This archive gathers documentary evidence of Sergio Brambillasca’s exhibitions and artistic research. Exhibition dates do not necessarily establish when individual elements of his visual language first appeared. Documented facts are distinguished from recollections that still require verification.
2014 — Porto Viro: Dinner with the Artist
2014 — “A cena con l’artista”, Sette Mari restaurant, Porto Viro (Rovigo). The year is recalled by the artist; the exact date remains to be verified. Photographs document paintings of the sea and a large expressionist portrait. A surviving presentation text, “Sergio Brambillasca pittore”, discusses his work. These materials document the exhibition, but not yet the fully developed language of profiles and perimeters.
Chronological note. According to the artist’s recollection, after the Porto Viro exhibition he contacted Antonio Acerbi and brought the paintings to the Cremona gallery, where he met Antonio and his father. This meeting began a collaboration that continued through the 2018 exhibition with Paolo Levi. The exact date of Porto Viro remains to be established.
2014 — Cremona
15–30 November 2014 — “Tra arte e genialità”, subtitle “Spaziotemporale e l’arte concettuale”, Galleria d’arte Acerbi – Spazio Eventi, Corso Garibaldi 185, Cremona. The original poster documents the venue and dates. The exhibition reflects Brambillasca’s work on the sea; it does not, by itself, establish all the elements of his later visual language.
2015 — Sanremo
7–23 February 2015 — “Tra testi antichi e arte concettuale”, La Fenice Art Gallery, Sanremo. The poster records the exhibition title, venue and dates.
2015 — Bellagio: Between Figuration, Concept and Function
28 March – 6 April 2015 — “Nel mare del figurativo tra concetto e funzione”, Torre delle Arti, Bellagio. The exhibition poster records the opening on 28 March at 6 p.m. and shows a red-and-black portrait also visible in photographs of the Porto Viro exhibition. The correspondence documents an artwork appearing in both settings, but does not independently establish its date of creation.
2016 — Milan
23 March – 23 April 2016 — “Attraverso il mare”, Le Trottoir à la Darsena, Piazza XXIV Maggio 1, Milan. The poster names Michelle Vasseur as curator. Designed by Brambillasca, it features a human profile and a compositional perimeter, providing dated evidence of the public use of these signs in 2016.
2016 — Bellagio: Communication
25 June – 3 July 2016 — “La Comunicazione”, Torre delle Arti, Bellagio. In Brambillasca’s retrospective account, the exhibition marked a turning point: the rectangle became a stage, with figures acting inside and profiles observing. The installation included a mannequin with a cardboard box over its head and a banner inviting visitors to sign. The artist describes these elements in his book “Il teatro dell’uomo – Le stanze interiori”; this later account is distinct from contemporary exhibition evidence.
2017 — AS ART: Independent Critical Documentation
November–December 2017 — “AS ART”, contemporary art magazine, pp. 52–55. A feature on Sergio Brambillasca, with text by Leonarda Zappulla, discusses the concept of containment and a language of signs comprising human silhouettes, observing profiles and delimited spaces. The magazine cover juxtaposes his face with a red profile. This is external critical documentation from 2017; it does not establish the precise year in which the language was first conceived. Source: “AS ART”, November–December 2017, Leonarda Zappulla, pp. 52–55; copy documented in the artist’s archive.
2018 — Paolo Levi and Mediterraneo: Signs Meet Poetry
8–23 December 2018 — “Mediterraneo”, Galleria d’arte Acerbi, Corso Garibaldi 185, Cremona; opening 8 December. The exhibition brought together Brambillasca’s graphic work and Paolo Levi’s poetry on historical memory and tragedies in the Mediterranean. The poster depicts both authors as essential profiles within rectangular perimeters, signs already documented in the artist’s public work in 2016.
25 November 2018 — In his text “Mediterraneo. Poesia con segno e disincanto”, dated in Milan and displayed beside the exhibition poster, Paolo Levi describes Brambillasca as a visual poet whose essential signs are meaningful and abstract. The installation photograph documents this text and its attribution to Levi.
18 December 2018 — ArtsLife reported on the exhibition under the headline “2° Olocausto: Mediterraneo. Immagini e poesia per non dimenticare, a Cremona”. An archived screenshot documents the coverage; without examining the complete article, it should not be treated as an independent critical assessment.
2021 — Milan: “A Lei”, From Art to Swiss Watchmaking
August/September 2021 — L’Orologio, issue 298, p. 21. The illustrated publication documents the collaboration between Sergio Brambillasca and Bereve, featuring the artist’s Marilyn artwork on a watch dial. This is a promotional page, not an independent critical review.
30 October 2021 — “A Lei — From Art to Swiss Watchmaking”, Arcadia Art Gallery, Milan Navigli. The event poster announces projections of Brambillasca’s works onto the gallery façade, the presentation of the collaboration with Bereve, and an address by art critic Federico Caloi. It identifies L’Orologio as media partner.
Research into a Visual Language
The human profile, the perimeter as an invisible theatre, inner rooms and audience participation are elements Brambillasca identifies in his research. Tracing their origins and development requires comparing dated artworks, photographs, posters, publications and independent testimonies. This chronology will be revised when further documentary evidence supports more precise dates.