion of the acquisition, an exhibition opens in the Archaeological Museum of the city in which Giuliani exhibits a small nucleus of drawings. This is one of the rare occasions, together with the present exhibition, held by Giuliani to present his work on paper to the public.
In 2002 the Palazzo Massari Contemporary Art Pavilion in Ferrara hosts, from October 20th to December 8th, his first personal exhibition in a public space, curated by Fabrizio D'Amico and Angelo Andreotti. The following year he is among the Italian artists presented by Lorenzo Canova at the European Parliament in the Italian Futuro exhibition. Still in 2003, he inaugurated, together with Anna Ajò, Immacolata Datti, Carlo Lorenzetti and Costas Varotsos, the "Casilino Labicano Sculpture Park" in Rome, where he placed the work Porta. In 2004 he was invited by Armando Ginesi and Carlo Melloni at the Museum of Contemporary Art in Castel di Lama, from May 22nd to July 31st, at the exhibition Marche arte 2004. Aspects of contemporary Marche art. A new personal exhibition of the artist is held, between December 2004 and January 2005, in the rock church of the Madonna delle Virtù di Matera, where Giuseppe Appella presents the enchanted Nativity. In 2005 Giuliani was invited to participate in one of the events at the 51st Venice Biennale: the exhibition Already ... and not yet artists and liturgy today. Exhibition of contemporary art, hosted in the Church of San Lio from 12 June to 8 October.
 
In 2007 two large solo shows are organized in Loreto and Bergamo: the first, curated by Mariano Apa, is held from 21st July to 16th September, at the Sangallo Bastion, within the Geography of Marche art exhibition with Bruno Mangiaterra and Rossano Guerra, while the second, curated by Fabrizio D'Amico, is hosted at Galleria Ceribelli from October 27th to December 8th and contains a series of works dated between 1991 and 2007. In 2008 he was invited by Marisa Vescovo to It shows Icaro's syndrome at Borgo Seghetti Panichi and in 2009 by Valerio Deò with Terenzio Eusebi, From paper to stone at the Villa Picena Gallery in Colli del Tronto. In 2011 he exhibited in Bologna at the exhibition Five artists in San Domenico curated by Beatrice Buscaroli and Davide Rondoni. The same year he took part in the XVIII Sculpture Prize Edgardo Mannucci, curated by Stefano Papetti in Arcevia and was invited by Giuseppe Appella to present a travertine nativity scene in the Cathedral of Orvieto. In 2012, a large personal exhibition curated by Fabrizio D'Amico is held at the Museum of Rome in Trastevere from 6 June to 8 July.

Giuliani's sculptures, as well as numerous private collections, are present in the Contemporary Art collections of the Vatican Museums, the Banca Nazionale del Lavoro in Rome, the Museum of Contemporary Sculpture in Matera, the Paolo Pini Museum of Art in Milan, Center for Contemporary Sculpture of Cagli, of the Diocesan Museum of Lecce, and within the Trastura Sculpture Park in Urbino, of the Casilino-Labicano Sculpture Park in Rome and of the city of Brufa.

Recently the artist has created a memorial to the memory of Eric Waters, parent of Pink Floyd leader Roger Waters, who fell during the Anzio landing. The work was inaugurated in the Aprilia campaign in the presence of the English musician.

From May 12 to June 30, 2015, the artist participated in the exhibition "Trenches: the world in flames and death" at the Center for Contemporary Art La Nuova Pesa in Rome.

From 23rd January to 12th February 2016 the artist took part in the exhibition "One Year's Story: Giuliano Giuliani" Conversion of San Paolo MONSERRATOARTE900 Under the patronage of Nessuno Tocchi Caino S: Lucia del Gonfalone, via dei Banchi Vecchi 12, Rome of: Vincenzo Mazzarella and Paolo Bielli. Inauguration: 23 January 2016, 11.30 am

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