Frilli Gallery - Galleria Frilli

06/10/2026

We are pleased to share the first video in our artist series from Yijing — Form and the Invisible, now on view in Hangzhou.

This first chapter is dedicated to Calyxte Campe, whose work is deeply rooted in observation, nature, and the direct study of life. His sculptures carry a strong sense of movement, presence, and emotion, shaped by his close relationship with the natural world.

Presented in the exhibition, Child with Horse holds a personal significance for the artist. The sculpture represents one of his four children riding ba****ck, in harmony with the horse and the surrounding landscape.

The subject of the horse also has a special place within Chinese culture, where it is often associated with strength, vitality, movement, and noble spirit. In the Chinese Year of the Horse, Campe’s work takes on an added meaning within the exhibition, connecting personal memory with a broader cultural symbol.

The sculpture reflects Campe’s love for nature and animals, as well as the Tuscan environment in which his children grew up. Through the figure of the child and horse, the work suggests freedom, trust, and a shared vitality between human beings, animals, and landscape.

In the coming weeks, Galleria Frilli will continue to share further insights into the artists and works presented in Hangzhou.

14/09/2026

14/09/2026

Yijing — Form and the Invisible

From Florence to Hangzhou.

In the Chinese Year of the Horse, this symbolic passage becomes a bridge between two cultures, carried by the shared language of art.

Opening Wednesday, September 16
TCC C.F. Koo Building, Hangzhou

10/09/2026

Introducing Yijing — Form and the Invisible.

Opening soon in Hangzhou, the exhibition creates a space of encounter between two ancient cultures deeply connected to form, gesture, and material: Italy and China.

Through sculpture, the project brings classical replicas in marble and bronze into dialogue with contemporary works by international artists whose practices have taken shape in Italy.

At the heart of the exhibition is the value of Italian and Tuscan craftsmanship. Marble, bronze, casting, carving, and handwork become more than techniques; they become languages of memory, knowledge, and imagination.

The exhibition does not present ancient and contemporary, or East and West, as opposites. Instead, it suggests connection, continuity, and mutual recognition.

In this sense, Yijing refers to the atmosphere and meaning that remain beyond what is immediately visible: the quiet resonance a work of art leaves with those who encounter it.

Through sculpture, Galleria Frilli’s project in Hangzhou becomes a symbolic bridge between Italy and China, where the memory of the past and the imagination of the future find a shared form.

Through beauty, we connect. Through art, we create a shared space where cultures, histories, and imaginations can meet.

05/09/2026

Introducing the location of Galleria Frilli’s project in Hangzhou: the TCC C.F. Koo Building.
Named in honor of Koo Chen-fu, an important figure in TCC Group’s history and in dialogue between East and West, the building carries a symbolic meaning closely connected to the spirit of this project.

Located in Qianjiang Century City, near the Qiantang River, the tower stands within one of Hangzhou’s most dynamic contemporary districts.

Developed by TCC Group Holdings, part of Taiwan Cement Corporation, and designed by Kohn Pedersen Fox (KPF), the building rises approximately 210 meters and has received both LEED Platinum and WELL Platinum certifications, reflecting a vision of architecture that respects both the environment and human experience.

Its flowing glass façade evokes the movement of Chinese calligraphy, while its atmosphere of European-inspired elegance creates a space where Eastern and Western influences meet.

In collaboration with TCC Group Holdings and ALD Culture Communication Co., Ltd., Galleria Frilli’s presence in Hangzhou becomes part of this wider cultural bridge, bringing Florentine sculpture and Italian craftsmanship into dialogue with China’s contemporary cultural landscape.

20/08/2026

Installation is now underway in Hangzhou.
Following months of preparation and international coordination, works and materials have arrived on site, marking the beginning of an important new project for Galleria Frilli in China.
In the coming weeks, the space will gradually take shape, bringing Frilli’s Florentine tradition of sculpture, craftsmanship, and artistic collaboration into a new international setting.
More soon.

18/08/2026

From Florence to China, an exciting new chapter is beginning for Galleria Frilli.
After months of preparation, the first stages of installation are now underway. Sculpture, craftsmanship, and international collaboration are coming together in a remarkable new setting.
For now, only a glimpse behind the scenes.
More to come soon.

20/07/2026

There are sculptures that do more than simply depict a subject: they embody an ideal of beauty, harmony, and spirituality.

Giambologna’s Christ Crucified, preserved in the Basilica della Santissima Annunziata in Florence, is one such masterpiece. Created for the chapel intended to house the artist’s own tomb, the work portrays Christ no longer defined by the agony of suffering. His bowed head, closed eyes, and harmonious yet powerful anatomy transform pain into a profound sense of serenity.

This replica was created with the same respect that guides every work produced by Galleria Frilli. From the lost-wax bronze casting process to the final chiseling and patination, each detail was carefully crafted to preserve the elegance, harmony, and spiritual intensity of Giambologna’s masterpiece.

These images offer a glimpse into this process: the expressive face, the crown of thorns, the refined anatomical modelling, and the detail of the nail. Each element reflects the craftsmanship required to bring a Renaissance masterpiece back to life.

Through this work, Galleria Frilli continues its tradition of creating faithful replicas of extraordinary classical and Renaissance masterpieces. Great classics do not belong solely to the past; they belong to every age. They continue to find their place in private collections, public spaces, and homes of those who recognize beauty as a universal value.

16/07/2026

In the city of Ningbo, China, a monumental bronze statue of Dante Alighieri stands as a symbol of cultural exchange between Italy and China.

Cast in bronze by Galleria Frilli, the statue is a faithful bronze replica of the famous monument located in Piazza Santa Croce in Florence. The original work, created by sculptor Enrico Pazzi, was inaugurated in 1865 during the celebrations marking the sixth centenary of Dante’s birth.

Standing approximately 5.8 meters tall and weighing around 2.4 tons, the replica was produced after a detailed 3D laser scan of the original marble monument in Florence. It was then shipped by sea to Ningbo, where it was officially inaugurated in February 2013 in the presence of Italian and local authorities.

The statue was donated by the City of Florence to Ningbo to celebrate the sister-city relationship and cultural cooperation between Florence and Ningbo. Its placement near a large public library gives the work particular symbolic meaning: Dante, considered the father of the Italian language and one of the most important figures in world literature, stands beside a place dedicated to books, knowledge, and cultural exchange.

Through this project, Galleria Frilli helped bring a symbol of Italian literary and artistic heritage into a new cultural context in China.

09/07/2026

The South Door of the Florence Baptistery was the first of the three monumental doors to be created. Executed by Andrea Pisano between 1330 and 1336, it is the oldest of the Baptistery doors, yet it was the last to be removed and replaced with a replica by Galleria Frilli in 2019.

The South Door remained in place longer than the others because it was located on the more sheltered side of the square, making it less exposed to weathering and environmental factors.

Like the North Door, the South Door was documented using advanced laser-scanning technology. These scans were used to create precise resin prototypes, from which wax models were produced and later cast in bronze through the traditional lost-wax process.

The replica was fully funded by the Opera di Santa Maria del Fiore, making it possible to remove the original door and entrust it to expert conservators. Through careful restoration, Andrea Pisano’s masterpiece was returned to its original splendor and is now preserved in the Museo dell’Opera del Duomo, where it can be admired by visitors from around the world.

As the final chapter in the replacement of the Baptistery’s three doors, the South Door reflects Galleria Frilli’s continued role in preserving Florence’s artistic heritage through craftsmanship, technology, and collaboration.