{"id":348,"date":"2026-10-25T21:18:54","date_gmt":"2026-10-25T21:18:54","guid":{"rendered":"https:\/\/sergiobrambillasca.com\/?page_id=348"},"modified":"2026-10-26T15:14:47","modified_gmt":"2026-10-26T15:14:47","slug":"historical-archive-artistic-research","status":"publish","type":"page","link":"https:\/\/sergiobrambillasca.com\/?page_id=348","title":{"rendered":"Historical Archive of Artistic Research \u2014 Sergio Brambillasca"},"content":{"rendered":"

This archive gathers documentary evidence of Sergio Brambillasca\u2019s 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.<\/p>\n

2014 \u2014 Porto Viro: Dinner with the Artist<\/h2>\n\n
\"\"<\/figure>\n\n

2014 \u2014 \u201cA cena con l\u2019artista\u201d, 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, \u201cSergio Brambillasca pittore\u201d, discusses his work. These materials document the exhibition, but not yet the fully developed language of profiles and perimeters.<\/p>\n\n

Chronological note.<\/strong> According to the artist\u2019s 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.<\/p>\n\n

2014 \u2014 Cremona<\/h2>\n\n
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15\u201330 November 2014 \u2014 \u201cTra arte e genialit\u00e0\u201d, subtitle \u201cSpaziotemporale e l\u2019arte concettuale\u201d, Galleria d\u2019arte Acerbi \u2013 Spazio Eventi, Corso Garibaldi 185, Cremona. The original poster documents the venue and dates. The exhibition reflects Brambillasca\u2019s work on the sea; it does not, by itself, establish all the elements of his later visual language.<\/p>\n

2015 \u2014 Sanremo<\/h2>\n\n
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7\u201323 February 2015 \u2014 \u201cTra testi antichi e arte concettuale\u201d, La Fenice Art Gallery, Sanremo. The poster records the exhibition title, venue and dates.<\/p>\n

2015 \u2014 Bellagio: Between Figuration, Concept and Function<\/h2>\n\n
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28 March \u2013 6 April 2015 \u2014 \u201cNel mare del figurativo tra concetto e funzione\u201d, 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.<\/p>\n

2016 \u2014 Milan<\/h2>\n\n
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23 March \u2013 23 April 2016 \u2014 \u201cAttraverso il mare\u201d, Le Trottoir \u00e0 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.<\/p>\n

2016 \u2014 Bellagio: Communication<\/h2>\n\n
\"\"<\/figure>\n\n

25 June \u2013 3 July 2016 \u2014 \u201cLa Comunicazione\u201d, Torre delle Arti, Bellagio. In Brambillasca\u2019s 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 \u201cIl teatro dell\u2019uomo \u2013 Le stanze interiori\u201d; this later account is distinct from contemporary exhibition evidence.<\/p>\n

2017 \u2014 AS ART: Independent Critical Documentation<\/h2>\n\n
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November\u2013December 2017 \u2014 \u201cAS ART\u201d, contemporary art magazine, pp. 52\u201355. 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: \u201cAS ART\u201d, November\u2013December 2017, Leonarda Zappulla, pp. 52\u201355; copy documented in the artist\u2019s archive.<\/p>\n

2018 \u2014 Paolo Levi and Mediterraneo: Signs Meet Poetry<\/h2>\n\n
\"Locandina
Locandina originale della mostra \u00abMediterraneo\u00bb, Galleria d\u2019arte Acerbi, Cremona, 8\u201323 dicembre 2018.<\/figcaption><\/figure>\n\n

8\u201323 December 2018 \u2014 \u201cMediterraneo\u201d, Galleria d\u2019arte Acerbi, Corso Garibaldi 185, Cremona; opening 8 December. The exhibition brought together Brambillasca\u2019s graphic work and Paolo Levi\u2019s 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\u2019s public work in 2016.<\/p>\n\n

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25 November 2018 \u2014 In his text \u201cMediterraneo. Poesia con segno e disincanto\u201d, 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.<\/p>\n

18 December 2018 \u2014 ArtsLife reported on the exhibition under the headline \u201c2\u00b0 Olocausto: Mediterraneo. Immagini e poesia per non dimenticare, a Cremona\u201d. An archived screenshot documents the coverage; without examining the complete article, it should not be treated as an independent critical assessment.<\/p>\n\n

\"Opera
Opera gi\u00e0 presente nella libreria del sito, associata al tema del secondo Olocausto. La fotografia non sostituisce la locandina e il testo originale della mostra del 2018.<\/figcaption><\/figure>\n\n\n

2021 \u2014 Milan: \u201cA Lei\u201d, From Art to Swiss Watchmaking<\/h2>\n\n\n
\"Cover
Cover of L\u2019Orologio<\/em>, issue 298, August\/September 2021. The Bereve collaboration is documented on page 21.<\/figcaption><\/figure>\n\n\n
\"Page
L\u2019Orologio<\/em>, issue 298, August\/September 2021, p. 21. Promotional page featuring the Sergio Brambillasca\u2013Bereve collaboration and the artist\u2019s Marilyn<\/em> work on a watch dial.<\/figcaption><\/figure>\n\n\n

August\/September 2021 \u2014 L\u2019Orologio<\/em>, issue 298, p. 21.<\/strong> The illustrated publication documents the collaboration between Sergio Brambillasca and Bereve, featuring the artist\u2019s Marilyn<\/em> artwork on a watch dial. This is a promotional page, not an independent critical review.<\/p>\n\n\n

\"A
\u201cA Lei \u2014 From Art to Swiss Watchmaking.\u201d Poster for the 30 October 2021 event at Arcadia Art Gallery, Milan Navigli. L\u2019Orologio<\/em> is listed as media partner.<\/figcaption><\/figure>\n\n\n

30 October 2021 \u2014 \u201cA Lei \u2014 From Art to Swiss Watchmaking\u201d, Arcadia Art Gallery, Milan Navigli.<\/strong> The event poster announces projections of Brambillasca\u2019s works onto the gallery fa\u00e7ade, the presentation of the collaboration with Bereve, and an address by art critic Federico Caloi. It identifies L\u2019Orologio<\/em> as media partner.<\/p>\n\n\n

\"Composite
Photographic composite showing Sergio Brambillasca, his painting Marilyn<\/em>, and documentation of the Bereve collaboration published in L\u2019Orologio<\/em> in 2021.<\/figcaption><\/figure>\n\n\n

Research into a Visual Language<\/h2>\n\n
\"Opera
Il profilo umano nella ricerca di Sergio Brambillasca. Immagine illustrativa del linguaggio, non documento di datazione delle prime opere.<\/figcaption><\/figure>\n\n

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.<\/p>\n","protected":false},"excerpt":{"rendered":"

This archive gathers documentary evidence of Sergio Brambillasca\u2019s 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 \u2014 Porto Viro: Dinner with the Artist 2014 \u2014 \u201cA cena con l\u2019artista\u201d, Sette Mari restaurant, Porto […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-348","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/sergiobrambillasca.com\/index.php?rest_route=\/wp\/v2\/pages\/348","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/sergiobrambillasca.com\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/sergiobrambillasca.com\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/sergiobrambillasca.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/sergiobrambillasca.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=348"}],"version-history":[{"count":4,"href":"https:\/\/sergiobrambillasca.com\/index.php?rest_route=\/wp\/v2\/pages\/348\/revisions"}],"predecessor-version":[{"id":378,"href":"https:\/\/sergiobrambillasca.com\/index.php?rest_route=\/wp\/v2\/pages\/348\/revisions\/378"}],"wp:attachment":[{"href":"https:\/\/sergiobrambillasca.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=348"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}