Riccardo De Marchi
Riccardo De Marchi, born in 1964, lives and works in Udine. He studied at the Academy of Fine Arts in Venice until the mid-80s.
His art was soon noticed by critics and the international public of contemporary art.
Already in 1993 he was invited to participate in the XLV International Biennale in Venice.
Many important exhibitions are followed in Italy and all over the world: Sculpture / Architecture / City, IX International Biennal of Sculpture in Carrara in 1998, personal exhibition at the Kunstlerhaus Palais Thurnund Taxis in Bregenz, Austria in 1998, acquisition of a large sculpture from the city Japanese by Fukuroi Shizuoka on the occasion of the 2002 World Cup, the invitation to participate in the Italian contemporary art exhibition of the Unicredit Art Collection in one of the most important contemporary art museums in Italy, the Mart di Rovereto, in 2005 The Peggy Collection Gugenheim of Venice invited him to exhibitions in 2009 and 2011 with the title Themes and variations.
He also exhibited in famous Italian museums such as the Fortuny Museum in Venice in 2009 and 2011, or the Marco Museum of Contemporary Art in Rome in 2011.
De Marchi has also participated in exhibitions in galleries and art exhibitions in Italy, Germany, France, Hungary, the United States, Canada, Uruguay and many other places around the world. Famous art critics have written about Riccardo De Marchi’s art and philosophers such as Maurizio Ferraris, who met Riccardo in New York City in 2006, Marco Scotini, Luca Massimo Barbero and many others.
De Marchi creates holes that represent presence-absence that penetrate the material to investigate its meaning, traces left by the artist’s action in which individual signs become letters of a universal language or alphabet. The surfaces of his “works of art” for Riccardo De Marchi represent a sort of blank page on which to write, penetrating the chosen materials such as aluminum, stainless steel or Plexiglas, creating a new universe of interrogations and dialogues.
De Marchi’s art does not want to establish final concepts, but to generate a dialectic, which involves the viewer and the environment in which his art is found. A significant example of this dialectic is the creation of a stainless steel floor, traced from the hole of De Marchi, in the 16th century Palladio Villa Pisani music room.
The floor reflects all the frescoes on the walls and on the ceiling, it is like an overwriting on them.