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IN PROCESS: Paula Doepfner, Pietro Fortuna, Laura Gianetti, Cyrill Lachauer, Hanne Lippard, Roberto Pietrosanti, David Prytz, Yorgos Stamkopoulos, Sebastian Stumpf

08.05.25 — 07.06.25

Mario Iannelli Gallery is pleased to present its participation in the program of Contemporanea- Gallery Weekend in Rome, from 9 to 11 May 2025. During this time, the group exhibition “In Process” will be visible, displaying new works by Paula Doepfner, Pietro Fortuna, Laura Gianetti, Cyrill Lachauer, Hanne Lippard, Roberto Pietrosanti, David Prytz, Yorgos Stamkopoulos, and Sebastian Stumpf.

 

The "Work in Process" series, which can be interpreted as either a "work in progress" or a "conceptual, process-based work," documents the gallery's activities and focus. This series lends its name to a publication that traces its evolution.
Previous publications include "Work in Process," published by CURA Books in 2021, and "Work in Process II," released in 2023.

 

Within the context of the "In Process" exhibition project, the process acts as a generative element, exploring the meanings of the works and their interactions.
Previous exhibitions were: “In Process: Paula Doepfner / Daniel Lergon” (2021) and “In Process: Felix Kiessling, Philip Topolovac, Sarah Ancelle Schönfeld. An exhibition in three parts” (2022).

 

The interactions between the works meet on themes and media such as reality and abstraction, sculpture and movement, photography and philosophy, nature and technique, performance and writing, pictorial and geometric abstraction, verticality and flow.

 

Stanislao Di Giugno
Stanislao Di Giugno's artistic exploration engages with painting in space through site-specific works made of painted metal bars.
His creative process often involves overlapping phases, resulting in an abstract and material "glitch.”. This stylistic approach has also been experimented with other media, such as collage and objects manipulation.
On display features an aluminum bar painted with a gradient, his constant stylistic hallmark and, in this pictorial-object context, evokes the effect of neon light. In his canvas works, however, it becomes the central stage of various spatial and luminous configurations.

 

Paula Doepfner
Paula Doepfner’s work comprises drawings, performances, and objects made of glass, ice and organic matter. The content of her work is drawn from literary texts and documents relating to human rights abuses and the Holocaust. Her drawings consist of minute script on transparent paper; she writes lines of text in tiny letters (ø = 1 mm) to form textual images. The drawings are based on sketches she makes while observing autopsies and brain surgery at the Charité University Hospital Berlin. The strings of text in her drawings are taken from the Istanbul Protocol, a UN handbook on the investigation and documentation of torture and other cruel, inhumane, or degrading treatment, and from documentary material on the children of Auschwitz. She combines these documentary texts with literary works by the likes of Anne Carson, Paul Celan and Robert Musil.
Currently on display are “Where Have You Been So Long, I” (2025, cracked glass, watercolour, pigment) and a text drawing on paper (“There’s a long-distance train rolling through the rain”. Title from: Where Are You Tonight? (Journey Through Dark Heat) by Bob Dylan; Text: Paul Celan "Engführung" (“Stretto”), 2025, ink on gampi paper).

 

Pietro Fortuna
The process philosophy is central to Pietro Fortuna's research as his work brings an event into being.
The exhibited piece on display "Sculture con due biglie" (2024), a block of clay that hosts two marbles in cavities intentionally carved out for this purpose. 
While classical sculpture involves shaping a block of clay to bring the artwork into being, Fortuna's piece uses hardened raw clay, which is processed through a method akin to the ones used for stone, resulting in a similar appearance. The clay block is not just the starting point but an integral part of the process, and the sculpture emerges from an action that involves not only creation but also a kind of rupture, which alludes to an act of discovery or revelation. The marbles embedded in the cavities seem to symbolise “events” or moments of reality as if the artwork were somewhat a testimony of reality itself.
His work process, on the other hand, is visible in the second piece on display, embodied in some photographic works with space-time overlays integrating several of his works and drawings.

 

Laura Gianetti 
Laura Gianetti’s research focuses on nature and biology, addressing critical issues such as the climate crisis and rewilding.
In her new sculpture series, resin casts of Platonic solids are fused with organic materials.
These perfect shapes, symbols of the earth’s elements, are recalled not as abstract models, but as sensitive vessels of a tangible world: transparent bodies cradling fragments of wounded nature, nests of winged creatures, fire-scorched wood, and golden leaves reaching toward healing.
Each solid embodies a small cosmos, a container of unseen connections between idea and matter, between form and chaos, between the human being and all that lives beyond.
In another series, she creates plaster moulds of the human body, which are painted and covered in moss. These moulds are displayed in resin and glass cases that resemble relics.

 

Cyrill Lachauer
Cyrill Lachauer’s photographic and filmic work work is represented in his “American trilogy”, the images have a non-linear narrative sequence in which the single image appears as a trace. In some non-narrative and non-documentary conceptual works, he uses a chromatic spectrum and a silkscreen technique.
The displayed work consists of a photographic creation from a series of seven silkscreen featuring images of glacier peaks sourced from books, with seven points of different colours from the spectrum arranged vertically.
This configuration is reminiscent of the seven energy points of chakras.
In these works, the chromatic spectrum works as a healing, seen as an awareness of a condition that is about to vanish and on the other build a magical relationship interconnected with nature.
Coming out in the fall, “Slack, the third chapter of his work realised in the United States, a feature film shot on freight trains whose genre waverings between documentary and essay film, between features and experimental film.

 

Hanne Lippard 
Starting with Hanne Lippard's writing, she expresses her artistic research based on language through different media such as sound and visual installation, vocal performance, and visual poetry.
Writing as a form of media evolves into spaces of listening and transition, developing new communicative, critical, and narrative dynamics.
Her practice of deconstruction and reactivation of oral and written language redraws the contours of private and public language in parallel.
In the wake of a long-standing tradition, from Duchamp’s playful wordplay to concrete poetry, Lippard composes her texts using fragments of daily life, borrowed from books and media alike, crafting a form of writing that challenges the language of technique.
The new work in the exhibition consists of a print for a temporary tattoo of the phrases ‘a sign, a meaning / assign meaning’ taken from the composition ‘sky’, in which it is repeated in a loop.
The chosen sentence is designed to be tattooed on forearms, one phrase on each, reflecting the conceptual and processual nature of the work, the interaction between the signified and the signifier and between the material and the immaterial.


Roberto Pietrosanti
Pietrosanti's research examines the potential of matter in action.
In the displayed “Codici” series on display, perspective images of art history paintings are transformed into works made with cotton threads stretched on the frame horizontally.
Both the image and the canvas, representation of the Renaissance image, are deconstructed through colour decomposition and resetting form.
The canvas support relativity is stressed by the thin consistency of the thread and giving the image a floating character.
In his other two-dimensional works, the thread passes through pins, drawing figures that find their depth in the white space only through the connections between its points.
In the project “Non avere timore” (Roberto Pietrosanti in collaboration with Giovanni Lindo Ferretti, photography Leonardo Aquilino”, 2014) represent the anatomy of a voice, he created works with thread and pins inserted into the canvas.
In the protruding dimensions of his two-dimensional works (“Superfici”) and the sculptural one (“Sfere”) his works show a coexistence of surfaces as much as of matter crossing space and shaping the monochrome plastic image.
The de-construction relates to a proportional constructive work that increases the complexity of the environmental works.

 

David Prytz
David Prytz, along with Felix Kiessling, recently presented the exhibition “T I M E,” which celebrated the gallery's tenth anniversary. The installation used sound and light to represent cosmological time. In his works, such as “Tabula Rasa,” “When the Bridge Ends, the Satellite Begins,” and “Exocenter,” David Prytz creates sculptures and environments that intertwine the dynamics of the cosmos with those of everyday life by assembling raw materials animated by kinetic movements, molten minerals (“Dumb Alchemy”), and geometric designs (“Literal Geometry”).
The displayed work is part of a series created using various materials and techniques, including molten plexiglass, bent metal bars, gauze, leaves, plastic tubes, pigments, and stone and wood pieces. These elements are assembled to create organic forms in transformation, suspended to highlight their movement, potentially moved by air, particularly when they are not activated by motors in the environments.

 

Yorgos Stamkopoulos
In his recent works on paper, Yorgos Stamkopoulos centrally adds colour into the gesture, marking the previous phase of his pictorial research on paper, contemporary with the Trajectory project created in the gallery in 2017. Both colour and gesture engage dynamically with the viewer's perception.
This encounter and almost birth of the artwork take place through different elements, such as the overlapping of vertical and horizontal layers, their conjunctions and crossings, the tangles of luminous and isolated marks, through the material processes of colour dilution and chromatic shading, the scratchy yet light and flowing line, the pictorial counterpoints and ricocheting of color through space.
For instance, there are multiple painterly registers for a single point: the imprint, the drop, the shadow, the stain, the accidental. The seemingly disjointed whole offers itself to the gaze in a direct and unrestrained way. 
The abstract space thus identified is composed of left blank spaces, which in the artist's research are structured as rips, heirs of an informal tradition, progressively becoming living traces, polymorphous relationships within the space that express the possibilities of seeing within processes unfolding in a continuous flow.
These works on paper were conceived as 'preparations' for paintings on canvas, and yet, at the same time hold the value of autonomous works.

 

Sebastian Stumpf
Sebastian Stumpf recently presented the project “Certain Peaks”, in which he engaged with the gallery space and historical and urban landscape of Rome. 
Sebastian Stumpf’s actions explore the relation of the body to public, artistic, and institutional spaces, calling into question the observer’s perception with specific gestures and his imagination of the performed place. 
The work on display connects to the exhibition theme "In Process" by emphasizing the performative nature of Stumpf’s work, which involves various actions within the landscape that are later represented in video or photographic series.
In the showcased "Fences" series, created in Los Angeles in 2017, Stumpf’s figure appears vertically above urban fences, engaging with the surrounding environment through his visions and presence. This interaction can be both intimate and expansive, reflecting a connection both against and within the landscape.
The suspended figures suggest different shades of the uncanny in contrast with nature and modernist architecture, day and night.

 


Stanislao Di Giugno (1969, Roma) lives and works in Rome.
Recent solo and group shows: “Temporary statement”, Galleria Tiziana Di Caro - AOCF 58, Roma; “Un presente indicativo. Posizioni e prospettive dell’arte contemporanea a Roma”, Galleria Nazionale, Roma, 2023; “Stanislao Di Giugno / Bernd Ribbeck”, Fondazione Filiberto e Bianca Menna, Roma, 2021-2022; “Trentuno fughe e alcuni dettagli”, Galleria Tiziana Di Caro, Napoli, solo, 2021; “Quadreria”, Studio Sales, Roma, 2021, “Monochromes”, Galleria Mario Iannelli, Roma, 2019-2020.
Stanislao Di Giugno began his artistic journey by exploring various mediums – from figurative painting to collage, installations, and video – before fully embracing abstract painting, as a natural synthesis of his expressive evolution. His work has consistently aimed to challenge conventional perceptions of reality, repurposing everyday objects into abstract forms and creating pieces that disrupt visual logic. A key moment in his career is the 2009 installation Una certa distanza, which reflects on the concept of space as a dividing element between the artwork and the viewer.
Gallery Exhibitions: “Unmaking”, 2023, group exhibition; “Monochromes”, 2019-2020, group exhibition

 

Paula Doepfner (1980, Berlin) studied fine art at the Universität der Künste Berlin and at Chelsea College of Art and Design London. In Berlin she completed her studies, graduating from the masterclass of Rebecca Horn. Doepfner has received various grants and awards, including the Hans Platschek Prize (2024), the artist grant from the Krull Foundation (2023), the EHF Stipend from the Foundation Konrad Adenauer (2022), the stipend of the Albert Koechlin Foundation Lucerne (2010) and the Elsa Neumann Scholarship from the state of Berlin (2008). She has exhibited in national and international institutions, with solo exhibitions at the Museum Kupferstich-Kabinett Dresden (2023), the Akademie Konrad-Adenauer-Stiftung (2022) and the Goethe-Institut in Washington, DC (2015). Her work has also been shown in group exhibitions at institutions such as the Medizinhistorisches Museum Berlin (2023), the Museum Reinickendorf in Berlin (2022) and the Linden Centre for Contemporary Art, Melbourne (2013). Doepfner’s works are part of public and private collections including the Museum Kupferstich-Kabinett / Dresden State Art Collections, the Kupferstichkabinett Berlin / Berlin State Museums, the Buch- und Schriftmuseum / German National Library in Leipzig and the Museum of Fine Arts Budapest.
Gallery Exhibitions: “Next Time I See You”, solo show, 2019; “Half my soul belongs to you”, solo show, 2021; “Took me way down to that red hot land”, solo show, 2022; “You Are What You Are”, group exhibition, 2016; “Fire in the mind”, group exhibition, 2019; “Gathering the unpredictable”, group exhibition, 2020; “Unmaking”, group exhibition, 2023; “Narrative Pieces”, group exhibition, 2023.

 

Pietro Fortuna (1950, Padua) lives and works in Villanova in Umbria where he recently moved his Archive. He studied architecture and philosophy and while still very young he collaborated on important scenic creations for the San Carlo in Naples, La Scala in Milan and the Fenice in Venice. In 1977 his first solo exhibition was held at the Cannaviello Gallery in Rome, and then he was in Milan from 1978 to 1983 with other solo exhibitions: at Luigi De Ambrogi, Luciano Inga-Pin and Massimo Minini. He moved to New York for a few months where he exhibited at Serra and Di Felice. In the 1980s he displayed his works at the XVI Biennale of São Paulo, at the Galleria Comunale d'Arte Moderna in Bologna, at Ville Arson in Nice, at the Kunstler House in Graz, at the Frankfurter Kunstverein, at the XII Biennale in Paris and exhibitions such as “Italiana: nuova immagine” at the Municipal Art Gallery of Ravenna and “Anni '80” at the Municipal Gallery of Modern Art in Bologna. Many other exhibitions followed in international galleries and museums such as Annina Nosei Gallery in New York, Otmar Triebold in Basel, Montenay – Delsol in Paris, Ville Arson in Nice, Kunstler House in Graz and at the Frankfurter Kunstverein. In Italy, his work is represented by the Galleria Giuliana de Crescenzo in Rome, Eva Menz and Ippolito Simonis in Turin and Studio Guenzani in Milan. In the 90s he created new cycles of works in large format and with installations which he presented at the Palais de Glace in Buenos Aires, at the Gallery of Modern Art of San Marino, at the Museum of Modern Art in Bogota, at the Municipal Gallery of Modern and Contemporary Art in Rome, at Le Carré Musée Bonnat in Bayonne and the Pecci Museum in Prato, and in exhibitions such as “Cadenze” and “Italia-America, l’astrazione ridefinita”.
In 1996 he founded "Opera Paese", a place for culture where important art, music and thought exponents met, from Philip Glass to Jan Fabre, from Pistoletto to Kounellis, from Carlo Sini to Kankeli. 
From 2000 to 2006 other solo exhibitions followed, including at the Palazzo del Capitano del Popolo in Todi, at La Nuova Pesa and the Stefania Miscetti Studio in Rome. He also participates in "Exempla II, arte italiana nella vicenda europea 1960-2000", Pinacoteca Civica of Teramo and in “Enclave 1", CAMEC, Center for Modern and Contemporary Art of La Spezia.
In more recent years, other solo exhibitions have followed at the Watertoren Center for Contemporary Art in Vlissingen, at the XII International Sculpture Biennial in Carrara, at the Tramway in Glasgow, at the Morra Foundation in Naples, at the Macro in Rome, at the Marca in Catanzaro, at the Quadriennale in Rome and at the National Gallery of Modern Art in Rome. 
In 2019 he exhibited at the Murgia Park in Matera and in 2020 for the “Geografico” cycle at Palazzo Landolina in Noto, at the Farm Cultural Park in Favara and the Teatro Garibaldi in Palermo. This was followed by the participation at Manifesta 13 in 2020 in Marseille and the solo exhibition "Glory VI Au temps où nous n'étions pas des hommes" at BPS 22 in Charleroi in 2023.
Gallery Exhibitions: “Over the noise”, 2024, group exhibition

Laura Gianetti (1980, Livorno) is a visual artist, researcher, photoreporter, graphic designer and art teacher. She studied Natural Sciences at Pisa University and she graduated in Painting with a Masters in Photography at the Fine Art Academy in Rome in 2008 with a thesis in Photography. After the BFA, she moved to Berlin where she worked as visual artist and photoreporter for artistic and musical events for more than 8 years. 
She collaborated among others with Künstlerhaus Bethanien, Bpigs, Node Center for Curatorial Studies, CTM Festival, Grimmuseum, Factory Art, Month of Performance Art Berlin, Sonic Acts Festival Amsterdam, Spot U Art Brussels and the Museum of Contemporary Art Roskilde.
Since the early 2000s she has realized art projects collected in private collections and published in magazines, newspapers, books, CDs, vinyl records, music videos.
She showed in galleries and museums like among others Palazzo delle Esposizioni, the Museo Hendrik C. Andersen, Complesso Monumentale Sant’Andrea al Quirinale in Rome, Grimmuseum in Berlin, Galleria d’Arte Moderna alle Ciminiere in Catania (Premio Nazionale delle Arti) and the Ancienne Quincaillerie van AA in Brussels, where she was awarded with the grant as the Best Artist under 35 years.
She lives and works between Rome and Livorno.
Gallery Exhibitions: “Spazio. Photo-reportage by Roberto Apa and Laura Gianetti in the Mario Iannelli Gallery” (2023); “Work In Process”, CURA. BOOKS, book presentation, 2021; “Work In Process II”, publication presentation, 2023 (photo reportage on Vettor Pisani’s “Virginia Art Theatrum / Museo della Catastrofe”)

 

Cyrill Lachauer (1979 Rosenheim, Germany) lives in Berlin.
Lachauer studied filmmaking, ethnology and art in Munich and Berlin. In 2011 he founded the Flipping the Coin label together with other colleagues. He has received numerous scholarships and awards including recently Medienboard Berlin-Brandenburg, Pollock-Krasner Foundation Grant, New York, German Academy of Rome Villa Massimo (Premio
Recent solo exhibitions have been organized by the Goetz Collection in Munich, the Haus der Kunst in Munich, the Berlinische Galerie in Berlin and Video Art At Midnight in Berlin, Forum Alte Post, Museum, Pirmasens, Deutsches Auswandererhaus - German Emigration Center, Bremerhaven, Museum Villa Stuck, Monaco, Konrad-Adenauer-Stiftung, Berlin, Villa Aurora, Los Angeles, artothek – Raum für junge Kunst, Cologne.
His “narrative landscapes” call for a different reading of the landscape and borders notion within anthropological-aesthetic research on the Western society crisis, in particular the American one, observed in his “American Trilogy” ("Full service. From Walker River to Wounded Knee", 2012-2014 and "The Adventures of a White Middle-Class Man. From Black Hawk to Mother Leafy Anderson", 2016/2017 exhibited at the gallery in his solo show “When you smell the smoke on your skin, the fire’s long gone”, 2019). In his latest travels to the U.S. (the third chapter entitled “Slack”, exhibited at the gallery in the group exhibition “Over the noise”), he investigates the figure of the wanderer understood as an ideal of resistance that makes these possible narratives outside of traditional forms of world-making.
His original narrative style cannot be defined in one category since it is a unique work in which photography, video, literature and sound converge in collaboration with musicians.
Gallery Exhibitions: “When you smell the smoke on your skin, the fire’s long gone”, 2019, solo show; “resonance”, 2019, group exhibition; “Narrative Pieces”, group exhibition, 2023; “Over the noise”, group exhibition, 2024

 

Hanne Lippard (Nor/Ger, 1984 Milton Keynes UK) lives and works in Berlin. She is currently in residence at the German Academy of Villa Massimo (Rome Prize 2024-25).
Lippard's work moves between written and spoken word and is expressed through a variety of disciplines and media, particularly sound installations and performance. Her most recent performances and exhibitions include: “The Myths and Realities of Achieving Financial Independence” at CCA Berlin (2022), “Le langage est une peau” at FRAC Lorraine in Metz (2021), “Contact, Mood, Share” at the Antwerp Museum of Contemporary Art (2021), “X” at the Frac des Pays de la Loire in Carquefou (2020), RIBOCA2 at the Riga Biennial (2020), ART 4 ALL at Hamburger Bahnhof (2020), “Our present” at Siegen Museum of Contemporary Art (2020), “Parades” for FIAC at Palais de la Découverte (2019), Art Night London (2019), Goethe in the Skyways in Minneapolis (2019), “There Is Fiction in the Space Between” at n. b.k. in Berlin (2019), Nam June Paik Award 2018 at Westfälischer Kunstverein in Münster (2018), Ulyd at Kunsthall Stavanger and FriArt in Fribourg (2018). In 2024 Lippard received the Nationalgalerie Award.

 

Roberto Pietrosanti (1967, L'Aquila) lives and works in Rome where he moved at the end of the 1980s and from where he began his intense exhibitive activity in Italy and abroad, including Paris, New York, London and Madrid.
His monochromatic pictorial research focuses on the de-construction of spatial concepts to turn his gaze to the architectural complex, creating monumental works, environmental works and site-specific installations in exhibitions such as “Monocromos. From Malevic to the present” at the Reina Sofia Contemporary Art Center, Madrid, “Confines” at the IVAM Museum in Valencia, at the X edition of the Venice Architecture Biennale, at the Archaeological Area of the Palatine/Roman Forum, at the Ara Museum Pacis in Rome, at the Triennale in Milan, at the Castello di Rivara, at the offices of Sorgenia in Milan, of SIDIEF in Rome and in Ravenna in collaboration with the Compagnia del Progetto together with the architects Franco Purini and Carlo Maria Sadich and the artistic direction of Professor Francesco Moschini, A.A.M. ArchitectureModern Art, Rome. He wins the ideas competition for the redevelopment of Piazza Augusto Imperatore in Rome. 
Simultaneously he also tackles a series of projects for theatre and contemporary dance. Recently his work has been exhibited by the Galleria La Nuova Pesa in Rome in personal exhibitions (“Fear Not” in collaboration with Giovanni Lindo Ferretti, photography by Leonardo Aquilino, “Spinarium”, “Codici / GOYA”) and group exhibitions.
In 2025 he conceived a public work for the Gates of the Umberto I Gallery with the work “Sipario”.
Gallery Exhibitions: “Over the noise”, 2024, group exhibition

 

David Prytz (1979, Aarhus, Denmark) lives and works in Berlin.
David Prytz studied at art schools in Oslo and London. He has been exhibiting his work with Mario Iannelli Gallery since 2014, opening it with the solo exhibition “Literal.” Since then he has exhibited in numerous exhibitions such as Anatomy of restlessness, 2016, group exhibition; Exocenter, David Prytz, solo exhibition, 2017; Fire in the mind, 2019, group exhibition; resonance, 2019, group exhibition; Gathering the unpredictable, 2020, group exhibition; Narrative Pieces, 2023, group exhibition; “T I M E. Felix Kiessling - David Prytz”, 2024, duo show.
His works have been shown in numerous group exhibitions in galleries and research spaces including Galerie Alexander Levy, Crone Gallery, Kranich Museum, After the Butcher, Peninsula.
Recent exhibitions:“A Family Affair. Anna Virnich, David Prytz and Winfried Virnich”, Artefact, Berlin; Ever Seen Never Seen, Akkurat Labs, Berlin; Where the Bridge Ends the Satellite Begins, Galerie SP 2, Berlin (solo).
In his works such as “Tabula rasa,” “When the bridge ends, the satellite begins,” and “E.xocenter,” David Prytz creates sculptures and installations that interweave the dynamics of the cosmos with those of everyday life by assembling raw materials animated by kinetic movements, molten minerals (“Dumb Alchemy”) and geometric drawings (“Literal Geometry”).

 

Yorgos Stamkopoulos (1983, Greece) lives and works in Berlin.
Yorgos Stamkopoulos studied painting at the Athens School of Fine Arts and at the Universität der Kunste in Berlin. He has been awarded a scholarship by the Onassis Foundation, Athens and the "Freedom for Emerging Artists” prize from the Museo de Calzado in Spain.
Stamkopoulos has had solo exhibitions at Lepsien Art Foundation, Düsseldorf, Collectors Agenda, Vienna, Mario Iannelli Gallery, Rome, Callirrhoë, Athens, Zeller van Almsick, Vienna, Gallery Nosco, Brussels, CAN Christina Androulidaki Gallery, Athens, Kunsthalle Athena booth at Art Athina fair, Christian Ehrentraut Galerie, Berlin.
His works have been displayed in various group shows internationally, including “New Greek Painting 21”, Agios Nikolaos Municipal Gallery, Crete and “Encore New Greek Painting,” Municipal Gallery of Athens, “Io sono qui, MACRO, Rome, curated by Lorenzo Bruni, Neuer Essener Kunstverein, Kunsthalle Athena, Hollis Taggart, Southport, U.S., COSAR HTM, Düsseldorf, Christian Ehrentraut Galerie, Berlin, Daily Lazy Projects, Athens.
In his painting the image is the repository of sedimented and gestural traces that define the internal movement of the painting or involve the observer with space like in the environmental installation “Trajectory” presented in the gallery. The phenomenological fragmentation of his paintings is intended to give prominence to the observer’s experience.
The 'Trajectory' project was conceived by Stamkopoulos as a shared reflection on his way of working with abstract painting. The intention, however, is to place greater importance on the process rather than the final image. The artist, while assuming the responsibility of reflecting on the legacy of the modernist tradition of monochromaticity and the political/conceptual tradition of analytical painting, aims to make the comparison not by decoding reality on canvas, but by making the viewer aware of their own thought processes, leading them to reflect on the role and communicability of painting today compared to its history stretching back thousands of years. (Lorenzo Bruni, curator of “Trajectory” exhibition).
Gallery Exhibitions: Anatomy of restlessness, 2016, group exhibition; Trajectory, solo show, 2017; resonance, 2019, group exhibition; Monochromes, 2019, group exhibition; Cast: Diodato, Kretschmann, Stamkopoulos, group exhibition, 2021; Unmaking, 2023, group exhibition; Narrative Pieces, 2023, group exhibition

 

Sebastian Stumpf (1980, Wurzburg, Germany) lives in Leipzig.
Sebastian Stumpf studied at the art schools in Nuremberg, Lyon and Leipzig. In 2008 he was a master student of Timm Rautert.
Solo exhibitions include Galerie Thomas Fischer, Berlin, Museum Folkwang Essen, Museum für Photographie Braunschweig, Annex 14, Zurich and Landesgalerie Linz.
His work has been shown in the 6th Berlin Biennale and the Aichi Triennale in Nagoya as well as in numerous group exhibitions, including Contemporary Arts Center, Cincinnati, Le Bal, Paris, OCAT Shanghai, Museum der Bildenden Künste Leipzig, Tokyo Wonder Site/Institute of Contemporary Art, Blaffer Art Museum, Houston.
In 2016, he received the scholarship for contemporary german photography and was a fellow at the Villa Aurora in Los Angeles.
He realised an art-in-architecure installation for the Kulturstiftung des Bundes in Halle, a permanent video projection for the Kunsthaus Göttingen and recently a site-specific sound installation for the Hamburger Kunsthalle.
Sebastian Stumpf’s actions explore the relation of the body to public, artistic and institutional spaces, calling into question the observer’s perception with specific gestures and the imagination of the performed place.
“Certain Peaks”, the personal exhibition by Sebastian Stumpf at the Mario Iannelli Gallery, presented new works that interrelated with the gallery space and Rome's historical and urban landscape. 
Gallery Exhibitions: “Certain Peaks”, 2024-25, solo exhibition

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