The coming 6th of June, 6.30 p.m., the group exhibition "50 Opere tra segno e scrittura" at the Galleria Clivio, Foro Buonaparte 48, will open in Milan.
Artworks of Antonio Scaccabarozzi will be in the exhibition.

INTRO :   

Kirstin Arndt   Frank Badur   Joachim Bandau   Erwin Bechtold  Detlef Beer   Max Cole   Lilah Fowler
Werner Haypeter   Schirin Kretschmann   Timo Kube   Maik und Dirk Löbbert    Dóra Maurer
Karim Noureldin   Martin Pfeifle   Antonio Scaccabarozzi   David Semper   Hadi Tabatabai
Peter Tollens   Tim Trantenroth   Albert Weis   Stephen Westfall   John Zinsser

Opening
Sunday, 31 May 2015, 11 a.m. - 6 p.m.

at the new GALERIEHAUS

Introduction
Prof. Dr. Stephan Berg, Director Kunstmuseum Bonn
ca. 11.30 a.m.

Opening hours
31 May – 12 September 2015
Tuesday – Friday 2 p.m. – 6 p.m.
Thursday 2 p.m. – 10 p.m.
Saturday 11 a.m. – 3 p.m.

During the summer break from 28 June - 17 August 2015
only by appointment    

There are those who have transformed artistic materials into an art form, such as the paint tins packaged by Christo or the immersed brushes by Jim Dine. And those who have given body to abstract concepts, such as the “line” put in a box by Manzoni.  Antonio Scaccabarozzi (1936-2008) chose to focus on colour eliminating all else . Away with the backing support, away with tools, away with form.  Only pure colour , materialising out of thin air like  breathe when crystalized by the cold. The results are clouds of celestial  colour suspended in space,  thanks  to the putty-like mix and invisible polythene support.

The beautiful series “essenziale” with its free brushstrokes, painted directly on an unprepared surface , or “Quantita”, measured doses of a specific colour (blue, ultramarine)  spread on various surfaces. A scientific breakdown of  the elements  of a picture, which in this exhibition curated by Elizabetta Longari, follows the discovery of geometric and perceptual abstract postwar work, from Bonalumi to Dadamaino, an invitation to enroll the Merate artist in the annals of the great.

Glossy, opaque, veiled

Milan. Entitled  “Introduzione al vuoto”, (introduction to the void), after a work by Antonio Scaccabarozzi, 1978 , the solo exhibition of the Brianza artist's work, (1936-2008), is curated by Elizabeth Longari and open until April 24 at the Nuova Galleria Morone. The exhibition itinery follows his exploration, characterized by the great experimentation in terms of both materials and creative processes, from the beginning to the mid-seventies, when creating the series "Fustellati" and "Prevalenze", up to the final works. Scaccabarozzi's work, is organized in cycles based as much on the different nature of  the material (canvas, paper, plastic) as much as  on the color. While taking this into account the exhibition does not forget the installation side.  However, according to the curator, the heart of the solo exhibition is, “Quantità libere di colore” , in which this artist, sophisticated, yet secluded and private, reflects on his favorite themes of the combination of transparency-opacity. In this instance using now opaque pigments of colors now materials (such as translucent overlapping sheets of polyethylene) so diaphanous as to transform his pictorial work into a sort of epiphany, which then finds fulfillment in the cycle "Velature", executed in oil (in the photo, “Polietilene, quantità di blu”.1991).□ Ad.M.

The coming 30th of April will open the group exhibition of the artists Milan Grygar, François Morellet and Antonio Scaccabarozzi at the Galerie Petr Zaloudek will open in Prague (CZ) .

The exhibition  will be open through June the 13th (www.galerie-zaloudek.cz).

Introduction to the void

                    Light blue isn’t measured with the mind

 The exhibition’s subtitle - we shall talk about the title itself a little later - is taken from the Lyrical Plays by Alexander Blok (1) and proves to be particularly functional, not only in order to underline the assiduous presence of light blue in the work by Antonio Scaccabarozzi but also in accounting for the systematic principle on the basis of which he investigated different materials. If it is true that no colour is really neutral it should nevertheless be said that within the sphere of western symbolic culture (2) there is no other colour that embodies and conveys such an intense poetic importance as does blue in all of its shades and nuances. Due to its complex sonorities light blue, which is tied as much to depth as it is to lightness and rarefaction, represents the colour of the flower in poetry par excellence in Novalis and in German romantic poetry (3) in general : in other words, it is the colour of the soul. As we have written elsewhere regarding Scaccabarozzi, if painting is an “I don’t know what” or, better still, the ‘introduction to the void’ following an indication which the artist supplied by way of the title of one of his works of 1978, then it is evident that no other colour is more impalpable and yet close to the massing of the area of blue, as Leonardo taught with aerial perspective and sfumato.

From the outset with the period of the Prevalenze [Prevalences], the Misurazioni [Measurements] and the Iniezioni [Injections] Scaccabarozzi showed himself to be an atypical artist, above all regarding some aspects which lent themselves to being read as symptoms of unexpected convergencies on which this critical text concentrates. This came about also taking into consideration planes that are less immediately evident with respect to material results and which can quite easily be referred, moreover, to other visual experiences such as those of the German Zero Group and in Italy to the investigations carried out by Castellani and Dadmaino. Rather, Scaccabarozzi’s reference was a more subtle and poetic conceptual area of research, one shared by Pino Pascali, an artist so apparently different and distant regarding whom we particularly want to mention the work of 1967 entitled 32 Square Metres of Sea. Pascali’s logic in this work, as was also true in the abovementioned cycles by Scaccabarozzi with their such eloquent titles, developed by starting out from the paradoxical measurement introduced by Duchamp in 1913 with his Trois stoppages étalon [Three Standard Stoppages]. These works put into form one of the principal functions of art: that of revealing the nature of play which mankind brings into play with regards to the infinite. The infinite: we have discovered the dimension from which the experimental audacity of their works took shape.

Seen in its entirety Scaccabarozzi’s work is at one and the same time particularly simple and very rich. A large part of it is made up of diaphragms, screens and veilings which act as lenses through which to look into the distance, beyond. Suffice to think of the aerial concretions of colour, of the light materialisations of pure, almost immaterial light on the part of the watercolours, the plastics and the oils of the Velature [Veilings]. Another altogether important and essential component is represented by the sensual attraction towards the skin of the painting, as is especially evident in the case of the Essenziali [Essentials], an example of its maximum concreteness. The artist is therefore equally attracted by two extreme poles, definable with different couples of opposites: we can indicate opaqueness/transparency and presence/absence. Exactly as Lucio Fontana worked on a baroque front, expressed very well with the Nature [Natures] and in one respect addressed to the infinite, made emblematic by the spatial concepts and the environments with Wood’s light.

The quality of Scaccabarozzi’s colours is important, however, and we need to linger on this element. The rarefied areas are often pervaded with light blue (because his work is disseminated with this colour) but also when there are other colours they are in any case unstable and indefinite. Colours like epiphanies which often ‘court’ the original whiteness of the light, ‘flurries’ of colour that sometimes are little more than sensual vapours. On other occasions the colours take on sumptuous and profound tonalities. However, whatever the case Scaccabarozzi constructed chromatic fields that attract attention precisely because of their rarity. Colours imbued with light rather than being dark. Unusual tones, real enigmas for perception, largely indifferent to any form of cataloguing and classification. It is difficult - if not even impossible - to single out and say the name of his colours because they are always dynamic, skillfully bridled by the artist in a state of instability which denies them whatever possibility of adaptation and settlement. Each of them is infused with a very rare vital quivering. They are colours like solidified silences: one would say silences transformed into colours. They communicate in a very convincing way by way of their clear introversion which precisely in the colour is the original principle of painting, in colour understood as dissonance within an unstable field, intermittent vibration and intimate sonority. In observing his colours one intuits the importance of the connotation expressed by the adjective Variable, the title of Scaccabarozzi’s exhibition held at the Fondazione Calderara (Vacciago) in the Summer of 2012.

These ‘fading’ colours give back to the eye its primary character of apparition, of epiphany. Above all the watercolours, almost impalpable filters, and the plastics that represent the maximum expression of the play of the pendulum so dear to Scaccabarozzi midway between the already mentioned poles of transparency and opaqueness, between seeing through and occlusion that almost even coincides with blindness.

It is therefore on colour that above all the artist’s investigation into the substance of vision was based, his experimentation of places and bodies of painting of the different consistencies and forms, ll variously interesting. Every colour is rooted to the material support which is the necessary go-between for its manifestation. Every introduction of new materials and tones in the work by Scaccabarozzi was aimed at always investigating new frontiers of the visible and, through declension, at taking on the complex essence of the chromatic phenomenon.

He used plastic as colour/light capable of living a relation of extreme mixing and fluidity with the surrounding environment. Syntheses of Scaccabarozzi’s pictorial interests as exaltation of veiling, of seeing through and of transformation, the sheets of polyethylene carry out a fundamental role in his work, as was true of the papiers gouachés decoupés for Matisse. The apotheosis of colour took place on the ‘slippery’ surface of the plastics, as on water: the liquid mobility of shimmering light accumulates, flows and changes colour with the result that every tone and shade is particularly vibrant and darting.

More than any other of his works active, mercurial, mobile and changeable, the plastics to the greatest degree carry out Scaccabarozzi’s goal, as was true for the cycle of the Nymphéas in the work by Monet: they inexorably instill in the spectator the awareness of the fact that vision, the eye, is a process that is perennially in fieri. The transformation of vision, of the eye. The artist’s work when considered as a whole bears witness to an expanded idea of painting which due to its

breadth and depth makes one think of Yves Klein (4): irrespective of the references as the result of the common use of the monochrome and their affection for blue - even if for Scaccabarozzi one should talk of blues - the two artists above all seem to share the inclination for the void, a void full and pregnant like silence following music, and the impetus towards the infinite. Paradoxically, for both of these artists the work as the momentaneous phenomenon of precipitation of a determinate immaterial sensitivity could also completely disappear provided its reverberation remained, the irradiation of a transformation.

The void into which Yves Klein leapt in his now famous action um- manifesto of October 1960, a photomontage entitled Saut dans le vide [Leap into the Void], is the space to which to introduce the work by Scaccabarozzi. If it’s true that the role of the poet is to guard light blue, distance, then Scaccabarozzi is a poet who investigated the mechanisms of vision and affirmed its enchantment.

His art is the opening of an all-out indefinite space.

Elisabetta Longari

(1) Aleksandr Blok, Drammi lirici, S. Leone (a cura di), S. Pescatori (a cura di), Einaudi, Torino 1977.

(2) Pastoureau, Blue: The History of a Colour, Princeton University Press.

(3) Amelia Valtolina, Blu e poesia, Bruno Mondadori, Milan 2002.

(4) I am grateful to Silvia Bignami and Giorgio Zanchetti for the fine essay they wrote for the exhibition Klein and Fontana which I read while drawing up this critical text and which has confirmed some intuitions on my part (Silvia Bignami, Giorgio Zanchetti, Universi paralleli. Yves Klein Lucio Fontana, in Klein Fontana, Milano Parigi 1957-1962, exhibition catalogue, Museo del Novecento, Milan,

(The Catalogue of the exibitions ia available for downloading, see the PDF file attached)

The "Opposition" exhibition will open March the 7th at Galerie La Ligne, in Zurich, with the partecipation of Antonio Scaccabarozzi (duration of the exhibition until 30.04.2015).
Works that can be classified under the term "Op Art" and kinetic will be shown, as well works from the Group Zero. In opposition art from Antonio Scaccabarozzi will be presented as a challenging counterbalance.

The end of painting has been evoke so many times. there have been so many grave diggers, from Duchamp upt to Ad Reinhardt, who made his "Ultimate Paintings" in the middle of the sixties. paintings on point zero. Good, that painters went on painting, that there was an exhibition within the Basel cycle "Painting on the Move", called "There is no final Painting" and that a book w called "End of Painting and Painting after the End of Painting was published aroung the millenium. 

It is still exciting to search for the boundaries and the legitimation of the oldest artistical technique,  to discuss panel and format. At the moment a group of 15 artists are doing exactly this in a very inspiring way at kunstgaleriebonn, a show titled "Painting and Beyond" testing the possibilities of painting.

 Most artists are already knowm from the gallery's program, some, f. e. tAntonio Scaccabarozzi, who died in 2008, or 78-ear-old Cologne artist Joachim Bandau, more known from his sculptures in public space, are worthile new discoveries. Bandau's works oscillating between painting and relief are made of a wooden core, which is covered with dark enamel. Scaccabarozzi lets the paint emancipate from the canvas. on this way he meets Christiane Gruber born in 1977, whose works look like skinned paintings. A long, dark green membrane of pure paint hangs in the staircase and more "skins" are found inside the gallery.

 The weight of color is changed into an ephemeral play. David Semper plastered coloured ink pads into the wall, the ink blossoms now and changes the picture - this painting never reachs its end. Polly Apfelbaum, Stefan Löffelhardt, Michael Toenge, Martin Pfeifle, and most radically Albert Weiss, go a step beyond into the third dimension. John Zinsser, Schirin Kretschmann and Timo Kube test the possibilities of the second dimension. Lilah Fowler (sculpture) and Adam Kokesch (object) are the most exciting match of the show. 30-year old Daniel Kiss declares the whole room as a field for painting filling it with a wonderful sense for composition, orchestration and provocation.

english translation by Cristoph

Von Thomas Kliemann
Bonner General-Aunzeiger
January the 10th, 20115

Antonio Scaccabarozzi

Glazings, "3 Velature di bianco su fondo verde",
oil on cardboard on canvas, 2006  cm. 30x25  

Antonio Scaccabarozzi goes one step further in the "interrogation" of his material, which he allows somewhat more autonomy than do Hilgemann and Enzweiler. In his group of works "essenziali", the "paint pieces", Scaccabarozzi proceeds with unusual radicalism. His material is paint itself, which he deploys in one of its manifestations as paint mass (acrylic paint). In his manipulation of the paint Scaccabarozzi dispense: with the picture backing; he treats the paint paste in such a way, that it becomes a soft, skin-like rectangle with a certain three-dimensionality, possessing something of the character of a relief. With the separation from the support the paint or paint mass has become independent, has completely detached itself from a representational function. The work exists solely as "paint-material" (Wolfgang Vomm) - a material which has emancipated itself- has been emanicipated - and can now only be itself. The artist's intervention consists in the choice of application (for example, short palette knife strokes going from bottom left to top right). "The individual palette knife stroke encompasses the movement, to which it owes its existence, as shaping energy, and conserves it. "

(Wolfgang Vomm "Antonio Scaccabarozzi. Eine Werkùbersicht". In: Antonio Scaccabarozzi. Bergisch Gladbach 1994, no page)
 In this visualisation Scaccabarozzi makes manifest the energy of movement as one of the essential features of paint itself, a power immanent in the material. Together with the colour value and its volume as paint mass the visualisation of this capacity reveals a further, always present example of the basic structure of the composition of the world.

GROUP EXHIBITION

1965

• Sondrio, Group Show (catalog edited by Ferruccio Scala)

1966

• Padova, Galleria Primopiano, 7 Giovani Pittori, from 21 May (brochure, text by Ferruccio Scala)

1968

• Venezia, Studio Campesan+Galleria Sincron, Oggetti in serie a funzione estetica, from 17 June (invitation)
• Venezia, Galleria Il Canale, Oggetti in serie a funzione estetica, from August (invitation)

1970

• Brescia, Centro La Comune, Riusciranno i nostri artisti a fare la storia dell’arte? Antologia di materiali del Centro La Comune e delle Edizioni Amodulo, from 9 May (brochure, edited by Sarenco)
• Firenze, Le Pavoniere, Arte per Arte, 28 May-2 June (brochure, edited by Pierluigi Tazzi, text by Eugenio Miccini, Centro Tèchne)
• Brescia, Galleria Santa Chiara, Aspetti del visivo, from 7 November (brochure)
• Bergamo, Centro 2B, Arte moltiplicata internazionale, November (invitation)
• Zürich, Kunsthaus, Peau de Lion Zürich 1966-1970, 21 November-13 December (catalog)

1971

• Lonato (Brescia), Palazzo Comunale, Appunti sul nostro tempo. Nuove forme di pittura, 16-24 January
• Novara, Galleria Uxa, Bianco e Bianco, 28 May-15 June (invitation)

1972

• Venezia, Galleria del Cavallino, Faites vôtre jeu, per una ipotesi di autogestione, 6-18 June, (catalog, edited by Ernesto Francalanci, Edizioni del Cavallino, Venezia 1973)
• Ardesio (Bergamo), Palazzo Comunale, Incontro artistico ad Ardesio, from 23 July (catalog, edited by Cesare Fioretti, text by Umbro Apollonio, in collaboration with Galleria dei Mille, Bergamo)
• Novara, Galleria Uxa, Group Show, 30 September-19 October (invitation)
• München, Galerie Thomas Keller, Group Show, 25 November-22 December (invitation)
• Karlsruhe, Galerie Ubu, Fluorescenti
• Osnago (Lecco), Galleria della Cappelletta, Group Show.

1973

• Brescia, Studio Brescia, Artisti d’Avanguardia per la Resistenza Cilena, 7-9 December (catalog, textes by Mao Tse-Tung and Elidio De Paoli, s.l., s.d.)

1974

• Rottweil, Stadtfest Rottweil, Kunstler machen Fahnen für Rottweil [Gli artisti creano le bandiere per Rottweil], 14-16 September (catalog)

1974-1975

• Graz, Neue Galerie, Werke in der IX Internationalen Malerwochen in der Steiermark, 5 October-11 March (catalog, edited by Wilfried Skreiner and Werner Fenz, Neue Galerie am Landesmuseum Joanneum, Graz)
• Merate (Lecco), Studio Casati, Group Show, 21 December-10 January
• Bern, Galerie Lydia Megert, Exposition du petit format

1975

• Torino, Il Cortilaccio, Proposte ’75, 22 January-3 February
• München, Galerie Thomas Keller, 5 Jahre Galerie Th. Keller, 15 November-23 December (brochure, München)
• Milano, Galleria Bonaparte, Momenti e Tendenze nel Costruttivismo, 25 November-23 December
• Milano, Galleria Milano, 10 CP-10 Anni di Carla Pellegrini, from 15 December.
• Gallignano (Cremona), Centro Gallignano Arte, Sull’opera come campo
• Rapperswil (Svizzera), Galerie Seestrasse, Internationale Kleinformat
• Spreitenbach (Germania), Konstructive Kunst.

1976

• Como, Circolo Culturale Serre Ratti, S.R. Edizioni Serigrafiche 1975 del Circolo Culturale Serre Ratti, 17 February-26 March (brochure, Edizioni Serigrafiche, Circolo Culturale Serre Ratti, 1975)
• Olten, Kunstmuseum, Méfiez- vous de l’art! Kunstsammlung Helmut Dudé, 9 May-4 July, (catalog, edited by Helmut Dudé, Zobrist & Hof AG, Pratteln, 1976)
• Milano, Palazzo della Permanente, 50 artisti per le fabbriche in lotta, 19 May-15 June.
• Bergamo, Palazzo della Ragione, L'esplorazione percettiva, July (catalog, text by Umbro Apollonio, Associazione Amici dell’Arte e degli Artisti, Arti Grafiche Monti, Bergamo, 1976)
• Modigliana (from 31 July), Forlì (from 26 September), XII Premio Silvestro Lega 1976 (catalog, edited by Umbro Apollonio, Luciano Caramel, Maurizio Fagiolo, Modigliana Accademia degli Incamminati, Modigliana)
• Paris, Grand Palais des Champs-Elysées, Grands et Jeunes d’aujourd’hui, 16 September- 17 October, (catalog, text by Henry Galy-Carles, SMI, Paris)

1977

• Bergamo, Galleria Lorenzelli, L’interrogazione sistematica. Nato Frascà: De-costrutione, Paolo Minoli: Sequenza, Antonio Scaccabarozzi: Monocromia, 30 May-30 June (catalog, textes by Luciano Caramel, Attilio Marcolli, Alberto Veca and others, Erba, Grafica Rogenese 1978).
• Finale Ligure Borgo (Savona), Studio Rotelli, L’interrogazione sistematica. Nato Frascà: De-costrutione, Paolo Minoli: Sequenza, Antonio Scaccabarozzi: Monocromia, from 9 July (brochure, text by Paola Mola; catalog, textes by Luciano Caramel, Attilio Marcolli, Alberto Veca and others, Erba, Grafica Rogenese 1978).
• Falconara (Ancona), Galleria Il Falconiere, L’interrogazione sistematica. Nato Frascà: De-costrutione, Paolo Minoli: Sequenza, Antonio Scaccabarozzi: Monocromia, from 16 July, (brochure, text by Giovanni Anzani; catalog, textes by Luciano Caramel, Attilio Marcolli, Alberto Veca and others, Erba, Grafica Rogenese 1978).  
• Gallignano (Cremona), Centro Gallignano Arte, L’interrogazione sistematica. Nato Frascà: De-costrutione, Paolo Minoli: Sequenza, Antonio Scaccabarozzi: Monocromia, August-September (catalog Documenti da Gallignano, text by Brunella Antomarini; catalog, textes by Luciano Caramel, Attilio Marcolli, Alberto Veca and others, Erba, Grafica Rogenese 1978).
• Berna, Galerie Lydia Megert, L’interrogazione sistematica. Nato Frascà: De-costrutione, Paolo Minoli: Sequenza, Antonio Scaccabarozzi: Monocromia, 14-21 September (catalog, textes by Luciano Caramel, Attilio Marcolli, Alberto Veca and others, Erba, Grafica Rogenese 1978). .
• Genselkirchen-Buen, Galerie Pa Szepan e Städtische Kunstsammlung, Oldemburg, Kunstverein, Kleines Augusteum, Rationale Konzepte ’77 (catalog, edited by Reinhold Lange, Pa Szepan)

1977-1978

• Como, Circolo Culturale Serre Ratti, L’interrogazione sistematica. Nato Frascà: De- costrutione, Paolo Minoli: Sequenza, Antonio Scaccabarozzi: Monocromia, 15 December-16 January, (catalog, textes by Luciano Caramel, Attilio Marcolli, Alberto Veca and others, Erba, Grafica Rogenese 1978). 

1978

• Milano, Centro Rizzoli, Documenti ’77. L’interrogazione sistematica. Frascà, Minoli, Scaccabarozzi, 23 January-8 February (catalog, textes by Luciano Caramel, Attilio Marcolli, Alberto Veca and others, Erba, Grafica Rogenese 1978).
• Merate, Studio Casati, Group Show, 29 January-28 February.
• Graz, Neue Galerie am Landesmuseum Joanneum e Künstlerhaus, Der Rahmen, meine Welt. Die Sammlung einer Italineschen Tischler 8-31 October, (catalog, edited by Wilfried Skreiner, Graz)
• Abano Terme (Padova), Palazzetto dello Sport, Poesia e Prosa delle Avanguardie. Mostra retrospettiva “Lotta Poetica 1971-75”. Istruzioni per l’uso delle Avanguardie. Rassegna Internazionale d’Arte, 5 November-5 December, (catalog, edited by Sarenco and Paul De Vree, Factotum-art Edizioni, Brescia)
• Bergamo, Galleria Lorenzelli, Grafica 2. Esposizione di grafica di artisti contemporanei, December
• Das Schubladenmuseum-Le Musée en Tirors-The Museum of Drawers, Kunsthaus Zürich, (catalog, edited by Herbert Distel, text by Peter Killer, Kunsthaus Zürich).
• Gelsenkircher (Germania), Galerie Pa Szepan, Kunstszene Oberitalien.
• Termoli (Campobasso), Castello Svevo, XXIII Rassegna Nazionale d’Arte

1979

• Bergamo, Galleria Lorenzelli, 99 sculture di artisti contemporanei italiani e stranieri, 5 May-June (brochure, textes by Alberto Veca and Nato Frascà).
• Bern, Galerie Lydia Megert, Artists Books, 20 November-31 January.
• Bolzano, Galleria Il Sole, Mostra numero cento.

1980

• Bergamo, Galleria Lorenzelli, Museo Vivo. Itinerari d'Arte Contemporanea, 4 June-20 July.

1981

• Düren, Leopold-Hoesch Museum, Das Papier, 10 May-19 July (catalog, edited by Dorothea Eimert).

1981-1982

• Lecco, Villa Manzoni, 30 Anni d’arte italiana 1950-1980, November 1981-January 1982 (catalog, edited by Eligio Cesana, textes by Eligio Cesana, Luisa Somaini, Comune, Assessorato istruzione cultura, Musei civici, Lecco) 

1982

• Venezia, Galleria dell’Opera Bevilacqua La Masa, Galleria d’Arte Moderna di Cà Pesaro, Arte nel Veneto: ’70-’80. Saggio di materiali visivi, 9-30 June (catalog, edited by Toni Toniato)
• Venezia, Galleria di Cà Pesaro, Extramedia.
• Bergisch Gladbach, Städtische Galerie Villa Zanders, Medium Papier, 10 July-29 August, (catalog, edited by Wolfgang Vomm and Dorothea Eimert, Städtische Galerie Villa Zanders, Bergisch Gladbach, 1982)
  
  

1983

• Bernareggio (Monza-Brianza), Palazzo Comunale, Arte Rassegna 1983. Presenze in Brianza, 18 June-20 July (catalog, Cooperativa Nuova Brianza, 1983)

1984

• Arcore (Monza Brianza), Psichiatria-Nicaragua.
• Lecco, Palazzo Falck, Psichiatria-Nicaragua.

1985

• Genova, Museo Villa Croce, 1930-1980 Astrattismo in Italia nella raccolta Cernuschi Ghiringhelli, 2 February-28 April (catalog, edited by Guido Giubbini, Electa, Milano)
• Bremen, Galerie Katrin Rabus, Lavori su carta.

1986

• Friedberg, Galerie Hoffmann, Die Ecke = the corner = le coin, 27 March-29 May (catalog, text by Verena Auffermann, Friedberg, Hoffmann Editions)  
• Milano, Centro Culturale IMMAGINI KOH-I-NOOR, Per Nanni Valentini, 3- 28 June (invitation)
• Como, Salone San Francesco, Associazione Culturale Arti Visive di Como, Matita su carta. Il disegno a Como dal 1900 al 1986, 7-28 September (catalog, edited by Luciano Caramel, Como nel disegno, Enzo Pifferi Editore, Como, 1987).
• Milano, Centro Annunciata, I ragazzi del ’36, from 3 October (catalog, edited by Maurizio Chierici and Bruno Grossetti)
• Como, Circolo Culturale Serre Ratti,
• Sesto San Giovanni (Milano), Rondottanta, Per Nanni Valentini 

1987

• München, Galerie der Kunstler, Emotion und Methode / Emozione e Metodo, 17 July-19 August (catalog, edited by Jockel Heenes, Eberhard Simons, Hirmer, München)
• Bern, Galerie Lydia Megert, Group Show, 30 October-14 November. 

1988

• Ingolstadt, Kunstverein Ingolstadt, Emotion und Methode / Emozione e Metodo, 5 February-6 March (catalog, edited by Jockel Heenes, Eberhard Simons, Hirmer, München)
• Sion, Walliser Kantonsmuseum, Die Ecke = the corner = le coin, 19-27 March (catalog, text by Verena Auffermann, Friedberg, Hoffmann Editions)  
• Darmstadt, Kunstverein Darmstadt, Emotion und Methode / Emozione e Metodo, 8 May-12 June (catalog, edited by Jockel Heenes, Eberhard Simons, Hirmer, München)
• Vacciago (Novara), Fondazione Calderara, Una cartolina per la collezione.

1990

• Lüdenscheid, Städtische Galerie Lüdenscheid, Temporale, 18 May-1 July (catalog, edited by Uwe Obier, text by Christine Dirnaichner, Lüdenscheid, Seltmann GmbH)
• Mülheim an der Ruhr, Kunstmuseum Mülheim an der Ruhr, Temporale, 11 August-23 September (catalog, edited by Uwe Obier, text by Christine Dirnaichner, Lüdenscheid, Seltmann GmbH)

1991

• Lecco, Palazzo Falck, I passi di cotone, 28 May-8 June (brochure)
• Agrate (Monza-Brianza), Galleria la Meridiana, Group Show.
• Badenweiler, Dr. Luise Krohn Galerie, Entschieden+ Consequent.

1991-1992

• Badenweiler, Dr. Luise Krohn Galerie, Farbe und Struktur, 10 November-fine January (invitation)

1992

• Bergisch Gladbach, Städtische Galerie Villa Zanders, Only Paper? Paper als künstlerische Medium, from January (catalog, edited by Wolfgang Vomm and Regine Klein, ICS Communikations-Service GmbH, Bergisch Gladbach)
• Desio (Monza-Brianza), Villa Tittoni-Traversi, Per Incantamento Segno e Disegno, from October (catalog, edited by Stefano Crespi, Graficart, Biassono, Milano)
  
  
  

1993

• Roma, Scuderie di Palazzo Ruspoli, Art & Tabac. 200 opere d’arte per una battaglia di tolleranza, 3-28 November (catalog, Pierre Restany, Edizioni C.T. Milano)
• Antwerpen, Groothandel Schoenmarkerij Swenters, Shoes or not Shoes (catalog, edited by Pierre Bogaerts and Veerle Swenters)

1994

• Riccione, Palazzo del Turismo, Art & Tabac. 200 opere d’arte per una battaglia di tolleranza, 28 July-28 August (catalog, Pierre Restany, Edizioni C.T. Milano)
• Bremen, Galerie Katrin Rabus, Die Kunst zu ändem, 1 November-12 December (brochure, text by D. E. Sattler)
• Trezzo sull’Adda (Milano), Galleria d’arte Trezzo, Group Show.

1995

• Bremen, Galerie Katrin Rabus, Group Show.
• Wien, Osterreischisches Tabak Museum, Art & Tabac

1996

• Trevi (Perugia), Palazzo Lucarini, Primo Premio Trevi Flash Art Museum, January-February, (catalog, Trevi Flash Art Museum, Giancarlo Politi Editore, Milano).
• Friedberg, Galerie Hoffmann, Hypotheses Experiment Erfindung, 1 June-1 September
• Erfurt, Galerie im Hause Dacheröden, Farbe-Konkrete Kunst. from 5 July.
• Bremen, Galerie Katrin Rabus,
• Lyon, Artothèque, Villeurbanne, Artothèque - Maison du livre de l’image et du son François Mitterand, Collection Monin. Dixieme Anniversaire. (invitation)
• Monticelli Brusati (Brescia), varie sedi, Punto di Vista
  
  

1997

• Agrate (Monza- Brianza), Palazzo Comunale,
• Bremen, Galerie Katrin Rabus, Nuovi lavori su carta.
• Friedberg, Galerie Hoffmann, Transparenz
• Omegna (Verbano-Cusio-Ossola), Galleria Spriano, Opere anni 70.
• Verona, Erospazio, Ambarabacicicocò.

1998

• Trevi, Palazzo Lucarini, Prima Biennale d’Italia di arte contemporanea, March-May (catalog, textes by Giancarlo Politi and Paolo Nardon, Giancarlo Politi Editore, Milano).
• Lecco, Galleria Melesi, Verso il sole, 16 May-27 June
• San Benedetto del Tronto (Ascoli-Piceno), Palazzina Azzurra, Posizione K. Arte Installata, 30 July-3 August (catalog, edited by Roberta Ridolfi, Comune di San Benedetto Tronto)

1999

• Milano, Refettorio delle Stelline, Collezione Calderara, 25 March-25 April
• Bremen, Galerie Katrin Rabus, Die Musik ist wie die Malerei. 20 Jahre Galerie Katrin Rabus Bremen, 7-21 May (brochure)
• Lecco, Torre Viscontea, Morterone tra natura e arte, 28 May-27 June (catalog: Lecco Artefestival, 22 May-12 July 1999, text: Morterone tra natura e arte di Lorenzo Mango)
• Novara, Centro Culturale d’Arte la Canonica, Calderara e gli artisti della sua collezione, 9-30 October (catalog, edited by Enzo De Paoli and Roberto Moroni, Nuova Tipografia di San Gaudenzio)
• Merate (Lecco), Palazzo Prinetti, Colori di vita, 20-28 November (catalog, text by Luigi Marsiglia, Arti Grafiche Bertoni, Verderio Inferiore, Lecco, 1999)
• Freiburg, Kunstverein Freiburg, Das Soll kunst Sein.
• Parigi (Francia), Galerie du Jour Agnès B., Carte blanche pour la couleur.

2000

• Gmunden, 10. Gmundner Symposion, Das entgrenzte Bild, Salzgitter, 22-24 September (exhibition and catalog edited byetfried Gerhardus, text for Scaccabarozzi by Wolfgang Vomm, Krüger Druck+Verlag GmbH, Saarbrücken 2001)  
• Montbéliard, Centre Régional d’Art Contemporain, Matériau: couleur, 23 September-19 November (catalog, edited by Mel Gooding, Centre Régional d’Art Contemporain, Montbéliard 2000)
• Sharjah (Emirati Arabi Uniti), Sharjah Art Museum, Mailart Show.

2001

• Salzgitter, Städtische Kunstsammlungen, Das entgrenzte Bild, Salzgitter, 10 June-22 July (exhibition and catalog edited byetfried Gerhardus, text for Scaccabarozzi by Wolfgang Vomm, Krüger Druck+Verlag GmbH, Saarbrücken 2001)  
• Gent, Het Museum voor Schoene Kunster, Shoes or not Shoes, 12 July-26 August (invitation)
• Bonn, Gesellschaft für Kunst und Gestaltung, Das entgrenzte Bild, 10 October-3 November (exhibition and catalog edited byetfried Gerhardus, text for Scaccabarozzi by Wolfgang Vomm, Krüger Druck+Verlag GmbH, Saarbrücken 2001)
• Saarbrücken, Galerie St. Johann, Poesie der Farbe

2002

• San Donato Milanese (Milano), Galleria d’Arte Contemporanea Cascina Roma, Giorgio Morandi e i “morandiani”, 18 May-23 June (catalog, edited by Angela Madesani, Graficart, Formia, Latina 2002)
• Ludwigshafen am Rhein, Wilhelm-Hack Museum, Das entgrenzte Bild, 20 September-24 November (exhibition and catalog edited byetfried Gerhardus, text for Scaccabarozzi by Wolfgang Vomm, Ulrike Lehmann, Richard W. Gassen, Krüger Druck+Verlag GmbH, Saarbrücken 2001)
• Lüdenscheid, Museen der Stadt Lüdenscheid, Städtische Galerie Lüdenscheid, Kein Strich zuviel, 13 October-10 November (catalog, textes by Rolf Nickel, Anneliese Knorr, Burkhard Leismann and others, Seltmann GmbH, Lüdenscheid 2002)
• Saarbrücken (Germania), Galerie St. Johann, 25+25.
• Würzburg, Museum im Kulturspeicher Würzburg, Konkrete Kunst in Europa nach 1945 / Concrete art in Europe after 1945, Die Sammlung Peter C. Ruppert / The Peter C. Ruppert Collection (catalog)

 2003

• Sharjah, The Museum of Art, The Museum of Arab Contemporary Art and The New Art Center, Sharjah International Biennal 6, 8 April-8 May (Biennale and catalog, edited by Hoor Al-Qasimi and Peter Lewis).
  Friedberg (Germania), Galerie Hoffmann, Hommage to… the square, 5 July-13 September.
• Newbridge, The Riverbank Arts Center, Triangolino-The Italian connection, 7-26 September (catalog, edited by Marta Olivetti, text for Scaccabarozzi by Séan Shanahan)
• Garbagnate Milanese (Milano), Corte Valenti Solario, L’Universo contenuto in un libro. Libri d’Artista, 13-21 September (catalog, edited by Elisabetta Longari, Icograf, Garbagnate Milanese 2003)
• Lüdenscheid, Museen der Stadt Lüdenscheid, Künstler Knöpfe II (catalog, edited by Uwe Obier, DruckVerlag Kettler, Bönen)

2004

• Agrate Brianza, La Meridiana, cArte 2, 20 March-10 April (invitation)
• Milano, Fondazione Mudima, Contagio, from 21 March (catalog, edited by Elisabetta Longari)
• Bergisch Gladbach, Galerie Städtische Villa Zanders, Das Material des Künstlers 18 July 2004-10 April 2005 (catalog, edited by Petra Oelschägel and Wolfgang Vomm)
• Nova Milanese (Monza-Brianza), Villa Vertua, XXXX Proposizioni per il percorso al libro d’artista, 6-28 November (catalog, edited by Giancarlo Denti and Roberto Marchi, CP&V publisher, Seveso, Milano, 2004)
• Robbiate (Lecco), Gelateria Spini-Spini Arte in Gelateria, Pensandoti. Arte in gelateria, from 19 November (exhibition edited by Anastasia Rouchota)
• Saarbrücken, Galerie St. Johann, Multiple Grafik und Objekte II, 27 November 2004-11 January 2005 (brochure)

2005

• Basel, Galerie Katharina Krohn, Group Show.
• Bremen, Galerie Katrin Rabus, Group Show.
• Lecco, Torre Viscontea, Ragione-Emozione

2006

• Mouans-Sartoux, Espace de l’Art Concrete Donation Albers- Honegger, Art Multiple, 29 January-11 June.
• Freiburg, Kunstraum Alexandre Bürkle, Raumwechsel 5, 12 March-18 June (brochure)
• Saarbrücken, Galerie St. Johann, Wunderkammer, 25 November 2006-13 January 2007 (catalog, edited by Jo Enzweiler and Sigurd Rompza)
• Basel, Galerie Katharina Krohn, Group Show.
• Houston, Wade Wilson Art, Close Proximity: Works of Intimate Scale

2007

• London, Beardsmore Gallery, 8 X Konkret. Concrete art in Europe today Selected by Galerie St.Johann, Saarbrücken, 6 June-7 July (catalog, edited by Jo Enzweiler and Sigurd Rompza)
• Paris, Galerie Jean Fournier, Carte blanche a Eric de Chassey et Pierre Wat, 6 September-6 October
• Leiden, Stedelijk Museum de Lakenhal, Thank you De Schenkingen Merkus en Cleveringa, 12 October 2007-6 January 2008
• Milano, Cavenaghi Arte, Dedicate 3, December (catalog, edited by Alberto Veca).

2008

• Basel, Galerie Katharina Krohn, Kunst in Basel, 23 May-28 June
• Lecco, Galleria Melesi, Les Cultures, 100 idee contro la fame, 3-11 June (Anna Anghileri and Francesca Brambilla, Francesca Brambilla, Mario Spreafico, Michele Tavola, testi in catalog di Paola Amigoni, Mariagrazia Dell’Oro, Michele Tavola, Edizioni Les Culture, Laboratorio di Cultura internazionale onlus, Lecco)
• Graz, Neue Galerie am Landesmuseum Joanneum, Viaggio in Italia, Italienische Kunst 1960 bis 1990, 13 June 2008-25 January 2009 (catalog: edited by Christa Steinle and Gudrun Danzer, Reiber & Reimer, Graz, 2008)

2009

• Saarbrücken, Galerie St. Johann, Arbeiten auf Papier-Konkret. 40 Jahre Galerie St. Johann

2010

• Saarbrücken, Galerie St. Johann, SchauLager-LagerSchau.

2011

• Freiburg, Kunstraum Alexandre Bürkle, Malerei #011 - Ungegenständlich Heute!, 19 June-18 September
• Bologna, Galleria P420, Alfabeti della mente, 22 October 2011-7 January 2012 (catalog, edited by Angela Madesani)
• Vimercate (Monza-Brianza), Heart-Spazio Vivo, Da Gianni Colombo a Joseph Beuys. L’avventura dello Studio Casati nella Brianza degli anni ’70, 26 November-18 December (brochure, edited by Simona Bartolena, text by Antonio Scaccabarozzi).
• Bern (Svizzera), Galerie Annex, Galerie Lydia Megert: mise au point.

2012

• La Spezia, CAMeC-Centro d’Arte Moderna e Contemporanea della Spezia, Superfici sensibili. Dialoghi con il supporto, 30 May-30 September (catalog: edited by Marzia Ratti, Edizione Istituzione Servizi Culturali, La Spezia)
• Bologna, Galleria P420, Un’ opera per un libro d’artista, 6 September-6 October.
• Mezzago (Monza-Brianza), May Biblioteca Comunale di Mezzago, Giallo, (edited by Simona Bartolena).

2013

• Basel, Galerie Katharina Krohn, Andreas Karl Schulze, Giorgio Griffa, Antonio Scaccabarozzi, 15 May- 29 June (invitation).
• Brescia, Fondazione Berardelli, 6 Stanze, 26 June-30 September

2014

• Vimercate (Monza-Brianza), MUST-Museo del territorio, Percorsi nella materia II; 2 February-30 March (exhibition and catalog, edited by Simona Bartolena).
• Morterone (Lecco), Palazzo delle Paure, Morterone: una soglia poetica. Natura Arte Poesia, 13 September-9 November (catalog, edited by Epicarmo Invernizzi and Francesca Pola, textes by Daria Ghirardini and Francesca Pola).
• Brescia, Galeria Kanalidarte, Italia Zero / Cross Reference. italica ars ab ovo incipit, 4 October-15 November (catalog, edited by Afra Canali and Stefano Crosara, textes by Afra Canali, Anna Canali, Melania Gazzotti and others, Kanalidarte-Arte Struktura 2015)
• Freiburg, Kunstraum Alexandre Bürkle, MATERIAL, 1 December 2014-22 February 2015
• Bonn, Kunstgaleriebonn, Painting and Beyond, 21 December 2014-5 January 2015 (exhibition edited by Stephan Berg, invitation)
• Friedberg, Galerie Hoffmann, Es werde Farbe.

2015

• Brugherio, Galleria espositiva Palazzo Ghirlanda Silva, Acqua, 8 February-1 March (project by HEART-Pulsazioni culturali, edited by Simona Bartolena, Armando Fettolini)
• Zürich, Galerie La Ligne, Opposition, 23 March-30 April (invitation)
• Praga, Galerie Petr Zaloudek, Milan Grygar, François Morellet, Antonio Scaccabarozzi, 30 April-16 June (catalog, edited by Petr Zaloudek, Praga 2015).
• Würzburg,Museum im Kulturspeicher, Rendezvous der Länder. Neuhängung der Sammlung Peter C. Ruppert. Konkrete Kunst in Europa nach 1945, from 10 May
• Bonn, Clement&Schneider Galeriehouse, INTRO, 31 May-12 September
• Milano, Galleria Clivio, 50 opere tra segno e scrittura, 9 June-15 July.
• Desio, Villa Tittoni, Lissone, Museo di Arte Contemporanea, Tracce di contemporaneo. Collezioni di arte italiana da Lucio Fontana alla contemporaneità nelle ville della Brianza, edited by Simona Bartolena, Bice Bugatti Club and HEART-Pulsazioni culturali, 11 July-30 August
• Bonn, Clement&Schneider, Group Show, 27 September-21 November.
• Freiburg, Kunstraum Bürkle, Collector’s choice only! Material, 1 December 2014-1 February 2015.
• Lissone, Museo d’Arte Contemporanea, Premio Lissone 2016, 3 December-12 February, (edited by Alberto Zanchetta).

2017

• Milano, Cortesi Gallery, Walter Leblanc e la Neo-avanguardia europea, 13 September-21 October (brochure, edited by Francesca Pola, Mousse Publishing)
• Lugano, Cortesi Gallery, Group Show, 14 September-30 November
• Praga, Galerie Petr Zaloudek, White Art, 22 September-4 November (catalog)

2017-2018

• Cherasco, Palazzo Salmatoris, Lucio Fontana e l’annullamento della pittura. Dal Gruppo Zero all'arte analitica, 14 October 2017-14 January 2018 (catalog, edited by Cinzia Tesio,, Paolo Turati, Maurizio Colombo, Riccardo Gattolin, Dario Lorenzati, Rino Tacchella)
• Genova, Museo Villa Croce, Stefano Arienti. Finestre Meridiane, 15 October 2017-14 January 2018, edited by Anna Daneri and Francesca Serrati

2018

• Rome, MAXXI, WunderMoRE, March 07-July 08, edited by MoRE - a museum of refused and unrealised art projects: Ilaria Bignotti, Elisabetta Modena, Valentina Rossi, Marco Scotti and Anna Zinelli)
• Venice, Marignana arte, What Walls Want, from May 23
• Toulouse, Galerie Barrés Rivet, Group Show, May 2-June 2
• Lissone, Museum of Contemporary Art, Museum Collections, edited by Alberto Zanchetta, July 5 - September 22
• Turin, Ettore Fico Museum, "100% Italy - Hundred years of masterpieces,", September 21 - Frebruary 10, 2019 (exhibition and catalog curated by Marco Meneguzzo, Claudio Cerritelli, Giorgio Verzotti, Luca Beatrice, Lorenzo Canova, Elena Pontiggia e Luigi Sansone)
  

2019

• Venice, Marignana Arte, Ideal Types [Chapter 2], May 7-September 7 (edited by Alfredo Cramerotti and Elsa Barbieri)
• Milan, Nuova Galleria Morone, Superfici eloquenti, May 16-July 5 (edited by Angela Madesani)
• Turin, Pinacoteca Albertina, La pittura in testa, June 5-11 (project edited by Anastasia Rouchota)
  
  
  

2019-2020

• Venice, Marignana Arte, I DREAMED A DREAM, November 30 2019-March 7 2020 (edited by Domenico De Chirico)
  
  
  

2020

• Freiburg, Paul Ege Art Collection,NEARBY – HOW IMAGES SHOW!, October 25 2020-March 28 2021
  
  
  

2021

• Venice, Ca’ Pesaro, La donazione Panza di Biumo e la pittura concettuale americana (edited by Elisabetta Barisoni, in collaboration with Ilaria Bignotti and Anna Dusi)

SOLO EXHIBITION

1965-2018

1965

• Dergano (Milano), Circolo Culturale Elio Agresti, Solo Show, from 26 September
• Milano, Croce Viola, Antonio Scaccabarozzi, 26-September-17 October (invitation)

1966

• Padova, Galleria Primopiano, Sette giovani pittori

1968

• Anfo (Brescia), Un paese + l’avanguardia artistica, 25 August-3 September
• Milano, Galleria Milano, I multipli, from December, with Novello

1969

• Milano, Galleria Il Giorno, Solo Show

1970

• Brescia, Centro La Comune, Antonio Scaccabarozzi, 7-13 February (invitation, text by Antonio Scaccabarozzi)
• Brescia, Galleria Santa Chiara, Antonio Scaccabarozzi, from 21 November (brochure, text by Sarenco)

1971

• Novara, Galleria Uxa, Antonio Scaccabarozzi, 19 June-9 July (invitation)
• Hannover, Galerie Ernst, Antonio Scaccabarozzi, 10 September-9 October (invitation)

1972

• Salò (Brescia), Centro d’Arte Santelmo, Antonio Scaccabarozzi, 9-29 September (brochure, text by Antonio Scaccabarozzi)
• Castellanza (Varese), Galleria del Barba, Scaccabarozzi, 24 October-5 November (invitation, text by Antonio Scaccabarozzi)

1973

• Osnago (Como), Galleria della Cappelletta, Antonio Scaccabarozzi, from 13 January (catalog, textes by Ernesto L. Francalanci and Antonio Scaccabarozzi)
• Venezia, Galleria Del Cavallino, Antonio Scaccabarozzi, 13-28 February (catalog, text by Ernesto L. Francalanci, Edizioni del Cavallino, Venezia)
• Karlsruhe, Galerie Ubu, Dadamaino Scaccabarozzi, 11 May-21 June (brochure)
• Köln, Galerie Reckermann, Antonio Scaccabarozzi, Bilder und Zeichnungen- S.D. Trantenroth, Skulpturen, 12 August-6 September (invitation)
• Bern, Galerie Lydia Megert, Antonio Scaccabarozzi, 12 October-15 November (invitation)

1974

• München, Galerie Thomas Keller, Antonio Scaccabarozzi. Bilder und Zeichnungen, 7 March-30 April (invitation)
• Rapperswill, Galerie Seestrasse, Antonio Scaccabarozzi, 8-14 June (invitation, exhibition edited by Brigitte Zehmisch)

1975

• Merate (Lecco), Studio Casati, Antonio Scaccabarozzi, from 3 March (text by Vanni Scheiwiller)

1976

• Como, Circolo Culturale Serre Ratti, Antonio Scaccabarozzi, 13 January-6 February (invitation)
• Bern, Galerie Lydia Megert, Antonio Scaccabarozzi, 6 February-31 March (brochure)
• Genova, Centro del Portello, Scaccabarozzi, 6-24 November (invitation)
• Bolzano, Galleria d’arte Il Sole, Scaccabarozzi, 11 December 1976-13 January 1977 (brochure, text by Alberto Veca)

1978

• Amsterdam, Galerie Swart, Scaccabarozzi-Schilderijen. Leideritz-Karbon Tekeningen, 6-26 April (invitation)
• Bergamo, Galleria Lorenzelli, Minime Differenze, 24 May-June (catalog, textes by Alberto Veca and Antonio Scaccabarozzi, Galleria Lorenzelli, Bergamo)
• Verona, Galleria Ferrari, Ambiguità dell’Angolo-Un metodo visivo per misurare la Galleria Ferrari (catalog, text by Alberto Veca, photographs by Dante Spinotti, Edizioni Galleria Ferrari, Verona)

1979

• Roma, Politecnico Arti Visive, Omologazione, Paradosso, Io / Memoria. With Nato Frascà

1980

• Bern, Galerie Lydia Megert, Antonio Scaccabarozzi, 13 May-7 June (brochure, text by Antonio Scaccabarozzi)
• Merate (Lecco), Sala comunale F. Turati, I Pomeriggi di Festa, 22 December

1982

• Bremen, Galerie Katrin Rabus, Antonio Scaccabarozzi
• Friedberg, Galerie Hoffmann, Antonio Scaccabarozzi

1983

• Friedberg, Galerie Hoffmann, Antonio Scaccabarozzi-Offensichtlichkeit des Maßes / Poetik der Distanz, Freie Quantitäten, 27 August-28 October (catalog, textes by Alberto Veca and Antonio Scaccabarozzi)

1984

• Bern, Galerie Lydia Megert, Antonio Scaccabarozzi, 3 April-5 May (invitation)
• Merate (Lecco), Centro Studi Merate, Solo Show
• Padova, Enoteca A. Rasi, 26 Doppi Acquerelli

1986

• Krefeld, Galerie Hock, Antonio Scaccabarozzi-Quantità, 7 June-12 July (catalog, edited by Christine Brunner, photographs by Luigi Erba, Tullio Farina, Elisabeth Gasser)
• Bremen, Galleria Katrin Rabus, Antonio Scaccabarozzi-Quantità, 6 September-16 October (catalog, edited by Christine Brunner, photographs by Luigi Erba, Tullio Farina, Elisabeth Gasser)

1988

• Bern, Galerie Lydia Megert, Antonio Scaccabarozzi, 23 March-30 April (invitation)

1989

• Bremen, Galerie Katrin Rabus, Solo Show

1991

• Bremen, Galerie Katrin Rabus, Antonio Scaccabarozzi-Quantità, 20 January-3 March (catalog, edited by Helmut Brückner, photographs by Joachim Fliegner)
• Salò (Brescia), Centro d’Arte Santelmo, Antonio Scaccabarozzi. Essenziali, 3 March-15 April (catalog, text by Mauro Panzera, Grafiche Facetti)

 1992

• Robbiate (Lecco), Gelateria Spini-Spini Arte in Gelateria, Helmut Dirnaichner-Antonio Scaccabarozzi, from 16 October (brochure, textes by Helmut Dirnaichner and Monica Saccomandi). With Helmut Dirnaichner.
• Badenweiler, Dr. Luise Krohn Galerie, Solo Show

1993

• Bremen, Galerie Katrin Rabus, Antonio Scaccabarozzi, 2 September-24 October (invitation, text by Antonio Scaccabarozzi)
• Friedberg, Galerie Hoffmann, Antonio Scaccabarozzi Retrospektive 1965-1993, 11 September-1 December (invitation, text by Antonio Scaccabarozzi)

1994

• Bergisch Gladbach, Städtische Galerie Villa Zanders, Antonio Scaccabarozzi, 9 January-15 February (catalog, edited by Wolfgang Vomm)
• Merate (Lecco), Sala Civica Comunale, 25 Riferimenti, 9-25 April (catalog, textes by Antonio Scaccabarozzi and Sandra Solimano)

1995

• Badenweiler, Dr. Louise Krohn Galerie, Antonio Scaccabarozzi. Essenziali - Work in Progress, 18 March-25 April (catalog, text by Wolfgang Vomm)

1996

• Köln, Galerie Ucher, Corrispondenza, (catalog, textes by J.K., Il mondo misterioso dietro le barriere catramate), with Helmut Dirnaichner

1998

• Lecco, Torre Viscontea, Lecco Arte Festival. Antonio Scaccabarozzi-Jorrit Tornquist. Ragione-Emozione, 16 May-19 July (catalog, textes by Luigi Erba and Barbara Cattaneo).
• Bremen, Galerie Katrin Rabus, Antonio Scaccabarozzi
• Bremen, Galerie Katrin Rabus, Solo Show

1999

• Düsseldorf, Horst Schuler, Antonio Scaccabarozzi-Stéphane Bordalier. Alchemy, Light and Colour, 20 February-20 March (invitation, text by Anne-Marie Bonnet).
• Casatenovo (Lecco), Scuola di Musica in Villa d’Adda Mariani, Antonio Scaccabarozzi, 17 April-2 May (catalog, textes by Luigi Erba and Massimo Mazza)

2001

• Saarbrücken, Galerie St. Johann, Antonio Scaccabarozzi. Essenziali, 10 August-29 September (invitation, text by Wolfgang Vomm)
• Badenweiler, Galerie Dr. Louise Krohn, Antonio Scaccabarozzi. Arbeiten in Polyäthylen-Helmut Albert. Stahlarbeiten-Zeichnungen, 29 September-30 November (brochure)
• Bonn, Kunsthistorisches Institut der Universität Bonn, Antonio Scaccabarozzi. Corpo dell’opera e profondità dello sguardo, 30 October-16 November (invitation)

2003

• Osnago (Lecco), Spazio Arte Festa Provinciale dell’Unità, Cronologica

2004

• Pittenweem, Cairn Gallery, Antonio Saccabarozzi. Banchise, 4 July-1 August (invitation)
• Edinburgh (Scozia), Sleeper Gallery, Antonio Scaccabarozzi-Banchise, 5-30 July
• Basel, Galerie Katharina Krohn, Günther Holder-Antonio Scaccabarozzi. Arte povera? 15 October-27 November (invitation)
• Milano, Tufanostudio 25, Giovanni Sabatini-Antonio Scaccabarozzi. Dialogo di tempi e luoghi, from 13 November (brochure, text by Francesco Tedeschi)

2006

• Ceské Budejovice, Galerie Současného Umění (House of Art), Antonio Scaccabarozzi-polietilene, 20 September-22 October (exhibition edited by Michail Škoda)

2007

• Basel, Galerie Katharina Krohn, Antonio Scaccabarozzi. VELATURE. Giallo di Napoli, 31 May-30 June (catalog, text by Stephan Berg)

2009

• Casatenovo (Lecco), Villa d’Adda Mariani, Talento e Rigore, 21 March-25 April (catalog, textes by Monica Saccomandi, Alberto Veca, Natascia Rouchota and Antonio Scaccabarozzi, Luigi Erba)

2010

• Basel, Galerie Katharina Krohn, Hommage à Antonio Scaccabarozzi, 7 May-26 June (invitation)
• Bologna, P420, Antonio Scaccabarozzi. Antologica 1965-2008, 6 November 2010-8 January 2011 (catalog, edited by Alessandro Pasotti and Fabrizio Padovani, text by Angela Madesani, Edizioni Galleria P420)

2012

• Vacciago (Novara), Fondazione Antonio Calderara, Antonio Scaccabarozzi. Variabile, 2 June-15 October (catalog, edited by Elisabetta Longari, Edizioni Galleria P420)
• Vimercate (Monza-Brianza), HEART-spazio vivo, Antonio Scaccabarozzi. La certezza del dubbio, 22 November-9 December (catalog, edited by Simona Bartolena, text by Alessandra Galbusera) TRAVELLING EXHIBITION
• Merate (Lecco), Villa Confalonieri, Antonio Scaccabarozzi. La certezza del dubbio, 2-16 December (catalog, edited by Simona Bartolena) TRAVELLING EXHIBITION

2013

• Basel, Galerie Katharina Krohn, Scaccabarozzi-Griffa
• Zürich, Sapone Galerie La Vigne, Scaccabarozzi-Pignatelli

2014

• Morterone (Lecco), Associazione Culturale Amici di Morterone, Palazzo Municipale, François Morellet-Antonio Scaccabarozzi, from 6 July (catalog, textes by Francesca Pola and Daria Ghirardini)
• Morbegno (Sondrio), Sede Api Sondrio, Antonio Scaccabarozzi. Metodo ed Emozione, 7 October-7 November (catalog, edited by Luigi Erba and Michele Tavola, Grafiche Rusconi, Bellano, Milano)

2015

• Milano, Nuova Galleria Morone, Antonio Scaccabarozzi. Introduzione al vuoto, 12 February- 24 April (catalog, edited by Elisabetta Longari, Nuova Galleria Morone)
• New York, Scaramouche Art Gallery, Antonio Scaccabarozzi. Threshold of perception, 9 September-1 November (brochure)

• Milano, Galleria Clivio, Antonio Scaccabarozzi. Misurare le quantità e no, 27 October-5 December (catalog, text by Veronica Benetello)
• Parma, Galleria Clivio, Antonio Scaccabarozzi. Misurare le quantità e no, 31 October-5 December (catalog, text by Veronica Benetello)
• Merate (Lecco), Area Cazzaniga-Associazione Artee20, Merate ricorda Antonio Scaccabarozzi, 7-29 November (edited by Elisabetta Parente)

2016

• Milano, Galleria Monopoli, Antonio Scaccabarozzi. Dello spazio e della luce, 20 January-6 March (exhibition edited by Flaminio Gualdoni)
• Friedberg, Galerie Hoffman, Antonio Scaccabarozzi und Gary Woodley, 9 July-27 November (brochure)

2017

• New York, Casa Italiana Zerilli-Marimò, Antonio Scaccabarozzi-Marthe Keller. SEEING THROUGH / Vedere Attraverso, 22 February-16 March (exhibition and brochure edited by Elisabetta Longari)
• Milano, R&P Legal, Antonio Scaccabarozzi. Velatura plastica, 22 March-11 June (exhibition edited by Simona Bartolena)

2018

• Milan, Gallerie D’Italia, Entrata dell’opera “Iniezione - Delimitazione” nelle Collezioni Intesa San Paolo, May 3 (talks by Michele Coppola, Anastasia Rouchota, Ilaria Bignotti, Ernesto L. Francalanci, Paolo Bolpagni)
• Lissone, Museo d’Arte Contemporanea, Antonio Scaccabarozzi, from September 29 (edited by Alberto Zanchetta with Ilaria Bignotti and Gabi Scardi)
• Milan-Parma, Galleria Clivio, Antonio Scaccabarozzi - L'essenziale della pittura, October 4 - November 16 (catalog curated by Alberto Zanchetta)
• Milan, 10 A.M. art, Antonio Scaccabarozzi - Destinazione presente, October 25 - December 20 (catalog, exts by Ilaria Bignotti and Stefano Bolpagni)

2019

• Brescia, Spazio contemporanea, Transient, March 16- April 14 (edited by Camilla Remondina for ACME Art Lab)
  
  

2020

• Milan, Galleria Clivio, Caro Antonio…, February 11-April 19 (edited by Angela Madesani) BIPERSONAL
  
  

2021

• Iseo (Brescia), Fondazione Arsenale, Antonio Scaccabarozzi. Acquorea, March 19-May 5 (edited by Ilaria Bignotti and Anastasia Rouchota)

Art and (counter) movement in Antonio Scaccabarozzi.

We know that the artist, when he is such, never makes a forward move, astraight progress , a linear development; but rather draws a curve which turns on its own axis, in a spiral motion tending to infinity. It is a vortex propelled by selfobsession, delusion, of more or less shameful phantoms, of "sublimation," but also by projects and research born of intellect and evaluated by the proper use of reason; which control the results, gives rise to new solutions, and determines the expectations.  A spiral, thence, the movement of which rises from the gloomy depth of that magmatic dream state that, from Freud onwards, we call unconscious, to the light smooth surface of  waking life, in black and white, that which defines thought and makes a work legible. In short, this is the passage from the soul to the idea; the will to give order to the wealth of experience and chaos of feeling, to give shape to life, to derive the meaning. 

Nevertheless, during the twentieth century, interpretations were produced moving towards the opposite direction; and it is here where the problems begin. Namely, when you want to return to the nether regions of the origin of form and meaning. To that season en enfer, anticipated by Rimbaud in his famous "Je est un autre", where you return to the surface, with eyes a little red-rimmed, and perhaps, a few bones broken. It is in this "counter-movement", which apparently pushes from the top down (or rather, we should speak of counter-effect, that for an instant stops the flow, to then redirect it in the opposite direction), where the need emerges to redefine the terms of "making" art, so eradicating the roots of a possible interpretation immersed in psychology, of inner life that gathers around the personalized image of consciousness, and therefore of the artist tout court. If there is, in fact, something that we have learned from the husserliana, radicalized by the French phenomenology, is that consciousness is not constituted by any being and never rests on itself, but manifests itself as a push towards the exterior. Therefore, it is devoid of given identity and of prerequisite singularity, open and in constant self-transcendence, to quote the words of Sartre, "as clear as a great wind". 

In this way, art and life, strength and shape, leave behind empty conformist sterilizationsand false dissolute deviations of "expressions of emotion". Because it is not only a matter of pulling from the inside out, of solipsistic inspiration, of narcissistic pleasure, of I and of the world; or of opposing the sentiment to reason or the dream ofart to the awakening of thought and of criticism.  But rather, to take up a position in respect of life, to give it a new form, to recreate it starting from the ambiguity of reality that brings with it the anxiety of the incessant question of existence. It is from here that the counter-movement then becomes the moment of union between what is outside and  what is inside; between which only the differences depart in two opposite directions, toward those incurable fractures from which the web of life  is often woven.

 What is gained from all this? Surely the enchantment of pure, naked existence. That whirling dynamism that is the maximum expression of energy and freedom, a fundamental innocence for any true artist, as is and was Antonio Scaccabarozzi.  

An artist who, it is appropriate to say, has made counter-movement a "way of life".  A free spirit, not prone to compromise, who had been living for art in anyway and anyhow, despite the adversity that destiny, at times, had taken.   Of humble origins (born in 1936, in Merate, in the province of Lecco) Scaccabarozzi moved to Milan in the early 50s and began working at a young age as a draughtsman at a photolithographic studio , while in the evening he attended the School of Applied Arts at Castle Sforzesco, where he stubbornly gained  graduation (he wanted to enrol in the Academy of Brera, but the obligation of daytime attendance precluded entry). They were hard years, in a Milan deeply marked by class differences , where it was easy to be crushed in the lower depths in which one was born, even if being of promising and hope. 

Seven years spent in such a narrow life, was finally more than enough. Therefore deciding to leave his secure job he got on the back of a Vespa and, accompanied by a companion from the Castle school, set out for adventure. After a few years spent in Paris, where he worked as a theatre set decorator ; he then travelled to London, Holland and other European countries  to "experience" the world (getting to know Pasolini, Franco Zeffirelli, and “La” Callas), and in 1965 returning once more to Milan.  There he exhibited his first work of perceptive geometric study- , the so-called "puntini" (dots) from the cycle of “Prevalenze and Fustellati”. Experiments where there are static and dynamic balances of a Gestalt nature, in which sequences of simple visual units, some obtained by die-cutting, create an optical tension in the visual space. They are serial works, executed with almost maniacal precision, where the  extroversion of the points alter the surface of the canvas, modulating the light effects and iridescent shadows to vary the angle of the source of light. Their use is not only intended to give movement to the picture, stripped as it is of any natural reference, so as to lay bare the reticulated geometry that forms the structural skeleton, but also, and above all, to complicate the point of view of the observer of the work, to question the act of perception of the very maker.  

For Scaccabarozzi, the choice is made. Art must leave and arrive supported by itself , it must analyze its elementary components (light, color, form, movement) overcoming any allusion to function, to freely probe the dynamic and formal aspect towards abstraction, without losing itself in realism.

If, from the point of view of art history, the debt owed to the Milan avant-garde  in the fifties and sixties is taken for granted, and, not only that of Milan ( considering, for example, Victor Vasarely) it is not to say that the work of Scaccabarozzi is devoid oforiginality and unforeseen development.  In fact, in later years, his name is mentioned next to that of Alviani, Bonalumi, Castellani, Fontana or Dadamaino, just to cite the most important. However, his signature style is not anchored to any "School," or movement, albeit fundamental, even though it questions the event itself of creating art, its mystery, its irreducible contingency. That's why his work is neither an unconscious fantasy emerging from the fog of Milan, nor a power position taken up, more or less on good terms, in the face of the market and of the salon. If anything it is the result of a biography described through a hermetic model, capable of making the work of art the centre of a temporal questioning of how unconditionally singular life is. So to the childhood memory of grandfather at the table with a glass of wine that reflects its colored light on the tablecloth, becoming, Proustian in its chromatic magic, "alchemistic” painting, transparent and light, to be found again in later works such as the cycle of Geography and Velature cycle (2001-2008). 

Whereas, in the rhythmic color of “Essenziali” (Basics-1990s), so full of the light and air of Kefalonia the island of Natassy's grandparents "Antonio's partner, we find, instead, a familiar language of color lying on an ineffable and subtle conceptual palette, even if it is in substance almost an exercise in visual cleanliness, ethically resisting the anaesthetization and consumption of the senses of our era.  

In Iniezioni Endotele, at the end of the 80s, the privileged dimension is always the memory , exploring the relationship between a physical quantity of color and its ability to diminish when extended. Exploration followed up in Quantity, in which the interrogative pressure on the time frame of action painting has become the subject of aesthetic representation; the proof of quantitative value turns into a purely philosophical question : "how long will it last?" but also "how much is hidden and how much is shown? ".

At this point, the exploration finds its foundation. The counter-movement that art makes on life turns out to be a successful attempt to put the work of art on a fine line, between the visible and the invisible, where the eye becomes an analytic breaking into of reality.  "I'm looking into the garden from a window on the ground floor - writes Scaccabarozzi I look through ..., a composition of a vague almost Cartesian recollection  - I look again here and there, then return to glance again: I have just enough time to realize that I had observed the scene through a transparent curtain [...]. " 

So, it comes to educating the eye against the mystification of the already seen. To look in order to see better, and, above all, to see. But the educational function , which painting holds for Scaccabarozzi, is not based on a fluent discursive rationality, but is intrinsic to the eye. It sheds light on the mechanisms of perception based on the synthesis between concept and sensitive intuition , as taught by Gestalt psychology. If it were not for painting, visual perception would not be "seen" as such. Because, as Merleau-Ponty writes, in The Visible and the Invisible: "The temptation to create perception from what is perceived [...] is almost irresistible. "The gesture of the painter who converts  looking into doing, makes vision function. It demonstrates, borrowing yet again the words of Ponty, "wrapping the visible onto the body of the seeing. "

When Robert Musil spoke of "disturbance in the balance of the consciousness of reality," (according to the dictate of Arnold Gehlen, in pictures of the time), that is, of the possibility of painting  making visible a force that is inherent to the image, revealing a connection, inexpressible in words, between it and that what it appears to be, he was referring to a function of painting that Scaccabarozzi made his own.

It is only in this way, that the thought lodged in the reproduced picture may be freed, flowing to such an extent that consciousness suddenly jumps to another level. What then appears, is an absolutely external and objective dimension that is addressed, however, in a "spiritually visible perfection" (Gehlen); it seems almost to find, within that breaking into the consciousness of reality, a point of radiation that looks back at you. Here we are, as I said earlier, in the presence of a  consciousness in process, of a subjectivity without self-evident guaranties, that does not express itself, nor derive from a given inner being, or a complete subject, an "espresso"; but which builds itself in the anonymity of doing, in the dynamic and contingent empirical construction process.  For this reason, with Scaccabarozzi we can talk about freedom of action, of experimental power. Consider, for example, the use of plastic bags in Geografie, used, as well as for their veiling and for the effect of impalpable lightness, also for the simplicity of transport and installation: you can bend, ship it, and with two small nails, fix it to a wall. And there you have it, even the ugly plastic bag finds its place in the transfiguration that art has accomplished. Its common function has been cancelled, it has become images of an objective memory, soaked in blue, in pink, in Mediterranean purple, while the shape has found its rhythm, movement its trace, strength its mark.

A final consideration. If the conceptual dimension, as we have said, is essentially tied to a specific action, then you place the work of Scaccabarozzi in a tensional zone, always ready to be verified. But not only. it is, above all, charged with time. It becomes an infinite process, which does not exist outside of its making: like dance, or rather, like the fluctuating movement of the tango.  Tango, where in recent years the dance artist has taken up a place, a raison d'être: with  his figure, his raised and rapid footwork; his elegance and, not surprisingly, his development. Yes, because the tango is a dance based on improvisation, it is an art of movement.   Step by step you proceed with a walk that must conquer naturalness, combine forces, balance the body.

So it is that recovery and change  weave infinite textures, vortices which with Nietzschean impetus turn back on themselves, in a continuous movement Nietzsche noted  before his days of madness: "Every art has a tonic effect, it increases strength and augments pleasure. "   But there is a condition. Only when it is a counter-movement; and so it was for Scaccabarozzi. .

 Gian Alberto Farinella

Turin, July 2014