Gianni Pettena - "Montagne naturali" & "Levitazione"

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Televisionario. Prada Foundation, Milan May 8th- September 24th 2017

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Spazio vuoto riservato a Gianni Pettena | Mega, Milan | Mar 29 - Apr 2  2017

Gianni Pettena

Spazio Vuoto Riservato a Gianni Pettena


Mar 29 - Apr 2  2017

Opening Wednesday March 29, 6.30-10 pm

MEGA, Piazza Vetra 21, Milan


Gianni Pettena places his artistic / intellectual practice between conceptual and land art, with a leitmotif in which his belief always correlates with a physicalization related to the body and context scale. Spazio Vuoto Dedicato a Gianni Pettena, a project never seen before in Italy, investigates the deepest aspects of the lived space, a voyage to the discovery of another approach to the architectural discipline. This work runs between rupture and memory for a new definition of space and through the dichotomous relationship between full and empty. Through the use of performance, the artist is creating a gap with the term and the meaning of vacuum, in order to attribute it a new and thunderous symbolic value, so that the audience is brought to reflect on spatial experience lived by each individual. It is the act of the performance to generate the artistic moment, but it will be the end of the act to crystallize and formalize what remains, thanks to the continuous relationship between the inside and the outside of the space of MEGA. 

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Lecture artiparlando: Gianni Pettena | March 16th 2017, 8 pm | Museion Bolzano


artiparlando: Gianni Pettena

Thursday, March 16th, 2017, 8 pm | Museion Bolzano

The project as a language


Art raises questions, design solves them. Design looks for functions while art does not have a practical aim:

but is this still true? What is the relationship between functions and free creativity in two disciplines

similar, yet different, like design and art? How much can we understand about the language of design


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Exhibition "ORIENTATION". Paris, 'salle principale' Gallery. February 17th-April 15th 2017

Red Line (Salt Lake City, 1972)
Red Line (Salt Lake City, 1972)


'salle principale' Gallery, Paris

February 17—April 15, 2017 (Opening February 16, 6 pm)


The group exhibition of les gens d’Uterpan, Dominique Mathieu,  Gianni Pettena, Matthieu Saladin and Lois Weinberger,  is focused on the issue of travel both in the city and in the landscape. 

Gianni Pettena will have on exhibit a photo-composition of his performance Red Line (Salt Lake City, 1972). Red Line is the last of the three works realized during Gianni Pettena’s stay in Salt Lake City in 1972.   The performance, consisted in the “physical   visualization” of the municipal boundary, a red line stretching for about forty kilometers painted on the road and tracing the plan of the city and its administrative limits: an operation that was carried out by leaning out of a pickup truck loaded with some drums of red paint, a spray gun and a compressor to operate it.  Red Line concluded a trilogy of metaphorical interpretations of the contradictions of the contemporary city, its stupidities and its beauties, conducted through interventions that also had a strongly contextual value, as they tackled the theme of the relationship with the city in a place in which the presence of natural elements, in particular the Great Salt Lake and the Great Salt Desert, is particularly significant.

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Les Turbulences



EXHIBITION  “Relief(s) – Designing the Horizon”   

April 10 – September 20, 2015

Opening April 9, 2015


The exhibition will address the thematic of the mountain as an alternative environment in terms of spatial experience and production.  Covering approximately 700 sqm, it will bring together sixty or so works by contemporary architects and artists, introducing a dialogue between the Frac Centre collection and original works.


Gianni Pettena’s project  About non conscious architecture  (1972-73) will be on exhibit.

As a sign and as a mythical object, the mountain is a geographical category of the common sense which summons up a collective and universal imagination. For architecture, this “ultimate form of relief” represents a pure otherness, a form of resistance that is in a state of tension with its original programme of analysis and organization of the world.

The exhibition and the programme connected with it will explore different presences of the relief in art in the past sixty years, flushing out the aesthetic and political meanings which they convey. The representation of “elementary” natural forms is thus involved for the radical architecture of the 1960s as the medium of a criticism of the models issuing from industrial society.


In its quest for the liberation of forms, the architecture-sculpture of the same period makes the relief the clue for an “augmented” experience of space: it delimits a new topographical horizon which digital tools nowadays make it possible to materialize, and it engages a state of heightened perception for the body.




San Giovanni Valdarno, March 28  2015

5 pm

book launch edizione italiana

Palazzo d'Arnolfo_Museo delle Terre Nuove


Giovanni Bartolozzi,  Lapo Binazzi, Fausto Forte, Luca Galofaro, Gianni Pettena, Emanuele Piccardo, Amit Wolf.

7 pm

exhibition opening



Beyond Environment explores the interchange between architecture, land art, and performing  art that emerged through Italian architect Gianni Pettena’s collaboration with American artists Allan Kaprow and Robert Smithson in the 1970s, looking into the different meaning of environment in Europe and the USA in the ‘60s and ‘70s, and comparing the Italian and American contexts and the different aspects of the ’radical’ research in Europe and  of the land art and happenings in the USA.

The project,curated by Emanuele Piccardo and  Amit Wolf in collaboration with the Graham Foundation, includes an exhibition, a book in English published by Actar and the Italian edition by plug_in publisher.


The exhibition ( March 28 - April 19), presented for the first time in Europe at Casa Masaccio Arte Contemporanea  after its first edition at the Los Angeles Contemporary Exhibitions (2014), combines works by Pettena, Kaprow, Smithson, Matta-Clark, as well as, from Pettena’s Italian and Florentine milieu, those of Superarchitecture and the Italian “Radical” groups UFO, Superstudio, 9999, Ugo La Pietra e Pietro Derossi, underlining  Pettena’s and UFO’s  relationship with San Giovanni Valdarno that dates back to the 1968 Masaccio Prize.  The project is further enrichened by new materials added to the book in Italian, such as the photographs of  Record, Fluids and the score of the 18  happenings in six part by Kaprow, together with the series of images of the Spiral Jetty by Smithson.