Galleria FuoriCampo

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Galleria FuoriCampo

Informazioni di contatto, mappa e indicazioni stradali, modulo di contatto, orari di apertura, servizi, valutazioni, foto, video e annunci di Galleria FuoriCampo, Galleria d'arte, Via dei Termini 44, Siena.

13/05/2026

Xiao Zhiyu
Travelling While Lying Down, 2025, wood, oil on canvas, aluminium, silk
variable dimensions

The work was produced with the support of the Jan van Eyck Academie during the 2025 residency.

On show

Ph. Sara Sassi, .studio

06/05/2026

Travelling while lying down
Xiao Zhiyu

We went out after the rain at dusk
We went out after the rain at dusk
chasing sky for clouds.
The mountains
moved
with the weightless pace of their own time.
We walked down the hill,
stopping above the running water.
Shrubs blocked our view.
We thought of
Leopardi‘s solitary hill and hedge
the dead seasons meant nothing in that eternity.
The white clouds still surged, in an encompassed silence deeper than the quiet
itself.
You asked: do you see violence?
We Went Out After the Rain at Dusk
The deep blue outlines
carried out a battle
soundlessly,
as if they had never trembled in fear,
nor ever tasted sweetness.
We climbed another hill
(the one we often look at from the kitchen window),
and looked back -
the city shimmered
below us,
and those white mountains were still unreachable,
larger than the city,
light enough to float
Geologists once said that mountains form when the
huge force between tectonic plates collide, compress,
and rise; then they collapse under their own weight.
I asked AI about their height -
it inferred from a photo that they were around ten
thousand meters.
Dark clouds slowly approached from the other side of the hill,
yet we couldn‘t resist climbing higher,
until fine rain blocked our path,
soaking the heavy concrete road
into an indistinct summer scent.
We began to retreat.
Walking in the rain, we kept talking about painting.
The drizzle soaked my coat,
dark spots blooming one by one on the cotton fabric - in our damp steps, the
words spread, dissolving,
until they were unrecognizable.
Like those paintings
that face me in the studio
late at night.

Ph. Sara Sassi .studio

14/04/2026

Travelling While Lying Down
Xiao Zhiyu

25 April, 6.30 pm
Opening Reception

We walked down the hill,
stopping above the running water.
Shrubs blocked our view.
We thought of
Leopardi‘s solitary hill and hedge
the dead seasons meant nothing in that eternity.
The white clouds still surged, in an encompassed silence deeper than the quiet itself.

Xiao Zhiyu (CI, 1995). His painting practice explores how images—especially landscapes—are shaped by technologies of seeing, memory, and circulation. Moving between European and Chinese cosmologies, his work uses comparison as a method to map how modernity produced specific ideas of nature and human–land relations, which have since been naturalized to the point of appearing ahistorical. His modular works and display structures respond to shifting image conditions, foregrounding landscape is entangled with power, mobility and identity.
His recent activities include the group exhibition Dialogue at EMMA – Espoo Museum of Modern Art (2025) and the solo exhibition Layered Hills Send Off Glimmering Light at the Helsinki Art Museum (2024) . He holds an MFA from the University of the Arts Helsinki and was a participant at the Jan van Eyck Academie in 2025. He is currently part of the Berlin Program for Artists and will attend the International Studio & Curatorial Program ( ), New York, in 2027.

The work was produced with the support of the during the 2025 residency.

Join us in

26/02/2026

HOLD THE LINE
João Freitas

The nature of time is one of the great mysteries of reality. On one hand, time is a puzzling enigma that has eluded all of humanity’s attempts at total comprehension. On the other hand, time is the most familiar thing in the world. And while the subject has been studied for thousands of years, there remains no scientific consensus as to what time really is. Our human experience is that time is something which flows from the past to the future, and we as subjects, are carried along its progressive linear current. And yet, our physical models of time argue that the universe is one big block in which all moments past, present and future, exist somewhere permanently along the block’s temporal dimension. What’s more, the second law of thermodynamics, entropy and the “arrow of time” tell us that time, as we experience it at the human level, does not exist as such in the microphysical world: were we able to witness reality at that level, the difference between
the past and the future would vanish.

Excerpt from the text by .deutsch

Image:

1. Ex view Hold the line
2. João Freitas, Tête-bêche, 2025
Cover of a book found, 40,3 x 35,8 cm
3. 4. João Freitas, Stummer Diener, 2026
Wood, reclaimed studio floor pan-
els, paint, roofing nails, 127 x 220 x 5,5
cm (folded) / 155 x 220 x 104 cm (unfolded)

📸 Sara Sassi .studio

20/02/2026

Tomorrow 🔥🔥🔥

Hold the linefreitasjoao

At 6.30 pm

Via dei Termini 44

-

Polvere d’inverno

At 6.00 pm

Via Pian d’Ovile 29

Join us in

11/02/2026

HOLD THE LINE
Joâo Freitas

with a text by .deutsch

21.02.2026 h 18.30
Opening Reception

22.02 - 10.04.2026
Exhibition Period

João Freitas (b. 1989) is a Luso-Luxembourgish visual artist based in Brussels. He received his Master’s degree in Drawing from ENSAV La Cambre in Brussels in 2014. Freitas has collaborated with the Fuoricampo gallery in Italy for the past ten years. Past solo exhibitions include “Twofold” in 2023 at the Museo del Santa Maria della Scala in Siena, “Unshielded” in 2022 at La Patinoire Royale Bach gallery in Brussels, and “Into the Open” in 2020 at the Centre d’art Dominique Lang in Dudelange (LU). His work has also been shown in group exhibitions at venues such as TAMAT – Museum of Tapestry and Textile Arts, Tournai (BE); Haus des Papiers, Berlin (DE); CENTRALE for contemporary art, Brussels (BE); Laboratorium – Institut für aktuelle Kunst, Saarlouis (DE); LIAR – Luxembourg Institute for Artistic Research, New York (US); Rotondes, Luxembourg (LU); Royal Museums of Fine Arts of Belgium, Brussels (BE); Centre Wallonie-Bruxelles, Paris (FR); and the Italian Cultural Institute, Brussels (BE).Freitas is scheduled to participate in an upcoming residency at RAVI in Liège in early 2027.

The show is realized with the financial support of the Ministry of Culture of the Grand Duchy of Luxembourg.

Ph. Barth Decobecq

08/02/2026

Arte Fiera Bologna

Eugenia Vanni
Alius at idem. Stesa in controluce, 2026
Oil on grey cotton fabric
90 x 120 cm

Eugenia Vanni
Alius et idem. Appesa in penombra, 2025
Oil on blu cotton fabric
50 x 60 cm

Pittura XXI | Booth B89

📸 1.2. .morittu
3. .studio

08/02/2026

Arte Fiera Bologna

Xiao Zhiyu
Things I Keep in My Pocket (1.2.3.)
2025
oil on linen
15 x 7 cm

“I paint almost exclusively from images captured on my iPhone. This small black box has become my device for memory and for sensing the world. Isn’t that strange? It represents the highest refinement of modern technology: millions of identical copies scattered across the planet, each one the endpoint of a vast, invisible mesh of extraction and production—rare earth minerals dug from the ground, labor outsourced across continents, container ships crossing oceans, patents, treaties, tax shelters, surveillance protocols. And yet, all this collapses into something so intimate I keep it in my pocket, fall asleep beside it, use it to remember my mother’s face, or the light through a train window.”

Xiao Zhiyu (CN, 1995) recent activities include the group exhibition Dialogue at EMMA – Espoo Museum of Modern Art (2025) and the solo exhibition Layered Hills Send Off Glimmering Light at the Helsinki Art Museum (2024). He holds an MFA from the University of the Arts Helsinki and was a participant at the Jan van Eyck Academie in 2025. He is currently part of the Berlin Program for Artists and will attend the International Studio & Curatorial Program (ISCP), New York, in 2027

Pittura XXI | Booth B89

07/02/2026

Arte fiera Bologna

Eugenia Vanni
Inerti, 2025-2026
Ruin on frescos
Variable dimensione

Eugenia Vanni’s work focuses on painting as a relationship between matter, technique, and support. In the Inerti series, she uses fragments of ruin as pictorial surfaces, transforming marginal remnants into sites of memory and narration. The frescoed leaves, isolated and suspended, generate a tension between fragility and permanence, collapse and resistance.
The series also carries a historical and political dimension: ruin, as a residue of demolitions and urban transformations, bears the traces of collective change and social vulnerability. In the encounter between debris and fresco, Vanni constructs an ethical imaginary that restores dignity to what remains, questioning the survival of the image as a site of memory and resistance in the contemporary condition.

Pittura XXI
Hall 25 | Booth B89

📸 1 .morittu
2.3.4 .studio

06/02/2026

Arte Fiera Bologna
Pittura XXI curated by

Pav 25 | booth B89

Ph. .morittu

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Via Dei Termini 44
Siena
53100

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