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Lunedì 14:00 - 19:00 Martedì 14:00 - 19:00 Mercoledì 14:00 - 19:00 Giovedì 14:00 - 19:00 Venerdì 14:00 - 19:00

Thomas Brambilla Gallery

Casa
Italia
Bergamo
Thomas Brambilla Gallery

Informazioni di contatto, mappa e indicazioni stradali, modulo di contatto, orari di apertura, servizi, valutazioni, foto, video e annunci di Thomas Brambilla Gallery, Galleria d'arte, Via Casalino 25, Bergamo.

Thomas Brambilla Gallery has been founded with the specific aim to suggest artists engaged into an artistic pursuit that, just as the best Avant-garde, alters the language and the form, communicating with the later and innovative cultural topics.

31/08/2026

🗓️ save the date ✨
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David Novros (b. 1941 in Los Angeles, California) is known for his large, vividly coloured paintings on irregularly shaped multi-part canvases as well as for site-specific works that transcend the pictorial space to incorporate the surrounding architecture. The Hamburger Kunsthalle is planning the most comprehensive retrospective of his work to date in autumn 2026, presenting 40 large-format, in some cases monumental paintings, copper reliefs and works on paper across two levels of the Gallery of Contemporary Art.
Based in New York, Novros is among today’s leading US artists. His works were first shown in 1965 in a double exhibition with Mark di Suvero at the Park Place Gallery and were included in the influential exhibition »Systemic Painting« at the Solomon R. Guggenheim Museum in New York in 1966. Today, works by Novros can be found in the premier North American collections, including the Museum of Modern Art, the Metropolitan Museum of Art and the Whitney Museum of American Art in New York, the Art Institute of Chicago, the Los Angeles Museum of Contemporary Art, the Dallas Museum of Fine Art and the Museum of Fine Arts in Houston.

The Hamburger Kunsthalle received the monumental, multipart work Four Seasons from 1974 as a gift from the Lafrenz Collection in 2021 and in 2024 acquired the painting Boathouse from 2014. The two works are a welcome occasion to celebrate David Novros’s 85th birthday with this retrospective. Spanning 60 years of the artist’s career, the works on view will include loans from numerous North American museum collections. The exhibition is being organized in close cooperation with the artist. – From the Museum website Hamburger Kunsthalle

Hamburger Kunsthalle
2nd and 3rd floor Gallery of Contemporary Art
09.10.2026 - 21.02.2027
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28/08/2026

Last days to visit ‘Dial-A-Poem Hong Kong’ by at M+, Museum of Visual Culture in Hong Kong 🇭🇰
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Closing 30 August, this is your final chance to visit Focus Gallery and hear a poem from our phone sculptures. The poems are selected at random from an archive of recordings by thirty local poets and musicians in Cantonese, English, and Mandarin.
Want to revisit the poems even after the exhibition ends?
Call +852 3009-9386 anytime and experience poetry wherever you are.
On view until 30 August 2026
Focus Gallery, L2
Get your tickets now via the link in bio.
Share your experience with us! Tag M+, Museum of Visual Culture and use for a chance to be featured.
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「致電一首詩•香港」M+展覽最後召集！
展覽將於8月30日結束，立即抓住最後機會到二樓焦點空間參觀！公眾可以透過電話雕塑裝置聆聽一首詩—每次拿起電話聽筒，系統都會由三十首本地詩人及音樂人所創作的詩歌中隨機選播一首，詩歌將以粵語、英語或普通話讀出。
展覽完結後仍想重溫詩歌？歡迎隨時致電+852
3009-9386，不論你身處何方，都能再次沉浸在詩歌的世界。
展期至2026年8月30日
二樓焦點空間
四立即點擊帳號簡介連結購票。
，期待見到你在M+的打卡分享，記得標記
M+, Museum of Visual Culture 並加上標籤，就有機會在M+ Instagram 見到你的作品 ! […] from M+ Museum post.
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27/08/2026

From June 20 to October 18, the Museo Arte Contemporanea Cavalese presents Fly-by, a solo exhibition by Erik Saglia, curated by Elsa Barbieri.
The exhibition title is inspired by the language of astronautics and refers to the close flyby performed at high speed by satellites and space probes near a planet or celestial body. Such maneuvers often represent an initial exploratory approach, capable of gathering essential data and opening up new avenues of investigation. From this perspective, the exhibition project at the Museum unfolds as a traversal of the museum environment, conceived as a new field of observation and intervention, where “the truth of the painting” is generated dynamically through the temporal and perspectival gap created by the continuous passage of visitors.
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Erik Saglia, Fly-by- Installation view, Museo Arte Contemporanea Cavalese, 2026. Ph. Nicola Morittu.
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Museo Arte Contemporanea Cavalese
Erik Saglia
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25/08/2026

♥️
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Marco Cingolani (b. 1961) lives and works in Milan. He is the “master of color”. In his works, color often becomes a continuous series of overlaps, nuances and scratches, transparencies next to timbre zones, color that covers other color, adding tones and blurs. His work has always focused on the possibility to erase the normative power of media imagery, subjecting it to the radical “cure” of the Artist, being certain that Art provides a decisive point of view to read the world.
Cingolani Marco has always been fascinated by the transition from “pieces of news” to History and back, and in fact it was in this context that more than one series of artworks was born. Here we mention: the series of great oil paintings called Le Interviste (The Interviews) - in which the protagonists are oppressed by the journalists’ microphones -, the famous series dedicated to the attempt on Pope John Paul II’s life, and the tragic murder of Aldo Moro. This strong link to reality is expressed in his works by the symbolical contextualization of several elements, such as UN Security Council blue helmets, multicolored segments of Wall Street graphs, military uniforms, and political parties’ flags.
In 2009 he was among the artists invited to represent Italy at the Venice Biennale. In 2011, when he turned 50, its city of origin dedicates him an anthology diffused in three public spaces. Among several group expositions, Marco Cingolani has solo shows at the Pecci Museum in Prato, at the National Museum of Villa Guinigi (Lucca), at Palazzo Strozzi in Florence, at the S.M.A.K. in Gent, and finally in Milan, at the PAC Museum.
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Image: Marco Cingolani, Di Notte Antonella in Balcone, 2001, oil paint on canvas, 100 x 80 cm.
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23/08/2026

Between Heaven and Earth: Feintuch, Tiziano and Mantegna 🪶
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In “Assumption” (2013), Robert Feintuch isolates and monumentalizes an anatomical detail laden with historical resonance, establishing an intimate and inverted dialogue with the Renaissance tradition. The direct reference is to Tiziano’s “Assumption”, where the Virgin’s feet, captured from below in a dynamic foreshortening, emphasize the upward, ascensional thrust. However, this perspective vertigo cannot overlook the great precedent of Andrea Mantegna’s “Lamentation over the Dead Christ”, whose radical foreground foreshortening Feintuch evokes.
Feintuch performs an extraordinary conceptual operation, fusing Mantegna’s tragic gravity with Tiziano’s spiritual levity. To achieve this, the artist adopts a deeply intimate and performative methodology: he uses his own feet as a model, an autobiographical practice recurring throughout his work to explore human fallibility and bodily vulnerability. Furthermore, Feintuch’s painting process is distinguished by the use of polymer emulsions that bestow a luminous color upon the surface, capable of recreating the seductive beauty and ethereal effect typical of Italian frescoes.
In this way, the feet emerge from vaporous clouds—suspended between a fleshly, almost clumsy materiality and an evanescent finish. Within this parallelism, the anatomical detail ceases to be a mere citation, becoming a formal synthesis between high and low, drama and irony.
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Tiziano Vecellio, “Assunta”, 1516-1518, oil on canvas, 690×360 cm, Basilica di Santa Maria Gloriosa dei Frari, Venezia.
Robert Feintuch, “Assumption”, 2013, polymer emulsion on honeycomb panel, 48.3 x 60.3 cm.
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21/08/2026

“Then and Now,” the artist’s second exhibition with the gallery, presents a selection of work from 2003-2020 including two early cloud paintings. Feintuch began painting clouds in 1996, during a fellowship at the Rockefeller Foundation in Bellagio, following years of having worked exclusively in black and white. Physically limited while recovering from injuries sustained in a car accident, the artist began a series of small color studies on paper, seated in a chair looking out a window, working from direct observation of clouds over Lake Como. Gradually, clouds emerged as an important subject in his work- and they continue to play roles in his paintings today. Feintuch embraces metaphorical meaning, and clouds in his work have been seen as evoking natural processes, heaven, divine power and authority, and evanescence and mortality. – from the press release
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Robert Feintuch, “Small Cloud”, 2003, polymer emulsion on panel, 40.6 x 50.8 cm.
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17/08/2026

Happy birthday to our dear friend and artist John Torreano ✨
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Images: “Summer Glory”, 2024, acrylic paint and acrylic gems on wood column, 195.5 x 29 x 15 cm.
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14/08/2026

A Formal Comparison Between James McNeill Whistler’s “Nocturne in Black and Gold: The Falling Rocket” and Maggi Hambling’s “Fireworks over the sea I” 🪶
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The representation of pyrotechnics in nocturnal landscapes serves as a powerful vehicle for artistic innovation in both James McNeill Whistler’s Nocturne in Black and Gold: The Falling Rocket (c. 1875) and Maggi Hambling’s Fireworks over the sea I. This shared thematic core highlights how two different eras approached the challenge of capturing transient light. Whistler’s masterpiece represents a seminal milestone toward abstraction, utilizing fluid atmospheric washes of color to prioritize aesthetic harmony and synesthesia over narrative detail. In a formal dialogue with this modernist legacy, Hambling’s contemporary work adopts a highly dramatic vertical composition, yet diverges significantly in technique and intent. While Whistler’s surface is delicate and vaporous, Hambling applies a dense, tactile impasto, where vibrant pigments physically erupt across the canvas to convey raw, kinetic energy. Furthermore, while the 19th-century canvas depicts an urban spectacle, Hambling sets her explosion over a turbulent marine horizon, transforming Whistler’s calculated tonal harmony into a visceral, expressionistic sublime.
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James McNeill Whistler, “Nocturne in Black and Gold: The Falling Rocket”, 1875, 60.3 x 46.7 cm,
Detroit Institute of Arts, Detroit.
Maggi Hambling, “Fireworks over the Sea I”, 2026, oil paint on canvas, 70 x 30 cm.
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08/08/2026

Happy birthday to our dear artist David Novros ✨
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David Novros (b. 1941) is an American painter celebrated for his monumental monochromatic abstract works on modular canvases. A founding figure of New York’s influential Park Place Gallery and an early artist at Bykert Gallery, Novros developed a unique approach to painting inspired by murals, Byzantine mosaics, Italian frescoes, and the work of Rothko and Newman. Using layered acrylic pigments and Murano glazes, his paintings create subtle shifts of light, color, and space, inviting a deeply immersive and sensory viewing experience. In 1969, Novros also contributed to the legendary Moon Museum project, sending a tiny ceramic artwork to the Moon aboard Apollo 12 alongside artists including Andy Warhol and Robert Rauschenberg. His work has been exhibited at major institutions such as MoMA, the Guggenheim, the Whitney Museum of American Art, and the Museum of Contemporary Art Chicago.
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Images: , Boathouse, building design and murals, 1996-2003, Middleburgh, NY
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05/08/2026

Constantin Brancusi and Bryan Hunt: A Spatial Dialogue 🌙
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Brancusi’s masterpiece epitomizes early twentieth-century abstraction, reducing form to its essential nature to translate the intangible essence of flight into a refined, vertical ascent that transcends the material constraints of bronze. Decades later, Hunt extends this paradigm into Post-Minimalism. Infused with a rigorous understanding of architectural scale and aeronautical fluidity, Hunt manipulates weight and volume to animate the surrounding negative space.
While Brancusi offers a linear, absolute trajectory toward the infinite, Hunt’s twisting geometry actively claims the environment, challenging gravity and redefining the structural relationship between mass and the architectural envelope.
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Constantin Brancusi, Bird in Space, 1932-40, polished brass, h 151 cm, The Solomon R. Guggenheim, Foundation Peggy Guggenheim
Collection, Venice; copyright 2023 Artists Rights Society (ARS), New York/ADAGP, Paris.
Bryan Hunt, Standing Spiral, 2026, casta acqua resin and acrylic paint, h 214 x 48 x 33 cm. Courtesy of the Artist.
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Indirizzo

Via Casalino 25
Bergamo
24121

Orario di apertura

Lunedì	14:00 - 19:00
Martedì	14:00 - 19:00
Mercoledì	14:00 - 19:00
Giovedì	14:00 - 19:00
Venerdì	14:00 - 19:00

Sito Web

http://www.thomasbrambilla.com/

Notifiche

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