“RE-FLEX”

Giampiero Romanò – Norbert Brunner

NEW YORK | MUCCIACCIA GALLERY

June 17 – September 25, 2021

Giampiero Romano', Italian flag, 2020

Giampiero Romano’, Italian flag, 2020 Wood, mirror, gold leaf, brass, metal, UV print, 95 x 65 cm, 37.4 x 25.5

Norbert Brunner, Authenticity Takes Bravery

Norbert Brunner, Authenticity Takes Bravery, 2017, digital print on acrylic glass, swarovski crystals, MDF, 101.6 x 101.6 x 10.1 cm, 40 x 40 x 4 in.

Mucciaccia Gallery New York is pleased to announce “Re-Flex” featuring international artists
Norbert Brunner and Giampiero Romanò. The show presents a whimsical journey through
artworks that push the boundaries of abstraction – from multi dimensional mirror sculptures to
crystalline pieces of varied types of glass – that investigate the fleeting and sometimes illusory
nature of experiential reality. Those opulent and reflective forms create representational
associacions with the subconsciousness, confronting the viewer to a magical and illusionary reality
that alternates illusions and disillusions, appearance and disappearance, in which one can become
both spectator and protagonist.

In a close dialogue between past and present, Giampiero Romanò melts the heritage of antiques
and the art of the past with a gaze to the future in his Antichita’ 3000 mirrors series. He replaces
common esthetical canons and conventional objects with subversive and playful sculptural forms
that translate two dimensional images into one of a kind multi-dimensional designs.

Building on themes of self perception and regard, Brunner’s mirror objects reflect not only the
viewer, but also superimpose messages of empowerment.

In his conceptual work the multivalent inclusion of the viewer is an explicit statement on the
inherent subjectivity of all art: “Everything seen, perceived, and experienced, all forms of art,
culture and politics are relative and depend only on the beholder’s point of view”.

In the work by Brunner and Romanò the reflective interaction with the sculpture forces the viewer
into a more extensive contention with the artworks, creating a close dialogue between the inner
and the outer worlds.

The exhibition will run from Thursday, June 17th, to Saturday, September 25th, 2021
Opening hours: Tuesday to Saturday 10am to 6pm

For further information please contact: newyork@mucciaccia.com

Dates:
June 17 – September 25, 2021

Location
520 West 24th Street New York, NY 10011
For more information please contact
newyork@mucciaccia.com

Giampiero Romanò

Giampiero Romanò, born in 1973, is an artist from Milan, Italy. His background is not in design school or arts academies, but rather among nails, hammers and paint, working on the restoration of antiques and design pieces. Thanks to such experience and extraordinary manual skills, he started a fruitful collaboration with Maurizio Cattelan and Pierpaolo Ferrari’s Toiletpaper Magazine, adding his original touch in the display of their famous graphics by producing art pieces exposed in worldwide galleries. Antichità 3000, the name that he gave to his new series, well represents the concept the artist wants to express.
Giampiero Romanò melts the heritage of antiques and art of the past with a gaze to the future, to the newness, to the never seen before, in order to upset the common esthetical canons and replace them with something new and original.
His ironic sense and vision, along with manufacturing skills of an old world master craftsman reflect in his artworks, where, among various creations, stand out spectacular one of a kind mirrors.

Norbert Brunner

Norbert Brunner, born in 1969, Austria. Brunner creates opulent, reflective works that confront viewers with messages of empowerment.
His signature pieces are made from a combination of
Plexiglas, mirrors, and Swarovski crystals; their surfaces are such that the viewer’s reflection is thrust into the composition, which to Brunner is the final realization of his creative process.
Rendered in crystals, his titular phrases, like “anticipate greatness” and “visualize the extraordinary,” are illegible unless the viewer faces his works straight on; he sometimes heightens this sense of confrontation by including a giant pair of eyes in his pieces, as if watching for reaction. For Brunner, the multivalent inclusion of the viewer is an explicit statement on the inherent subjectivity of all art: “Everything seen, perceived, and experienced, all forms of art, culture and politics are relative and depend only on the beholder’s point of view”.

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