Quali sono gli orari di apertura?

Lunedì 10:00 - 19:00 Martedì 10:00 - 19:00 Mercoledì 10:00 - 19:00 Giovedì 10:00 - 19:00 Venerdì 10:00 - 19:00

Galleria Massimo Minini

Casa
Italia
Brescia
Galleria Massimo Minini

Massimo Minini opened his gallery in 1973. During his early years of activity, he was involved mainly with Conceptual Art, Arte Povera and Minimal Art.

01/09/2026

Stefano Arienti and Sabrina Mezzaqui are part of "Le Divisament dou Monde: disegni italiani sull’Estremo Oriente" – organized by Fondazione Garuzzo on the occasion of the 700th anniversary of the death of Marco Polo – is at its third stop at Jiangxi Provincial Art Museum in Nanchang.

The exhibition creates a dialogue between a series of drawings by Italian artists — from the Masters to the most interesting and reputable young emerging talents — within a journey that explores the visual, cultural, and symbolic influence of the Far East on contemporary Italian art. The choice of such a specific medium (drawing) is also driven by China's great tradition of and sensitivity toward drawing and calligraphy. The works, some of which were created specifically for the project, are conceived as a tribute to the spirit of exploration, observation, and knowledge that animated Marco Polo's journey.

On view until September 24, 2026

ph.
1. Sabrina Mezzaqui, Che tu sia per me il coltello, 2014, carved book (David Grossman, "Be My Knife"), scraps of paper, glue, thread, 30×50×44 cm
2. Stefano Arienti, Tronchi d'albero nell'erba (da Vincent Van Gogh), 2026, modeling clay on poster mounted on panel, 98,5×128,5 cm

28/08/2026

United Artists of Italy: Photographic Portraits — Chapter V
Ugo Mulas
Following Massimo Minini’s vision, this summer we explored photography as a meeting point between artists, photographers, and the historical moment they inhabit.

The last chapter of this journey is dedicated to Ugo Mulas (1928 - 1973).
A self-taught photographer, Mulas understood photography as a critical and conscious way of engaging with society and its transformations.

His journey began in the streets and outskirts of Milan, developing through the cultural atmosphere of Brera, the legendary Bar Jamaica, and the artistic circles that shaped post-war Italian culture. From his early experiences in design and fashion, including his collaboration with Mila Schön, to his work in theatre with Giorgio Strehler and the Festival dei Due Mondi in Spoleto, Mulas constantly expanded the boundaries of photographic practice. His encounters with artists such as Marcel Duchamp and Lucio Fontana, and his extensive documentation of the international art scene — including Frank Stella, Roy Lichtenstein, Jasper Johns, and Robert Rauschenberg — established him as one of the most important interpreters of contemporary art through photography.

Alongside his portraits of artists including Max Ernst, Alberto Giacometti, Joan Miró, Giorgio Morandi, and Pier Paolo Pasolini, Mulas also explored literature, culture, fashion, advertising, and travel, creating images that captured the spirit of an era.

His final and most radical investigation, *Le Verifiche* (1968–1972), a series of thirteen photographic works, questioned the very nature of photography itself, exploring its limits, mechanisms, and possibilities as an autonomous artistic language.

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Ugo Mulas, Arnaldo Pomodoro, 1966, Stampa su carta baritata, 52×42 cm

25/08/2026

United Artists of Italy: Photographic Portraits — Chapter IV
Mimmo Jodice
Following Massimo Minini’s vision, this summer we explore photography as a meeting point between artists, photographers, and the historical moment they inhabit.

The fourth chapter of this journey continues with Mimmo Jodice. (1934 - 2025)
Throughout his career, Jodice expanded the boundaries of photography, approaching the medium as an autonomous artistic language and exploring its expressive, conceptual, and poetic possibilities.
Since the 1960s, he has challenged the traditional function of photography, moving from social and anthropological research to a deeper investigation of memory, perception, classical culture, and the myths of the Mediterranean.

For Jodice, photography is not a simple record of reality, but a creative process where vision, thought, and memory converge. His images transform the world into a contemplative experience, suspended between silence, time, and imagination.
From urban landscapes and architecture to ancient ruins and the Mediterranean, his work reveals a personal and profound relationship with reality, inviting the viewer to see beyond appearances and discover new dimensions of meaning.

Follow us for the next and last chapter…

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Mimmo Jodice, Mare Lux, opera nr. 28, 2009, Stampa fotografica Giclée, 49×51 cm, Edition 6/8 + II APs�Mimmo Jodice, Natura, opera nr. 14, 1998-2014, Stampa al carbone su carta cotone, 80×63 cm, Edition 6/8 + II APs�Mimmo Jodice, Trittico di Ulisse, 1992-2001, Gelatin silver prints, triptych, 60×46,5 cm each, Edition 2-6 + II APs�Mimmo Jodice, Laocoonte, 2003, Due stampe fotografiche vintage alla gelatina ai sali d'argento, 35,5×36 cm, 62×52 cm framed

19/08/2026

United Artists of Italy: Photographic Portraits — Chapter III
Luigi Ghirri
Following Massimo Minini’s vision, this summer we explore photography as a meeting point between artists, photographers, and the historical moment they inhabit.

The journey continues with its third chapter, featuring Luigi Ghirri (1943 – 1992).
Luigi Ghirri was an Italian photographer who, beginning in the 1970s, produced pioneering color photographs of landscape and architecture within the milieu of conceptual art. Ghirri’s photographs are presented with a deadpan, often ironic wit and always consider the tenuous balance between people and their surroundings. He worked in series, photographing parks, beaches, and urban scenes of his native Italy, producing modestly sized, meticulously made prints. His use of color has been lauded for its capacity to express “both prescience and nostalgia” in its distinct encapsulation of the first wave of color photograph. Luigi Ghirri spent his working life in the Emilia-Romagna region of Italy, where he produced one of the most open and layered bodies of work in the history of photography.

Follow us for the next chapter…

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Luigi Ghirri, Caserta, 1987, C-print, Project Print, Un piede nell'Eden series, n. arch 171, 8×10 cm, 24×26,5cm frame
Luigi Ghirri, Caserta, 1987, C-print, 8×10 cm, Project Print, Un piede nell'Eden series, n. arch 177, 24×26,5 cm frame
Luigi Ghirri, Caserta, 1987, C-print, Project Print, Un piede nell'Eden series, n. arch 175, 8×10 cm, 24×26,5 cm frame

13/08/2026

United Artists of Italy: Photographic Portraits — Chapter II
Federico Garolla
Following Massimo Minini’s vision, this summer we explore photography as a meeting point between artists, photographers, and the historical moment they inhabit.

The second chapter of this journey continues with Federico Garolla (1925 - 2012).
Federico Garolla was born in Naples in 1925. For twenty years, he worked for the most important Neapolitan dailies, Mattino and Domani d'Italia. His move to Milan led to him working as a photo reporter for magazines like L'Europeo, Paris-Match, National Geographic, and Die Stern. In the 1950s he began photographing the birth of Italian high fashion. During this period, he contributed to Eva, Annabella, Grazia, and Amica. His lens told the story of Italy's transformation following the Second World War. In the hundreds of reportages he published, he gave the country its image of Italia Felix, the "happy Italy" of the years during reconstruction. He photographed the great stage actors, the starlet of early Italian television, the pin-up girls, and the cultural turmoil of the era. In the 1960s, he contributed to advertising campaigns for Cirio and Locatelli and in 1976, he dove into the world of television, working as a director and announcer for a variety of news segments. In the 1990s, he began to work in publishing and edited guides to the major museums of Italy together with Mario Monti.

Follow us for the next chapter…

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Federico Garolla, Collezione Gernet al foro italico, Roma 1956/2007, 73,5×63,3 cm, Edition 2/9
�Federico Garolla, Le galline sul tetto, abito Gattinoni, Roma, 1955/2006, 73,5×63,3 cm�
Federico Garolla, Da Salvatore Ferragamo, Firenze 1951, Edition 1/9

10/08/2026

Vanessa Beecroft and Haris Epaminonda are part of "Gen X: Tales from the Forgotten Generation", a group exhibition with selections from the Dakis Joannou Collection.

Curated by Massimiliano Gioni with Calvin Wang and Taeyi Kim, the exhibition will be on view at the DESTE Foundation in Athens between June 18th and November 26th, 2026. Drawing from the holdings of the Dakis Joannou Collection, the exhibition brings together works by artists born between 1960 and 1980.

ph. Haris Epaminonda, Untitled #13 a/j, 2023, pink pastellone on wooden panel with two black powdercoated metal bars, 87×120×2 cm

07/08/2026

United Artists of Italy: Photographic Portraits — Chapter I
Elisabetta Catalano
Following Massimo Minini’s vision, this summer we explore photography as a meeting point between artists, photographers, and the historical moment they inhabit.

The first chapter of this journey begins with Elisabetta Catalano (1944 - 2015).
Born and based in Rome, Elisabetta Catalano became one of the most important witnesses to the artistic and cultural life of Italy from the 1970s onwards. Through her portraits, she documented the work and lives of artists, intellectuals, writers, and cultural figures, establishing herself as an internationally recognised portrait photographer.

Her professional career began through collaborations with major publications such as Vogue Italia, Il Mondo, and L’Espresso, as well as other international magazines.
Catalano’s photographic practice found its defining moment on the set of Federico Fellini’s iconic film 8½, where she worked as an actress in the role of Anouk Aimée’s sister. In the 1970s, Elisabetta Catalano devoted herself entirely to portraiture. From her studio in Rome, she photographed some of the most significant figures of the international avant-garde, including Alighiero Boetti, Joseph Beuys, Gilbert & George, Sandro Chia, Enzo Cucchi, Francesco Clemente, Cesare Tacchi, Jannis Kounellis, Michelangelo Pistoletto, Vettor Pisani, and many others.

Her relationship with artists went beyond the traditional role of portrait photographer. Catalano became an active participant and collaborator in the creation of performance art, often documenting actions and works that would later incorporate her photographs as integral elements of their presentation.

Follow us for the next chapter…

📸Ph.
Elisabetta Catalano, Mario Schifano nella sua casa di Campo dei Fiori, Roma, 1967, Gelatin silver print, 99×70 cm
Elisabetta Catalano, Joseph Beuys ritratto in studio, Roma, 1973, Gelatin silver print, 99×70 cm�Elisabetta Catalano, Alighiero Boetti ritratto in studio, Roma, 1973, Gelatin silver print, 99×70 cm

05/08/2026

Photography as a way of reading contemporary art.
"If ‘contemporary’ is an attitude, a way for a work to position itself within its own time and in harmony with the major themes of the moment, then the greatest intensity of this ‘contemporary’ quality is achieved not through the work itself, but through the artist, who lives in his or her own time, interprets it, gives it voice, and shapes it, defining its spatial and temporal contours."— Massimo Minini

This summer, Galleria Massimo Minini opens a new storytelling journey dedicated to photography.
We begin with “United Artists of Italy: Photographic Portraits” (2010), a photographic project curated by Massimo Minini that brings together an important archive of portraits of Italian artists, captured by some of the most influential photographers of the 20th century and contemporary photography.
Through the lens of photographers such as Ugo Mulas, Mario Giacomelli, Mario Cresci, Luigi Ghirri, Gabriele Basilico, Gianni Berengo Gardin, Ferdinando Scianna, Mimmo Jodice, Paolo Mussat Sartor and many others, the book explores photography as a document, a memory, and a space of dialogue between the artist and their time. More than a collection of photographic portraits, “United Artists of Italy” is an archive of encounters: images that reveal the faces, gestures, and environments of the artists who shaped Italian contemporary art.

Over the coming weeks, we will continue exploring the role of photography in contemporary art, sharing stories, artists, photographers, and images from the archive of Galleria Massimo Minini.
A summer dedicated to photography begins here.

03/08/2026

Anish Kapoor at Lehmbruck Museum on view until August 30, 2026

Anish Kapoor has created an exhibition for the Lehmbruck Museum that harmonizes the impact of his works with the characteristics of this iconic modernist building. The exhibition focuses on themes that have moved us for centuries: Where do we come from and where are we going? It is about identity, memory, vulnerability, and infinity.
Anish Kapoor's sculptures are not purely static objects, but immersive spaces of experience that touch, amaze, and transform us. The exhibition is a rare opportunity to experience Kapoor's work in all its emotional and philosophical depth. It invites us to open ourselves to intense sensory impressions and to believe that the impossible is possible.

The Wilhelm Lehmbruck Prize, awarded by the City of Duisburg and the Rhineland Regional Council, now honors his groundbreaking life's work, which continues to shape the development of art to this day.

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Anish Kapoor, Spire, 2014, © VG Bild-Kunst, Bonn 2026 Foto Dejan Saric
Anish Kapoor, Double S-Curve, 2019, © VG Bild-Kunst, Bonn 2026, Foto Dejan Saric
Anish Kapoor, Gossamer, 2015 und Anish Kapoor, Untitled, 2020, beide Werke © VG Bild-Kunst, Bonn 2026, Foto Dejan Saric
Anish Kapoor, Mother as a Mountain, 1985 und Anish Kapoor, When I am Pregnant, 1992, beide Werke © VG Bild-Kunst, Bonn 2026, Foto Dejan Saric

31/07/2026

☀️ Summer Break ☀️
As every year, our gallery is taking a short summer pause from August 1 to 23, 2026.

The doors may be closed, but one eye remains open to discover new ideas, one ear attentive to your stories, and our passion for contemporary art never takes a holiday.
We wish you a summer filled with light, unhurried moments, and beauty. We look forward to welcoming you back soon with new exhibitions and new stories to share.
Have a wonderful summer.

📸 Luigi Ghirri, Marina di Ravenna, 1972, serie Fotografie del periodo iniziale, Vintage C-Print, 12,4×17,5 cm, 42×52 cm frame

Indirizzo

Via Luigi Apollonio 68
Brescia
25128

Orario di apertura

Lunedì	10:00 - 19:00
Martedì	10:00 - 19:00
Mercoledì	10:00 - 19:00
Giovedì	10:00 - 19:00
Venerdì	10:00 - 19:00

Telefono

+39030383034

Sito Web

http://www.galleriaminini.it/

Notifiche

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