Andrea Fogli was born in Rome on December 25, 1959. He pursued classical studies and in 1983 graduated in Philosophy from “La Sapienza” University with a thesis on Alberto Savinio’s philosophy of art. He began exhibiting in 1985 with the Ugo Ferranti Gallery in Rome, with which he worked for more than 20 years.

He has had personal exhibitions Rupertinum-Museum Moderner Kunst in Salzburg (2000), at the Galleria d’Arte Moderna in Bologna (2002), both curated by Peter Weiermair, and in 2006, at the invitation of Jan Hoet, at MARTA in Herford, Germany. In 2013 an extensive anthology of his works was exhibited at the Casino dei Principi, Museums of Villa Torlonia in Rome, curated by Claudia Terenzi. In 2019 he collected works inspired by the dialogue with nature, including the drawings of the Erbario Planetario, at the MLAC in Lissone in the personal exhibition Effemeridi del Giardino” curated by Aberto Zanchetta. In 2023 he presented the entire cycle of the “Diario delle 365 figure” (2019/2022) at the Naples National Museum of Ceramics Duca di Martina in an exhibition curated by Marta Ragozzino.

Major group exhibitions in recent years include Heretics Art and Life at MART Rovereto curated by Denis Isaia (2022/23), and Disturbing Narrativies, Parkview Museum, Singapore (2019/20), Intriguing Uncertainties, Musée d’Art Moderne, Saint-Etienne (2016) and Parkview Museum, Beijing (2018/19), all exhibitions curated by Lorand Hegyi. In 2013 he exhibited at the MACRO in Rome in the exhibition Portrait of a City. Art in Rome 1960-2001 and in Belgium at Middle Gate Geel ’13, the last major exhibition curated by Jan Hoet.

His works are in the Collections of various Italian and European Museums: MART, Rovereto; Galleria d’Arte Moderna, Bologna; MARTA, Herford; MACRO, Rome; Ursula Blickle Stiftung, Kraicthal; Parkview Museum, Beijing/Singapore.

Born in Milan, she began her journey in theater as an actress, earning a diploma from the Nuova Scena school in Bologna and further honing her craft at the Guildford School of Acting in London. She worked both nationally and internationally with directors such as Tadeusz Kantor, Jerzy Stuhr, Giampiero Solari, Antonio Syxty, Gerald Thomas, Michail Gaunt, Gabriele Vacis, and others, eventually transitioning into directing in 2007.
Since 2000, she has expanded her creative pursuits into the broader field of visual arts. Through photography, she initially documented her work environment as a theater photographer before delving into the hidden depths of human faces with the project “Senz’Ombra” (1999).
Between 2005 and 2007, she conceived the festival “Strade Bianche – Kill the Butterfly,” which blended art, theater, and philosophy, addressing themes related to the environment and ecology. The festival featured renowned visual artists such as Emilio Isgrò, Massimo Bartolini, Eva Marisaldi, Nico Vascellari, Marco Porta, and David Behar Perahia.
She contributed photographs to the Motta Editore catalog of Filippo Dobrilla’s sculptures, a project commissioned by Vittorio Sgarbi in 2008. In 2009, she created a video titled “Bonaldi 01,” documenting the life and work of the late artist Federico Bonaldi, which is now preserved at the Ceramic Museum of Nove.
In 2010, a fire destroyed her library of 3,500 volumes, an event that inspired her work “Il Pensiero nel Fuoco” (“Thought in the Fire”), which she presented at the 2011 Venice Biennale.
In 2015, she created “La Grande Mucca” (“The Great Cow”), a denunciatory installation on denied identities within the realities of mental institutions. This work became part of the “Museo della Follia” (“Museum of Madness”), a traveling museum conceived by Vittorio Sgarbi.
In the recent years, she has been dedicated to the project “Bird Watching in Amazonia – Microvisions of the World,” an attempt to distill the vastness of the world into small spaces of emotions.

Mauro Pipani (born 1953 in Cesenatico Italy) lives and works between Cesena and Verona. He graduated in 1976 at the Academy of Visual Arts in Bologna under the supervision of professors Pompilio Mandelli and Maurizio Bottarelli. He started off back in 1972 with a group of young artists called “la Comune” directed by the Nobel Prize Dario Fo. In 1975 he founded, at the Academy of Visual Arts, an artistic movement called di ‘Via delle Bisce’, in which the artists, despite their own different languages, were united in the intent of producing social engaged art. In the 1970s he collaborated with “Sul Porto”, an art publication directed by Walter Valeri, Stefano Simoncelli and Ferruccio Benzoni. Pipani’s works are characterized by a stratification of materials (gauze, fabric, papers, metal fragments, etc.) and languages such as painting and word, normally accessing his works. Landscapes in balance between interiority and exteriority, reality and memory, local and global.

Tristano di Robilant, born in London in 1964, grew up in Italy and England. He graduated from the University of California at Santa Cruz, where he was influenced by the lectures of the architectural historian and critic Reyner Banham (1922 –1988). Tristano’s first solo exhibition was at the Holly Solomon Gallery in New York. He later collaborated with curator and gallerist Lance Fung on a series of glass sculptures entitled Domestic Temples, now part of the Sol LeWitt Collection. Invited by Giorgio Guglielmino to Calcutta, Tristano travelled repeatedly to Bengal to work on a series of silkscreens in collaboration with Pria Lall. Tristano has exhibited extensively both in Europe and in the United States, including at Annina Nosei’s gallery and the National Exemplar gallery in New York, Galleria Bonomo and Paolo Curti in Italy.

Austin Young (Tranimal, Fallen Fruit) is a multidisciplinary artist whose trademark style interprets a nuanced visual language of beauty, Pop culture, art history, folk art, and transgressive underground exuberance. Whether he’s working in a photography- and video-based modes of performative portraiture, engaging in assertive visibility for Queer culture, or advocating for a community-based resource sharing culture through the literal and metaphoric prism of public fruit trees, Young’s interest is in illustrating the sublime qualities of humanity that moves us all forward.
Originally from Reno, Nevada, studying at Parsons School in Paris, and currently living and working between Los Angeles and Puerto Vallarta, Mexico, from an early age, Young has invented novel ways of integrating his diverse interests and eclectic influences into a celebrated image-making career. Young’s practice grew from foundations in celebrity portraiture depicting figures from Margaret Cho to Debbie Harry, Diamanda Galas, Leigh Bowery, Jackie Beat, Alaska Thunderfuck, Siouxsie Sioux, and more in ways that confront personality and identity across gender roles and stereotypical societal constraints, to expansive practices in community engagement, books, performances, and urban agriculture.
Young’s infamous Tranimal Workshop series (with Squeaky Blonde and Fade-Dra) is an experience of radical metamorphosis, transforming willing victims in a gender-bending styling assembly line. “I’ve been doing portraits of drag queens, transsexuals and androgynes since 1985,” he says. “I’m drawn to the spaces in between what society expects and what’s real. What is gender? What is beauty? Who are we supposed to be and who are we in fact?”
Young is also a cofounder of Fallen Fruit, a contemporary art collective that uses fruit as a material for projects, investigating the hyper-qualities of collaboration, and in its own way is also about challenging dominant paradigms. Using art as their starting point, they take direct action investigating cultural, economic, and ethnic oppression surrounding public and private fruit-bearing agriculture as a function of resources and colonial history. In addition to photography, video, cartography, tree adoption, and raucous jam-making parties, public fruit parks from Del Aire to Downtown LA, and decorative-arts juggernauts from Palermo to London—their includes public art projects, site specific commissions, and installations at museums, churches, gardens, palaces, and bespoke gathering places around the globe.
Whether creating flamboyant and gleeful transgressive portraiture, or encouraging the proliferation of public access to fruit trees, in a way, all of Austin’s work is about finding beauty and taking pleasure along the margins—and thereby bringing the margins closer to the center.