Agostino Pisani is Ligurian: born at Savona on the 2nd of September 1937, he did not undergo regular studies but, at the tender age of fifteen, went to learn a “trade” at the studio of the sculptor and ceramic artist Antonio Siri at Albisola Mare. During the 1950s, Albisola was an important piace on the route of many avant-garde artists: Lucio Fontana, Asger Jorn, Agenore Fabbri and Aligi Sassu who used the kilns for making ceramics. Art exhibitions commenced and later abounded in the coastal areas. It was therefore in this context that Pisani had his first experience and began to acquire a public. He met Piero Manzoni and moved to Milan where, in 1960, he took part at the Azimuth group exhibitions. Two years previous, Carlo Cardazzo, a Venetian dealer and above ali a sensitive interpreter of new artistic lalent saw his works and organized a personal exhibition for him al the Cavallino Gallery. Pisan has been insisting on real and everyday themes for his work since 1965: he prefers wood and bronze, combining the two materials or choosing Ihem according to the subjecls dealt with. After seeing this artist’s production, Mario De Micheli took aclive interest in his work, inviting him to colleclive exhibitions, introducing him al personal exhibitions and enabling him to become part of the small number of artists who represented the embryonic stage of a new figurative realism in Italy. In’1974, Pisani’s name appeared in the Bolaffi catalogue for the first time. During Ihe 1970s. the sculptor perfected his very personal narrative about everyday objects, often side by si de in. small compositions withtools for land “and sea. The starting point is always a recollection. an everyday affection . Later, Pisani turried his attention to two rnasters of tlle past, Benedetto Antelami and Paolo Uccello, Sorryjng out a senes dedicated to them. In recent ears, after a vibrant series ot sculptures inspired by the terribly bloody Fascist massacres, he went back to studying everyday happenings, reconstructing objects. intellectually conceived perhaps but nevertheless carefully considerèd in depth. His latest achievement is a personal reflection of a work. or rather some Iragments of a work, by Albrech Durer, Pisani’s completely concrete and down-to-earth approach regarding the external world as well as the artists 01 the past, enables him lo achieve unedited citations: it is not the centrai subjecl 01 a work which stimulates his sensitivity but a detail, an object. Among, the most important exhibitions, we would mention Ihe following: the collective exhibition cali ed “Arte e mondo contadino” (The peasant’s art and world) at Turin; “Lombardia vent’anni dopo” (Lombardy twenty years later) at the Visconteo Caslle in Pavia; “Genesi e processo dell’immagine” (Genesis and Ihe image process) at the Palazzo della Permanente in Milan and Ihe very recenl “Aspetti della ricerca figurativa” (Aspects of figurative research) at the Rotonda in Via Besana, Milan.

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