BOLOGNA.- A arte Invernizzi presents at Arte Fiera Bologna 2026 an exhibition articulated in sections with significant works by Italian and international artists of different generations represented by the gallery.

Alan Charlton’s work, Trapezium in 3 parts with 3 Greys, highlights a repetition and, at the same time, a constant rethinking of the monochrome grey element, chosen and used by the artist as the only colour. The internal rhythm of the artwork, marked by an organised alternation between full and empty spaces, is related to Sens dessus dessous n° 1, 2012 by François Morellet, an international artist with whom the gallery has collaborated since 1994. In 2026, the Centre Pompidou-Metz will dedicate a major retrospective to him to mark the centenary of his birth. Morellet has always ironically deconstructed Euclidean geometry to give it a representation with a minimal sign in order to redefine the perceptive and experiential systems of reality.

Alongside this, the work by Nelio Sonego, belonging to the “Orizzontaleverticale” series, investigates the possible variations of the rectangular geometric form whithin the canvas through a repeated yet ever-different gesture. The canvas opens up and expands into the surrounding space, also through variations in the thickness of the stretcher, so that the space of the “margin” acquires greater optical relevance, shifting the the boundaries in the relationship between sign and space.

The monochromes by Günter Umberg, installed on the central wall of the stand as entirely independent presences, are the result of different stratifications of coloured pigments spread on wooden boards and embody a concentration of elusive energy and depth. The works become emanations of power that relate to the spatiality in which they are placed. These works create a dialogue with the energy of Philippe Decrauzat’s painting, which, through modular repetition, he sets out to systematically investigate the process of seeing and experiencing oneself, forcing the observer to question the undulating and unstoppable movement that the eye makes and the persistence of the vibrant image that it grasps in the presence of the work.

By piercing the surface of his works, Riccardo De Marchi creates a continuous contrast between presence and absence, repeatedly activating different possibilities of vision, also in relation to the material used, as in his most recent works in satin-finish stainless steel and mirror-finish stainless steel.

Finally, one section is dedicated to the skylines of Francesco Candeloro, whose works are linked to the artist’s memory and his direct experience of the places he reinterprets and re-proposes through his own personal reworking.

On the external wall facing the corridor, there is a display of works by Mario Nigro belonging to the “Dipinti satanici” cycle, which combines expressiveness and design, expressed in large-scale, effusive chromatic freedom, and works by Gianni Asdrubali characterised by a clash between full and empty spaces.

Each artist, through his or her own poetics, gives life to a different, changing pulsation of the image that projects into reality - in space and time - new possibilities of vision, inseparably linked to the becoming of existence and the cosmos.