Maurizio Donzelli

Maurizio Donzelli (Brescia, 1958) has developed a line of research that focuses on the problem of the image as a potential place of concentration, migration and alteration of visual memory, resulting in works that develop in distinct cycles and experiment with different materials and techniques with the aim of continuing to explore and return to the public an infinite potential of suggestions and iconic references that are rooted in the dynamics of time and history and span geographies that are also distant in time.

In this composite atlas of images, the Drawings and Tapestries, the Mirrors and the cycle of O‘s, gold monochromes, the Nocturnes, the Girandole and the Lux Drawings highlight the crucial importance of thought, which underlies the artistic process, and bring the imaginary principle of making back to the centre of reflection, that is, the creative act that does not end with the return of the work to the world but continues in the reciprocity between it and the viewer, in a making and unmaking of the image as a seductive device.
These aspects have prompted many scholars, intellectuals and critics to engage with Donzelli’s work over the years, in exhibitions including the solo shows Spellbound at Palazzo Martinengo in Brescia, Immaginale at Galleria Massimo Minini, Brescia, and L’insieme vuoto at Marignana Arte, Venice, both in 2022; In Nuce, Museo Civico Medievale, Bologna, for ARTCITY 2021; Metamorphosis, Villa Olmo, Como, 2021; Thresholds, MAC-Museo di Arte Contemporanea, Lissone, 2020; Diorama, in Open Source First Shenzhen Biennale, Luohu Art Museum, Shenzhen, China, 2018; Giardini Cosmici, two-person exhibition with Aldo Grazzi, Palazzo Ducale, Mantua, 2017; Ad Altemps, National Roman Museum, Palazzo Altemps, Rome, 2015; Metamorfosi, Palazzo Fortuny, Venice, 2012.
Among his group exhibitions: a political project born from his own idea and linked to the position of art during the two years of the pandemic, GestoZero, travelling to the Santa Giulia Museum, Brescia, the Violin Museum, Cremona, and the former Church of Santa Maria Maddalena, Bergamo, 2020-2021; Intuition, Palazzo Fortuny, Venice, 2017, and Proportio, Palazzo Fortuny, Venice, 2015.

The artist has also translated his thinking through teaching, lecturing for seven years on ‘Theory of Perception’ and ‘Psychology of Form’ at the NABA Academy in Brescia.
Over the years, his theoretical reflections have been the subject of several publications, including: Spettacolo di Niente, Mazzotta, 2003, printed on the occasion of his exhibition of the same name at the Calcografia Nazionale in Rome; Lo Sguardo Del Disegnatore, Edizioni l’Obliquo, 2002; Metamorfosi, Mousse publishing, 2012; Diramante, Bandecchi e Vitali Firenze, 2015; La Linea Del Tutto, Mousse publishing, 2016, and Maurizio Donzelli, Skira, 2023.

Among others, Peter Assmann, Ilaria Bignotti, Bartholomew F. Bland, Paolo Bolpagni, Vito Calabretta, Daniele Capra, Luca Cerizza, Alberto Dambruoso, Alberto Fiz, Daniela Ferretti, Luigi Ficacci, Lorenzo Madaro, Angela Madesani, Massimo Minini, Mauro Panzera, Roberto Pinto, Francesco Poli, Elena Re, Jessica Tanghetti, Francesco Tedeschi, Clarissa Tempestini, Valerio Terraroli, Tommaso Trini, Gabriele Salvaterra, Andrea Viliani, Mauro Zanchi, and Alberto Zanchetta.
The artist’s works are included in numerous public and private collections both in Italy and abroad.