Marco Battaglini

Studies
1983-88 Liceo Artistico di Verona, Italia.
1988-93 Universita di Venezia, I.U.A.V. Italia.
1991-94 Accademia di Belle Arti, Venezia, Italia.

Exhibitions
2010 LACDA Feed_Back Los Angeles, USA.,
2010 Scope Basel, Switzerland. I Think, Therefore I am Dangerous
2011 Art Dubai, Reality Versus Imagination and Illusion (installation)
2012 Human Rights - Art from World, curated by Roberto Ronca.
2012 Art takes Times Square - Artist wanted
2012 YOUnite Tour - The Nomadic Project
2013 Art Cologne – Booth E 009
2013 Art Dubai, The Global Village
2014 Saatchi Gallery – 2nd floor, Screen room

Through a subtle interplay of multiple realities overlapping in the chronotope, Battaglini evidences the contradictions in mental models about the temporal contrast (chronological), and the cultural and linguistic barriers.

Compositions which at first seem 'logicals', immediately reveal temporal and spatial limitations that are disruptive in the interpretation of reality.

Battaglini invites us to think that in today's global village, with the 'democratization' of culture, the evolution of knowledge, information immediacy, immersed in the heterogeneity, the Patchwork Culture forces us to confront with a need understanding beyond our geographical boundaries of time.

Probably the uniqueness of the Italian artist Marco Battaglini is to conceptualize the possible coexistence of the ideals of classical beauty with the anti-aesthetic, the combination of the divine and refined with the vulgar, through a composition that can complement different realities in an eternal instant.

His research of multidimensionality leads him to overlap different temporal, spatial and cultural realities, where everything seems to make sense…

This is ultimately the Battaglini’s purpose: remove barriers that distort the perception of reality.

Mixt technique on canvas: Gloss Enamel Paint, Oil and Airbrush on canvas. Polyurethane finish. The original aspect to Battaglini's application of paint concerns his application of paint by letting it drip on to the canvas. In the beginning the figurative element draw up with an oil base and details in airbrush, later the emotions take form and the enamels begin their free route. By the size of painting and mainly by the technique of dripping enamels, he works on horizontal position, onto a piece of canvas spread on the floor. “On the floor I feel nearer, more part of the painting, since this way I can walk around it, work from the four sides, and literally be in the painting.” The art critic Borrello described that technique as being “like a seismograph” in which the painting “recorded the energies and states of the man who drew it.”

Through a subtle interplay of multiple realities overlapping in the chronotope, Battaglini evidences the contradictions in mental models about the temporal contrast (chronological), and the cultural and linguistic barriers.

Compositions which at first seem 'logicals', immediately reveal temporal and spatial limitations that are disruptive in the interpretation of reality.

Battaglini invites us to think that in today's global village, with the 'democratization' of culture, the evolution of knowledge, information immediacy, immersed in the heterogeneity, the Patchwork Culture forces us to confront with a need understanding beyond our geographical boundaries of time.
Marco Battaglini: Multiple Overlapping Realities

Probably the uniqueness of the Italian artist Marco Battaglini is to conceptualize the possible coexistence of the ideals of classical beauty with the anti-aesthetic, the combination of the divine and refined with the vulgar, through a composition that can complement different realities in an eternal instant.

His research of multidimensionality leads him to overlap different temporal, spatial and cultural realities, where everything seems to make sense…

This is ultimately the Battaglini’s purpose: remove barriers that distort the perception of reality.