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A moment before

A moment before

A moment before

The work represents the eyes of astronaut Keir Dullea (David Bowman) in the 2001 film a space odyssey, peering into deep space, the helmet reflects the images of 80s cartoons. Our attempt to probe and understand the great laws that support the universe often results in comic and unexpected discoveries, so much so that I believe that, in many cases, it makes no sense to try to understand but it is preferable to love what in which we believe.

Technique: mixed on paper.

Year of construction: 2022.

Light source - Ex.: Monochromatic, Two-color Polychromatic
Genere - Es.: Fantasy, Still life, Religious, Landscape Fantasy
Subject represented - Ex.: Horses, Fruit, Cats Comic books
Technique used - Ex.: Oil on canvas, Pencil on paper Mixed on paper
Style dell'opera - Ex.: Surrealism, Cubism, Abstractionism Pop art
Artist data
Artist experience - Ex.: Emerging, Expert Expert

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Ex Tax: €900.00
  • Availability: Unavailable
  • Dimensions: 100misura x 0misura x 70misura


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Akira Zakamoto
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Akira Zakamoto è nato amato.
​Ha un amico immaginario
che compie grandi imprese
chiamato Luca Motolese.
Dipinge e inventa cose futili.
Legge tanto e scrive poco.
Morirà prima o dopo

Percorso artistico
Diploma Grafico pubblicitario presso Albe Steiner, Torino
Diploma Regia cinematografica presso Officina film, Milano
Diploma lingua francese presso Università Stendhal, Grenoble (FR) Docente presso Albe Steiner Torino, Enaip Settimo torinese, Corep Torino, attività lavorativa in qualità di Art Director presso diverse aziende fra Torino, Milano, Biella, Imperia fino al 2005 Dal 2005 svolge attività artistica a tempo pieno


Akira Zakamoto was born loved.
He has an imaginary friend
who does great things
called Luca Motolese.
He paints and invents futile things.
He reads a lot and writes little.
He will die sooner or later.

​Artistic path
Diploma in Advertising Graphic at Albe Steiner, Turin
Film Direction Diploma at Officina film, Milan
French language diploma at Stendhal University, Grenoble (FR)
Lecturer at Albe Steiner Turin, Enaip Settimo Turin, Corep Turin, working as an Art Director at various companies in Turin, Milan, Biella, Imperia until 2005
Since 2005 he has been carrying out full-time artistic activity


Alessandro Gatto and Akira Zakamoto

Fang Art GAllert

Via Saluzzo 21, Turin

December 3, 2021 - January 3, 2022


Palace of Culture

Via Vittorio Emanuele II 121 Catania.

30 September 2019 - 30 March 2020

3rd Biennial of Genoa

International Exhibition of Contemporary Art

8 - 22 June 2019


Go to the link of the event

Etna Comics

The chimneys

Viale Africa, 12, 95129 Catania

6-9 June 2019

Go to the link of the event


Polo of the 900

3 -17 October 2018

Polo del 900 Via del Carmine, 14, 10122 Turin TO


Mural work by Colletivo Prometeo

July 2017

Via Schiapparelli Settimo Torinese



19 March 2016

Piazza Municipio 1 Camo, CN



2 March 2013

Auditorium of the Municipality of Norcia


Air, wind, breath, breeze and storm

12-31 January 2013

Church of S. Maria Laurenzia, Bevagna, PG


Curated by Migheli Arte

From 15 to 30 September 2012

Via XX Settembre, 21 Altamura (BA)


ART 2012

27 July - 28 August 2012

Early Christian square archaeological area


On the occasion of the 55 festival of the two worlds

July-August 2012

S. Maria della Misericordia Hospital, Spoleto


Citrinites, Gallo, Riba, Zakamoto

from 6 to 22 April 2012

Terrain Vague Gallery, Via Monte San Michele 17,19,21 87100 Cosenza



September 2011

Tortona area - Via Forcella 7 - Milan


Performing arts relay race on the theme of human rights

May 2011

Auditorium San Vito, Barcellona Pozzo di Gotto (ME)



April 2011

S. Croce monastery - Via Frasari - Bisceglie (BT)


Stand Galleria Casa d'Arte Viadeimercati

March 2011

Congress and Exhibition Center via XI settembre, 16 Busto Arsizio (VA)



March 2011

Via San Giovanni Bosco, 17 Ivrea


Group exhibition curated by Alessandra Radaelli, Chiara Canali and Stefano Castelli

December 2010

Previtali Gallery Via Lombardini, 14 -Milan



August 2010

Palazzo Oddo Museum Via Roma, 5 Albenga (SV)

'MOM & KID "


October 2010

FRIDA ARTE Piazza Giuseppe Massari, 16 BARI


Angelo Accardi, Akira Zakamoto, Dino Sambiasi, Alfonso and nicola Vaccari

April 2010

FINOCCHIARO GALLERY Corso Savoia, 139 - Acireale (CT)


Bottega Indaco interprets the blue light by Gianni Rodari

February 2010

FANTASY PARK - Gianni Rodari Museum - OMEGNA


Collective exhibition

January 2009

Port Palace Hotel, 7 Avenue John F Kennedy, 98000 Monte-Carlo, Monaco


Group exhibition organized by the D’ars Foundation

January 2008



Collective exhibition

January 2008

CLUB DARS FOUNDATION - Via Sant’Agnese 12/8. Milan

Montez Atelier

Akira Zakamoto's staff

Via di Pietralata 147 / A-B 00158 Rome

19 November - 19 December 2019

Go to the event website


Akira Zakamoto's staff

Palazzo Stella P.zza Stella 5, Genoa

12-23 October 2019

Go to the link of the event


Personal exhibition and scenography of the festival

28 June - 30 July 2018

Gardens of the Leuciano Silk Factory in Piazza della Seta nos. 7 and 8 San Leucio 81100 Caserta



9 June - 9 August 2016

Braço de Prata - Rua da Fábrica de Material de Guerra, nº1 1950-128 Lisboa



From 21 November to 15 December 2015

Largo Marconi 1 / e Turin


Manni Art Gallery

11 July 2015 - 2 August 2015

Manni Art Gallery - Via Sandro Gallo, 97 Lido VE


Zakamoto at italian design embassy

14 November 2014

Sibyllegatan 46 Stockholm


Bell tower of the Parish Church

29 June - 31 August 2014

Botero Square - Bene Vagienna - CN


Two-person staff of Palumbo and Zakamoto for the CGIL regional congress

March 2014



Culture Festival

3-16 November 2013

Lazzaretto Museum Center - Cagliari


Galleria Arte is Kaos

3 - 28 December 2012

Via V. Veneto, 100 Alassio (SV)


To the blue building

May 2012

Blue building, Viale Buozzi, San Benedetto del tronto


Akira Zakamoto

May 2012

Via Mazzini 20 (Galleria Mazzini), Milan



March 2012

Via Gustavo di Valdengo, 2 Biella


Santa & Cole

December 2011

via Cosimo del Fante 5 Milan



November 2011

Via dei Mercati, 15 - Vercelli


infinite wealth in the eyes of children

May 2011

Virando Gallery Corso Giovanni Lanza, 105 Turin


from the kaleidoscope of life

May 2010

Palazzo Oddo Museum, Albenga (SV)


Akira Zakamoto's staff

April 2010

Civic Hall of the Municipality of Levate (BG)


Akira Zakamoto's staff

January 2010

ICA Alquattrodiviatorre Gallery - Via Torre, 4 PARABIAGO (MI)


Akira Zakamoto's staff

October 2009

GFV TUNNEL - via camurati 4 VALENZA (AL)


Akira Zakamoto's staff

August 2009

Oratory of S.Caterina - Piazza Santa Caterina, Cervo (IM)


Akira Zakamoto's staff

May 2009

MicroMacro Gallery - Via Prinicipi D’Acaja, 14 / b Turin


Akira Zakamoto's staff

May 2009

TUNNEL LINE 451 - Via Santa Giulia 40 / in Turin


Akira Zakamoto's staff

March 2009

San Gregorio Art Gallery - Dorsoduro 165 - 30123 Venice


A project by Akira Zakamoto and Francesca Bogliolo

December 2008

MicroMacro Gallery - Via Prinicipi D’Acaja, 14 / b Turin


Akira Zakamoto's staff

December 2008

Spazio10 Gallery, LA SERRA - Corso Botta 30, Ivrea


The creators of the future. Children, light of change

December 2008

"The Court of Canobbio" Cortemilia (CN)


The dream that creates reality

October 2007

ART GALLERY E 'KAOS - Via XX Settembre, 98 Alassio (SV)


Akira Zakamoto and Ciro palumbo

September 2006

THE FILANDA TOWER - Via Al Castello 8, Rivoli (TO)



Akira Zakamoto composes astonished and silent snapshots, where the protagonists are the children who observe what men have done: they play war, they delight in the massacre. Here, then, between photographic reality, Japanese manga and daily horror, staging war operations that will affect innocent childhood forced against will to follow what is happening as a helpless spectator. Games are replaced by rubble, wonder and laughter are replaced by horror, closed in papered boxes without colors and without light, children look at us and silently ask why there is so much violence



In my opinion, Akira Zakamoto has all the credentials to consider himself a Japanese artist, for a very simple reason: when he was a child he had a healthy mania, that of devoting himself to reading Japanese comics at any time of the day. For him, this was initially the experience of the child reading stories of completely surreal heroes, exciting metaphors. Then came the moment of the professional choice, he decides to become a painter, and becomes a painter by election not at the level of professional coldness. He does not stumble upon any academy of fine arts, but studies communication, or the relationship between advertising and the object. When he also leaves this absolutely persuasive profession, Zakamoto does not forget his childhood, his childhood linked to manga, the Japanese comics that for Hugo Pratt were literary images. Zakamoto is a painter who owes everything to the past, to dreams, but he also had a lesson from this drawn literature: the sense of warriors and heroism, which he revisits in terms of justice and indignation. His compositions are anything but elegiac compositions of which Zakamoto's inner solidity is to be appreciated, this allows him to consider men and things in their condition of truth. For our painter, is the representation of the hurricane a disturbance of the spirit? On the contrary, he knows how to grasp the metaphor as a warning message. For him, painting is the persuasive and cultured medium as a communication of the daily mystification of reality. His inner solidity in this case does not allow him to remain swallowed up in the sea of ​​lies. Constantly engaged in disturbing themes of our time, his attentive conscience as an artist is guided towards a path of merciless representations. His images are often expressed in an ironic, amused and amusing key, on other occasions even hallucinating. In every thematic event Akira Zakamoto sticks to his profession as a painter and chronicler of his time. In fact, his story is that of an apocalypse that is functional to remove the veil from the present and then be able to build a new future in a new revelation in a heavenly key. It would not be a stretch to declare that Akira Zakamoto is the heir of the socialist realism that moves in Italy in a period of time ranging from 1946 to 1970 of artists already in that period on the crest of the wave of criticism and the market and that in the at the same time they were able to execute allegories about the class struggle and the youth struggle of '68 of young bourgeois who had become anti-bourgeois. Akira Zakamoto, on the other hand, is a talented painter who is anything but realist and surreal. He is a persuasive inventor of metaphors capable of reconciling the elegance of the forms with the often disturbing content. The pictorial execution is always flawless, Zakamoto plays on the tones, on the chromatic counterpoints, on the delicacy of the passages and for him to paint is like for the musical composer to create harmony and not disharmony, disharmony is what he notices outside the world, here lies his verifiable complaint in his recent works, in the cycle of 2015 absolutely important on the Italian pictorial scene which today does not give us content but aesthetic constructs for homes that need economic status symbols. In a detailed series of surreal paintings Zakamoto denounces how tormented our planet is, tackles the theme in a visionary representation of a humanity without landing and metaphorical on the level of ecological destruction. In this case, the situation created in the cities of Venice and Marghera with the subsequent intervention of the judiciary is perfect in Zakamoto. In these works in which he manages to bring Venice to a symbolic level for the destruction and global environmental misdeeds, Zakamoto is so refined that he manages the lagoon city at the level of pieces that make us indignant for our and your indifference. What is surprising is still having a painter who works on paintings to give a message and at the same time is also a writer who spends his time traveling writing. The author favors telluric isions and, at the same time, a curious fact, resumes Venice with the expressive tranquility of a painter of landscape tradition or urban architecture, and here he plays in a cultured and subtle way like all the intellectuals of the brush who do not discount when they sink their blade in annoying truths. His paintings are not visually annoying, in appearance they are pleasant, of decoration, but the difference that passes between Zakamoto and an artist of poor art of 68, is that the artists of 68 used curious materials, unusual like the shit of Manzoni and the bourgeoisie overpaid them even if the works were designed not to be sold, while Zakamoto plays another game, much more refined, he offers the cultured, participatory bourgeoisie his message that hung on the walls can be pleasantly decorative and observed. at the bottom it can give a conscience that is not social but universal. The French novelist Andrè Gide would have defined Zakamoto “an avertisseur”, his works are in fact a constant warning.



Akira Zakamoto. Porto Marghera industrial center. The scenario identified by the Turin painter for the canvases created for this exhibition is emblematic. A non-casual choice - pregnant with profound meanings - which leaves very little room for interpretative doubts. The birth and development of Porto Marghera dates back to 1917, when the Venetian entrepreneur Volpi obtained from the Ministry of Public Works the financial management of the project for the construction of the industrial port. Within fifty years the industrial area tripled, and from a production inherent in shipbuilding it became the driving force of the petrochemical sector. The economic boom increases production, and together with it the problems related to air pollution, lagoon water and the serious and documented consequences on the health of workers multiply. Theater of great company mergers, battles and trade union disputes, with the crisis in the petrochemical sector Marghera begins to fold back in on itself. The factories are gradually abandoned, pending a redevelopment and reclamation project in the area. And it is precisely at this moment that, under leaden skies saturated with pollution and behind threatening columns of smoke, the children of Zakamoto come striding. Let's forget the blond cupids of the iconography of the past, because Akira's are not just any children. They are giants, and not only in stature, who with their now stern now threatening gaze, destroy smokestacks and skeletons of factories. And, looking us straight in the face, they accuse us. It is difficult to turn away to avoid their eyes, because in front of them we are all responsible for the environmental and social havoc that we have managed to create over the course of a century. The iconographic methods chosen by the artist to address the theme of work are interesting, as well as unprecedented. In these pictorial pages the latter is evoked exclusively by the buildings that have housed it over the course of a century, just as the presence of the workers is implied but never made explicit. Also in this context Zakamoto confirms himself as a realist painter who however does not deliberately respect the canons of this kind of painting. Akira does not openly shout his denunciation of contemporary society, but sublimates it and, by sublimating it, indirectly condemns it. They are works of strong and immediate visual impact, in which dark and rough tones play a happy chromatic counterpoint with the reds of the children's t-shirts, which significantly recall the metal sheets of the factories. Looking at these paintings of him we realize that everything is in exactly the right place, there is nothing too much or that disturbs the view, no superfluous descriptiveness aimed only at winking at the observer and filling the space. As always, the artist is able to wisely dose absences and presences, charging them with meaning. But now let's try to change our point of view and look at these pictorial compositions from a different angle. We realize that nothing is actually completely concluded and that there is a glimmer of hope: the heavy and ashy skies leave room for remnants of blue that open the view on a future that can and must be different. If Zakamoto hadn't wanted to give, and give us, a chance for redemption, he would have let it be only the profiles of the industrial buildings that speak. But here the real protagonists are the children who, by default, are the promise and hope of the future. It is they who by mercilessly destroying the past offer us the possibility of building the foundations for a different and better tomorrow. So Porto Marghera is nothing more than the emblem of a century that has radically changed the economy and society, often trampling human rights and identifying individuality. The child who looks at us with a mocking smile in The End of Work is actually the starting point from which to start over. Because every end always presupposes a new beginning.



The world seen by Akira Zakamoto In artists alone we know that adult life is the natural continuation of childhood, which is why it is said that artists are great children. Alberto Savinio From the first meeting with Akira Zakamoto I undoubtedly remember my ill-concealed attempt to see some reminiscence of oriental physiognomy on his face: nothing, Akira is not Japanese, nor does he have ancestors in his family tree from the land of the Rising Sun. Then reading his biography of him, which tells of him kidnapped by extraterrestrials, I wondered with a certain curiosity what kind of painting he could do. I often try to guess after having met an artist, the type of painting of him. Children, many, caught in their most natural expressions, but also and above all in the most incredible ones. No, I would not have expected Akira to paint, not only, but mainly, children. Childhood lives inside and next to each of us, despite being a dimension, the only one, from which we are all irretrievably excluded. It is a multifaceted, fascinating universe, but at the same time unknown and mysterious. For centuries it has been calling for the attention and creativity of philosophers, poets, writers and artists, it is a journey of rebours that few have been able to resist, and that each of us, in different forms, has tried to undertake at least once in our life. Perhaps because it represents, at the same time, our past and our possible future. Fascinating, without a doubt. Disturbing, no doubt. The reality is that childhood looked at from afar is always tinged with a feeling of intense melancholy, because it is the lost world, and above all represents a unique and unrepeatable way of feeling, seeing, touching, of which adulthood has lost. direct knowledge. We envy children the amazement with which they look at things, with which they try to investigate the mystery of life. Naive? No, far from it. And Zakamoto's paintings prove it to us. Let's forget the blonde heads and the delightful shapes of cupids. Akira's children are real giants - not only in stature - custodians and bearers of an ancient and at the same time still evolving wisdom. And so we adults are the dwarves on the shoulders of these child-giants, and climbing on them we have the opportunity to look beyond. Beyond the visible, beyond the tangible. Beyond all that binds us, and obliges us, to the present. However, let us not be fooled by Zakamoto's paintings. Because in spite of their constructive essentiality, they carry messages that are not immediately, and easily, decodable. And by essentiality I mean the clean and linear balance that dominates every pictorial page of him. Looking at a work by him, we do not take long to realize that everything is in exactly the right place, that there is nothing too much or that disturbs the sight, there are no useless and superfluous descriptivisms aimed only at filling the space. Absences and presences are wisely measured by the hand of an artist who, in my opinion, is not interested in pleasing at all costs. Akira has assimilated the history of twentieth century art and at the same time seems to have made a clean sweep of it. His works do not have a past - and therefore it is useless to look for quotes and connections with it - but they have a present that lives and shouts overwhelmingly in every single detail. We therefore consider Zakamoto as a realist painter of our times, who does not scream his denunciation of contemporary society, but sublimates it and, sublimating it, indirectly condemns it. He subverts the world we know, changing the balance of power between things: he takes us by the hand into a Lilliputian world where houses suddenly become small and the children of giants who, not by chance, almost always turn their backs on us. It takes us to a beach where a group of mature women are dominated by the giant figure of a little girl dressed in the Chinese flag that emerges from the sea and runs fast towards the shore: here is the sublimation of reality, which nevertheless takes on the contours of a warning and a warning about what the future may hold for us. But his is also the world in which Agnes magically gets lost in the clouds, in which Matteo - a boy and a hero at the same time - is a Superman who rests from the fatigue of keeping us on his shoulders. His is the world that we can see through the eyes of the child who is hopeful, and with the snack bag in his hand, begins his first day in the future. And it is a world that, despite everything, fills us with hope and we like it.



It would be natural to define these figurative researches as conceptual. But, in my opinion, it is all too easy: Zakamoto is, above all, a painter of elaborate visions, which convey a well-targeted message. One immediately realizes that in every context of narrative expressiveness, he tends to the perfectibility of the execution, conceding nothing to the error, both from the formal point of view and the chromatic drafting - things that in painting replace, in the most absolute emblematicity, the word . These are certainly imaginative situations perfectly suited to our age, where everything is constantly put into play, upsetting the premises of a future which, in these talented paintings, is represented as anxious hope in the traits of many children. Because the present appears here without a past, presented by characters whose history has uncertain roots, often born in comics, in the pages of the news, or in popular fiction; impeccably portrayed, they are always revisited and updated in their legendary charge with ethical intentions, supported by captions that are only partial revelation. It is in this context that Zakamoto's conceptuality acts: an artist who, like him, should be considered a neo-romantic. His completely original narration faces the themes of the contemporary social macrocosm with cold determination, with executive refinement, through a sign of flawless executive; in these pictorial pages the choice and the drafting of elegantly atonal colors are played in a skilful contrapuntal dialogue, in visual sounds that carry uncertainties.Its museum roots are those of Italian Pop Art, the so-called Roman School of the second a completely free and personal journey, devoid of pre-established intellectual stakes, tending, even in the imaginative context that has imposed itself, towards the most absolute objectivity. However, with this way of proceeding, it would be wrong to consider him a cold artist, indeed: guided by his poetics, he manages to explore his inner spaces without falling into utopia, but delivering disillusioned messages and punctual questions, where the visual appearances of the his and our life are combined with the concreteness of color.



Painting is full of "children" from the dawn of time. Just turn your head towards history to remember the masterpieces of Michelangelo, Botticelli, Donatello, Masaccio, Giotto, Piero Della Francesca, Bellini. All of them have a work in their curriculum with the title: Madonna and Child and from each of these works emerges a talent, a technique, a profession, a sensitivity for painting understood as the excellence of cultural expression, simply unattainable for most. Luca Motolese, aka Akira Zakamoto, born in 1974, is a theme that has already been seen. It is a theme that has been tackled, visually, by the painting of the last 800 years and this talented Turin painter will have a hard time implementing it further precisely by virtue of the giants with which, history, requires him to confront. He has a nice hand, he certainly knows how to paint. The references to Wesselmann's showy and bright palette are even interesting, in some canvases. His works certainly have a decorative element that does not disturb, rather satisfies, but the names previously mentioned leave no way out in the territory he has set out to explore. He will never be able, even from a distance, to compete with that mysterious boy that Claude Monet paints next to his Woman with the Parasol and, perhaps, the beauty of Zakamoto is not having any pretensions. His job is much simpler than that. He has much more earthly purposes, he simply wants to represent, in a time that we will call "the dark frontier", the recovery of that joy, childish if you like but also blessed, which now lives only in carefree childhood. In the dark frontier, in our time, being happy with what we have, accepting it and enjoying it fully every day, has become an abstract concept, more than a painting by Kandinsky who, I believe, would not have been proud of it at all. Dreaming, crying, simply being ourselves, being fascinated by the things of life, even the small ones, has become a weakness unless we give these components of humanity an aspect that justifies them: the face of a child. We do not speak at all of Peter Pan syndrome (which by the way was not a good child at all), we do not speak at all of not growing up to escape from the responsibilities that life offers us as we grow up. An entire generation is afflicted by the Peter Pan syndrome, that of thirty and thirty-year-olds, in possession of everything and at the same time of nothing, unable to take on responsibilities of any kind, unable to deal with respect for the most basic values, unable to growing out of the glass dome, incapable of relationships if not lived through the filters of telematics technologies, unable to give themselves priorities, rules that are worth respecting. Sons of a revolution that is right in its motives, wrong and destructive in its results. Sons of Hemingway and his maxims, true origin of the bit generation (deliberately lowercase in the initials): <>. The dark frontier is the mother of this way of thinking and at the same time the ideal cradle. But Zakamoto's paintings are not part of it, fortunately. Indeed, they photograph a hope that matures from the beginning of the "path", in the education we give to those who will come after us. They register the desire to rediscover certain values ​​through the subjects to whom to transfer them. One is that of the family that generates children, transfers values ​​to them, teaches them to grow and become men and women capable of existing and shining in the future without fear of living knowing that living is also a commitment, not just a privilege. Even knowing that Hemingway certainly wrote very well, but that he had not really understood anything about morality! Children who generate the world to come and will form it in their image and likeness on the basis of what they are taught today. The dark frontier is running out of time. Let's hope you're right, Zak.



Big and deep blue eyes of the heroes of the future, a future that scares us so much these days. Terrible days that we observe in disbelief, that we try to push away from our minds to hope for a better future. Fear that slowly fades behind the colors, spread with skillful skill and intensity, by the sure and essential hand of this artist, who, never like today, seems to be waving the banner of serenity, of security in tomorrow, because certainly everything will be better in hand to these small but great creatures. The faces of earthly angels, who look to a future Paradise. And if, as they say "children are the thermometer of our days", observing his works, one cannot but hope for better days, days in which even adults can get lost in the blue sky in which soap bubbles and hot air balloons dissolve. and shining stars. The shapes are essential, clear and outlined, the colors intense, material. There are no shades of color, but the depth is given by the use of different shades that draw the almost palpable faces of these little men and little women. The face is a catalyst of emotions, it mainly occupies the space of the canvas, sometimes leaving room for superhero bodies foreshortened from above, as if to take flight, or to references to city architecture or otherworldly worlds. The gaze is always, or almost always, turned upwards, but always meets ours, as if asking us to follow them, a call to which it is difficult to answer no. This artist has managed to push beyond his gaze, beyond normality, beyond mediocrity, to lower his stature to reach the level of the eyes of his children, to see inside their eyes and with their eyes, as he can appear the New World. A beautiful fairy tale that makes us dream, with the hope that the dream can then come true.


The walk of a distracted painter: Akira Zakamoto's kaleidoscopic creativity

Rodari argued that 'making mistakes is invented', that from error fantastic and creative paths can arise: everything lies in following one's own mistakes, in attributing meaning to them and interpreting their value. Akira Zakamoto's creative path seems to want to make this concept explicit, it seems to place it as the foundation of her own creative motivation, of her own restless experimentation. The error, Zakamoto encloses in the name, which in Japanese is an impossible, wrong name, which pays homage to the East, recalls it, encloses it in a certain way, and makes the artist recognizable: it creates an identity of which it is difficult to identify the contours, given his vast and multifaceted creative production, which nevertheless appears sharp and clear like a children's fairy tale, immediately intuitable in its communicative substance. Children are often asked: 'where is your head?': The face, the eyes, the nose, the smile, all seem to have slipped, landed in Zakamoto's canvases, mirror paintings by an artist who we seem to imagine intent on touch her neck while she paints, to make sure her head is still in place. His children angels, superheroes, creators of worlds, metaphors of a possible world, are children with their heads on their necks, they are the faces of children who guide us into a new world where a poetics that wants to prelude to a better world is not only possible. , but it is actually real. In this world Akira Zakamoto moves casually in their company, is reborn, recognizes what is left of a time that according to his poetics is eternal. He seems to quote a phrase attributed by tradition to Dante Alighieri, and remind us that there are re's of Paradise he masti the sky, the stars and the children, and in doing so he grants his children a privileged role of narrator-actors, he highlights, from time to time, their gaze or gestures, focusing on details that attract him more than others, that better others seem to reveal a secret to him. As in Rodari's 'the walk of a distracted man', Zakamoto's little boy gets lost, little by little, in the gaze of his characters, which constitutes the fil rouge of all his poetics. The portraits, real and reinterpreted, seem to contain references to pop art, manga, its graphic formation, yet all this is reinterpreted in the light of original contents, in a colorful kaleidoscope made up of harmonic parts that resonate together with our eyes. At the end of the path of an exhibition by Zakamoto, all this appears clear, as if we had read a text rich in content translated into simple and essential terms. As if, waiting on the threshold for the painter at the end of a walk among his meanings, we had left in our hands - donated by the canvases - important pieces to understand him. In finding him, we will not be able to do anything other than act as the mother of Rodari's distracted, who, in reassembling her son, reassures him. We will only have to say, with a smile, 'Yes, Zakamoto, you have been really good'.


Zakamoto as Cassiopeia gives her unconditional help. Children are the mirror of innocence, the purest embodiment of good, the path to follow to enter the Kingdom of Heaven and a fundamental condition for entering the Kingdom of Luca Motolese alias Akira Zakamoto. Often the gaze of the child, whose sublime imagination is able to open the doors of dreams, has been represented as the antithesis between the world of adults, dotted with nightmares and contradictions. Children are an inexhaustible mine of gimmicks, daring solutions, unexpected conclusions and Zakamoto proves to be well aware of this wealth and fully exploits it. His existential and pictorial trust seems to be placed in their plump faces with eyes bright with amazement and innocence that he first photographs and then reproduces with the brush. The compositions with adult subjects are sporadic, however the canvases of the “Golden Rooms” depict suggestive female half-lengths with the head bent dressed in galaxy-dresses. Initially in the paintings the chromatic shades of red, yellow, gray and black were predominant, but later the palette was enriched with rainbow tones spread and undone in a more full-bodied and material mixture. In the latest works, it is felt that the artist is tackling the study of the technique in depth: initially the pure color is spread in flat and uniform backgrounds, then gradually it unravels in iridescent mixtures and shadows of great pictorial gestures. The space of the canvas is almost exclusively occupied by faces and small shrunken bodies seen from above. Usually the background is monochrome: black, light blue, pink, purple, red, orange, yellow and green skies, but lines converging towards a point also appear. At other times, city panoramas, galaxies with planets, exploding steroids, stylized stars, flying saucers projecting beams of light, huge numbers and phrases are recognizable. There are also American beverage brands such as Coca Cola, Schweeps and the Miquelito puppet from the commercial for the coffee maker. This choice reveals a latent criticism of consumerism and globalization that American society imposes. Another problem is hidden behind the pictorial project concerning "Ritalin", a sedative psychotropic drug that is administered by parents to children considered hyperkinetic. In the series of paintings entitled "Bearers of the future" and "Creators of worlds" appear the faces of children full of strength and vitality who with a pleased air show us magical games. In their hands there can appear a terrestrial globe for a ball, or a planet in nuce as a marble, but also a magic wand in the shape of a star through which they carefully scrutinize us. Furthermore, just one breath of them is enough to transform light and evanescent soap bubbles into planets and stars that drink energy with a cosmic watering can. Through a simple breath, they are able to give life to their imagination without certain prohibitions and forge at will an alternative star to the now corrupt Earth of adults. Another series of works called " Superoes ". The inspiration comes from the idea of ​​the "Superman" and from the exhausting struggle against the "rules" that culture violently imposes on children in the form of caresses and slaps. It is a silent battle, the representation of an wild unconscious in which children choose not to bow to an artificial, sweetened reality and perverse in their eyes: an act of protest against the world of the "grown-ups". After all, it is always a dream: the dream of an Elsewhere that does not exist, not so different from that island where Peter Pan takes refuge. With impetuous and warm colors, Zakamoto fights the degradation of reality and creates little superheroes who stand as saviors of the planet and fly over the cities. By spell, their hair becomes waves, flames and confetti. American comic superheroes such as Batman, Spider-Man, Captain America, Ironman Thor, Fiamma ... and continents also appear among hinted smiles and iridescent eyes. Instead, the series of paintings dedicated to the "Angels" focuses on children with large heads and shortened bodies flying upwards and wearing glasses whose lenses reflect the stars. Unaware of their own power, through their pure innocence they redeem us from the daily greyness by showing us a different path. The artist cannot help but kneel and observe the advent of the new world and look exhausted at the faces of the poets of the future. It is fascinating to discover how the little ones see things "from the right and the other side" and have the will to overcome appearances without fear, indeed the unknown is explored and tested! As in Gianni Rodari's story "The cake in the sky", two nice children defeat the fears of adults and enjoy a wonderful cake that has come down from the sky, believed by all to be a flying saucer or who knows what other catastrophe. In the paintings called "Giro Giro Tondo changes the world" and "Sightings", between dismay mixed with amusement, the child represents the future and watches the Earth explode into a thousand fragments of light. And here is the blossoming of change: the end is nothing more than the beginning of a new life, from the colored splinters new and uncontaminated worlds will be reconstructed, far from normality understood as a rigid pattern and a common behavioral model. Through the "FiloDiFusione" project, Zakamoto entrusts to the "Flag of the future" the message of change that had been transmitted to him by the extraterrestrial beings who kidnapped him: "We are about to witness the birth of a new dimension created by love, by dreams, by magic and madness ". The banner with the sweet face with a far-sighted gaze is going around the world and for three days it flies on the balconies of those who request it. In this way the work of art gets closer to people and a request for help will be financed by means of the shipping cost. Zakamoto as Cassiopeia gives his unconditional help, wisely shows us the way to salvation through images. Instead, the children painted by the artist are like Momo and will be the ones who will teach us to savor the little daily joys. A special turtle named Cassiopeia could "speak", not with her voice, but by making luminous letters appear on her shell. This particular tortoise leads Momo to Mastro Hora. the governor of time, to defeat the evil Gray Lords who stole the citizens' free time by making them believe they could invest it better. "Thus, people begin to do everything in a hurry, in a hurry because they have so many things to do and to finish without tasting and savoring anything of their life, now they live only with the aim of doing things as quickly as possible with the illusion of saving time, they are actually WASTING all the time made available to them…. without thinking that it is time, our only true wealth. Because time is life. And life dwells in the heart. " (Michael Ende, Momo, 1973) Through a fantastic and imaginary symbolism, both Akira Zakamoto's canvases and the novel are a fierce criticism of consumerism and the frenzy of modern life, which in its technological and productive progress completely loses sight of the goal of people's happiness and quality of life. Observing Akira Zakamoto's paintings is like reading Michael Ende's fantastic novel, it's like looking in the mirror and finding yourself unable to dream; it's like peering through a crystal ball and glimpsing a very unpromising future. Nevertheless, the hope of change is always present.


Zakamoto's children, they should never go to sleep.

"A boy climbs a tree, climbs among the branches, passes from one plant to another, decides that he will never come down again". The literary world created by Italo Calvino with “Il Barone Rampante” can be compared to the artistic world of Akira Zakamoto alias Luca Motolese. This child who takes refuge in the trees becomes a hero of disobedience, an allegory of the poet and his suspended way of being in the world. Similarly, Zakamoto tells of children who have already lifted their feet from the ground, for fear of being contaminated by reality and like angels they let themselves be carried away.

from the breath of life that pushes them powerfully towards the universe. In the “Invisible Cities”, Calvino tells of a visionary traveler who describes imaginary cities out of time and space and Zakamoto paints them on square canvases. During a conference held in New York (1983), the writer spoke insistently of the destruction of the natural environment and of the fragility of large technological systems that can produce chain failures, paralyzing entire metropolises; parallel Zakamoto, through the portraits of him escapes from the impending catastrophe and dreams. The children born from the hand of the artist, through their creativity, forget the daily injustices, find the strength to start over and redeem them and our condition, even transforming themselves into superheroes, explorers, demigods and creators of worlds. Their gaze is charismatic, it is pure power, vitality, it has nothing delicate about it, it is strength mixed with tenderness. The little messengers possess a magnetic and prophetic expressiveness, they communicate to us their incomprehensibility of the way of life of adults. Only they will be able to redeem humanity from the mistakes made and for this reason they hold the globe in their hands and indifferent to play with the planets and stars. This is not a harsh criticism of society, almost rather a cynical and ironic, perhaps desperate acknowledgment of the homologation of reality and the impossibility of change on the part of adults. Zakamoto's portraits allow us to reflect on the world we live in, on our greyness and the heaviness of being adults, making us meditate on how we were, the energy and will to live that we possessed, how without worries we could fly lightly over the cities. Zakamoto escapes from the "here and now" towards the re-enactment of the childhood world, but he remains rooted in the present, calling to become aware of what is happening and to know how to react. The artist, through the "Flag of the future" project, wants to share this hope of change with those who want it. We hope that the cloth left from the Bottega Indaco in Turin, will cross the "Pillars of Hercules" and stop his path only when he is exhausted and satisfied. In Zakamoto's painting, everything is overturned and it seems absurd that the world of children can re-educate adults, who are now disoriented. "Only those who innocently possess a smile are allowed to evoke utopia." (Sergio Moravia). Like Virgil, Motolese is a utopian and foresees the arrival of a mysterious child, who will bring a new golden age; as Hesiod conceives his subjects "as gods who passed their lives with a soul free from anguish, far away, out of fatigue and misery; nor did miserable old age hang over them [...] all the beautiful things they had. " (The works and the days) The artist admonishes us to find the child in us and to keep it intact despite the passing of the years and recognizing that literary vein in which the authors wish to return as children to give free rein to their imagination. For example, Swift in "Gulliver's Travels" reports on some trips to strange peoples, combining fantasy and ferocious criticism of the society of the time, becoming a pretext to mock the judicial system, the mechanisms of power or war politics. Like Gulliver, Zakamoto's subjects, unable to support the reality of injustices and limitations they live in, embark on a ship of hope and are shipwrecked on unknown lands. The artist as the writer feels ashamed of the brutalities committed by mankind! Equally, Zakamoto, with his own visionary poetics and the ability to know how to play even in adulthood, is linked to Barrie's novel: Peter Pan, the flying child who refuses to grow up, spending an adventurous childhood without end on the Island that there is not. Therefore, children are the very essence of Zakamoto's art, they are pure art. Let's not forget that art is play, it is fantasy, it is the ability to communicate, surprise us, deceive us and therefore the artist could not have chosen a more suitable subject to stir the soul! We can speak of nostalgia for an innocent and happy childhood, of an Eden that on Earth it is no longer possible to create, so why not create it elsewhere, for example with a brush stroke dipped in a rainbow? Similarly to Matisse, he proposes an emotional and vitalistic vision, in which figures and objects are not investigated, but felt and harmoniously combined according to chromatic relationships: everything participates in the joy of living. He is far from the tragic and desperate of reality, although he is aware of it, nevertheless he finds shelter in a lyrical and carefree dimension: it is pure utopia, estrangement from reality in search of better worlds, it is a bright smile. "Only those who innocently possess a smile can evoke utopia." (Sergio Moravia) Zakamot's paintings or they have a festive, playful aspect, somewhere between dreamlike, hallucinatory and visionary; its showy images are indelibly fixed in the mind, with hypnotic and captivating glances, attracting the attention of the viewer like a successful advertising graphic. The painter spreads the color in a rich and flat way, exasperating the use of pure and saturated tones such as fauves. He rediscovers the expressive value of the colors, giving up the mixture and the nuances, looking only for working combinations. Its unnatural and acidic chromatic excess reminds me of a handful of candy or confetti dropped on a canvas. He rejects classical spatiality, the figures are suspended in fantastic and metaphysical eternity. Using the computer, he simplifies and synthesizes the photographic images recalling Andy Warhol and the Roman pop school, in particular Tano Festa, for the re-proposition of subjects as advertising images. He perceives the stylistic influence of pop art, comics, cartoons so loved by Roy Lichtenstein, the charm of the Japanese manga and I would even risk Jacque Monory. In the last period, his stylistic way is moving towards a new, more marked gesture and materiality, thanks also to the introduction of softer pastels. As Picasso said: "Drawing is a way to write stories." and Zakamoto has really grasped the meaning of these words as even his biography is a fairy tale: it begins with "Once upon a time there was a child kidnapped by aliens" and ends with "the children angels and superheroes rediscovered the essence of life , they gave back the desire to live to the grown-ups and they all lived happily ever after ”. You need to have the eyes of children to grasp the essence of the world and Zakamoto's paintings show us that there are happy worlds in which humanity will be redeemed and happy, you just need to keep their vision even as you grow up. Babies should never go to sleep; they wake up older than a day. " (James Matthew Barrie)


The young age of angels, Akira Zakamoto's children

Akira Zakamoto's world was born following the disappearance of little Akira, kidnapped by creatures alien to humanity, hence the child's mission to reveal the truths known in his long journey. This anecdote, halfway between dreamlike suggestion and manga genre, is the manifesto of the artistic personality of Zakamoto alias Luca Motolese. The gnoseological approach to art through the prophetic dimension becomes a creative ploy to explore worlds, figurative languages ​​and concepts, otherwise confined to a conventional and limiting feeling. This biographical split also allows for a purely artistic existence, a passe-partout towards a new dimension, revealed by the authentic sensitivity of a child. In these terms, the theme of the child becomes crucial in the poetics of Zakamoto / Motolese, identifying a sort of pedagogy à l'envers, or rather an education guided by the inexhaustible strength of little men. The soul of childhood is revealed through the searching gaze of eyes that sometimes maintain a penetrating fixity of innocence, sometimes a tender and disarming expressiveness. Zakamoto's children convert the fragility that commonly envelops them into communicative power. The looks, captured in their simplicity, break the candid and playful atmosphere in which these subjects are conventionally placed. The iconographic independence from traditional schemes places the child at the center of the figurative context, in which there is total dimensional and perspective autonomy of the image in the foreground with respect to the sets that host it. The definition of angels attributable to celestial creatures is supported by the etymological meaning of the term which goes back to the meaning of angheloi, that is, messengers. The message that derives from this conceptual world is hidden in the folds of a prophetic tone and is underlined by the cosmic theme present in many of the artist's works. In reality, the metaphor of cosmonaut children - superficially relegated to an exclusively pop-comic patina - is nothing more than a tool to emphasize the omnipotence of the infantile imagination. The infinite / finite contrast translates into perspective reversal through the attention formula of spatial infinity, reduced compared to the enlargement of children's faces. This dematerialization of the large and the small subverts the usual patterns and identifies the essential core of Zakamoto's art: the child is a cosmodemiurge, that is, a creator of worlds, capable of shaping reality through the imagination, a divine spark. Each child who is the most germinal expression of human nature has the freedom and strength to overcome any adult category in the mind of man. Space undergoes a reduction in scale, time does not govern the ages. In this sense we can read the spatial suspension of the figures, while the child becomes temporal paradigma that embodies an eternal present. In this new iconographic order, even more than content, infantile figures wander suspended in cosmic and sometimes cosmological atmospheres: now space explorers, now creators of worlds. Entire continents become splashes of color on the faces, almost the result of lively playful performances, while the Earth is a ball in the hands of creatures apparently so fragile, but so eternal. In the Angeli series (2009), Zakamoto proposes a variation on the theme, revisiting himself through a new figurative language. The distorting figure of conventional proportionality remains, while the child angels fly over human places. In particular the cities are the scenarios on which the children of Zakamoto float. The personalizing cut of the anthropized environment, attributable to reality, differentiates this cycle of works from the astronomical-planetary settings of previous works. The human place prevails over non-place, giving a new aura to the contents. Jerusalem, Tokyo, Beijing, Madrid, Paris, Florence and Turin are some of the cities where the little angels fly, dominating the large canvases. The revealing force of children manages to fly over the places of humanity, be they megalopolises of progress, centers of international political tension, historic cities of the Old Continent. The artist's perspective acts on every human dimension by reducing the symbolic cities of the world into plastic game scenarios in which the curiously amazed and disarming expressions of children's faces stand out. This spontaneous response is without rhetoric the affirmation of life that is renewed in the many lively, curious but more consciously disenchanted glances than our adult conscience, which regrets having grown up, would have us believe.


Akira has (definitively?) Put the spaceships in the garage and the flying islands in the attic, leaving the stars and some exploding world as the only concessions to the past: everything is concentrated on the faces of children, from infants without even the first tooth to thresholds of adolescence. There is so much mystery in a child's face that you no longer want to go and look for it elsewhere. As always, what the visitor observes is not everything, since our artist feels the need to accompany the images with words that summarize their meaning: this writing is printed on the brochure of the exhibition, a small but well-kept paper object that in the graphic balance between infantile faces, disintegrating worlds and words it is truly of rare beauty. Akira knows not only to paint but also to write, and the message he wants to convey to us with words is an amplification, or rather an exegesis (personal but not distorted) of what Jesus said about children and the need to be like them, because to those who are like them the kingdom of heaven belongs - which kingdom, the Master himself warns, is not to be sought elsewhere, in the Hamletic "country not yet discovered from whose borders no traveler returns", but here below, among us. To find out, you need to have eyes and look in the right direction. One possibility is to look a child in the eye and, rather than read him, let him read us. This is what the exhibition suggests. Zakamoto's way of representing infantile eyes has reached an admirable refinement and efficacy in the last paintings, albeit with simple means: bringing Christ into play again, the lamp of your body is the eye, and if your eye is in the light your whole body will be in the light. Just as the face represents for Akira the part for the whole and is more than enough to synthesize an entire human body, so in turn the eye is enough by itself to bring life and characterize the face. The child is all in one piece: if he is sad he is not only sad, he is desperate, if he is cheerful he exudes an overwhelming joy from all pores; he cannot and does not want to conceal feelings, from fear to curiosity, from waiting to perplexity. Akira, father of children, knows it well and makes it equally well in his paintings. Even in the two cases in which the habit of coagulating the alternation of lights and shadows on the face of the child in spots that have the profile of America is allowed: the observer does not necessarily notice immediately .... At this point, it is almost inevitable to choose a childish face of Zakamoto to fix (and attract) the possible reader of a book on indigo children such as The Indigo Adventure - Crystal by Celia Fenn: the result is a well-rounded and captivating cover, which foreshadows for our future full of satisfactions also as an illustrator. Maybe not just covers, and not just for an adult audience: a children's book full of Zakamotian children would also be fine on the inside pages ...


His experience as a rebirther leads him to retrace the stages of a forgotten childhood, which translates into an essentialist painting, where the gazes of infants in the foreground act as ferrymen of our inner gaze towards a cosmic dimension, as ancient and future as the journey that Stanley Kubrick makes astronaut Bowman make in 2001 A Space Odyssey. Zakamoto's painting refers to such an odyssey, internalized and cosmic at the same time, which presents some points of contact with the Japanese aesthetics of manga, comics played exclusively on the emotional and narrative values ​​of the image, which meets in color a important place for the assimilation of the concept, for the exasperation of reality and for the transfiguration of linear space-time into an imaginative image. In one of his paintings entitled The world observes us, quite exemplary of the series, Zakamoto enhances the blue of a child's eyes and his gaze towards the immeasurable altitudes of a sidereal space, where sometimes entire planets fall to pieces. “For me they mean a change,” says Zakamoto. The child possesses an inquiring gaze but also of metaphysical amazement, dictated by the miracle of being there, here and now, and of being placed in front of the annihilating magnificence of creation. On his face, a patch of skin in the shape of the American continent transforms his real features into a geographical map where macrocosm and microcosm, the universe and man, are reflected in each other. The colors are fixed in these portraits as flat areas of static action, like continents on a "political" map of the Atlas. Border zones, patchwork, color-zone puzzles that become faces, gazes, questions. The lights and depths are the effect of a combination of separate colors sewn together, each intent on producing its own result, developing a fragment of pop language where the disappearance of shades, the flattening of the chromatic field made shimmering by the use of lacquers represents an aesthetic statement. Zakamoto chooses a film, zonal painting, openly inclined to an artificial simplification of painting so that it can transmit primary, essential sensations. A painting that does not want to distract through the exaltation of the particular but immediately, instinctively, communicate the strength of a feeling that is that of a lost childhood and rediscovered by Zakamoto through a practice, that of rebirthing, which is perhaps comparable to a dream controlled, an inner journey into the maze of ancestral memories, those of the first years of life of which we are not aware but which act within us as unconscious mechanisms, as traumas that dig the personality and perhaps also as dreams, imaginations, desires that determine choices we do not know, now adults, to give an exhaustive explanation. As if a karst river flowed into our soul, digging uninterrupted paths to which Zakamoto tries to give a face.


The strongholds of the dream

The power of dreams. So wonderfully boundless, the power of dreams, as to suggest fairy tales to the Homeric ear of singers from all over the world, as to sublimate the being to the semi-divine dimension that allows everything and can. It can create, live with a millenary intensity, shape mental landscapes in which the protagonists alternate but always share a non-space, in which the only excluded is the real. And when the painters dream, with the clear desire to tell dreams, through expressive languages ​​that lead the stranger's gaze into the nature of the dream, then we witness a miracle. Of those who transform into a sign what remains abstract for others, of those who give shape and nuances to the dream, of those who tell a tale intertwined with brushstrokes, who turn the page at every change of color. Akira Zakamoto. Art with brilliant colors, the of him, on square supports, always of the same size, and the elements return, punctual, because of him intimately, like a familiar dream that recurs and does not surprise, welcoming in the circle of visions; the artist seems to transpose the negative of nocturnal mirages onto the canvas, photographed in the instant of the revelation that opens the eyes, even in sleep. Painting without filters, opening in the mind in the full hallucinatory phase in which the vision manifests itself anxiously and true. And so here they are, the stars that illuminate, the stones suspended in the void, spaceships that shine with life trails in a dimension that has nothing real. And in the foreground, with their gaze fixed on that of the observer, faces of angels show the way of the possible, indicating the island of eternal bliss, the planet on which man will find salvation, always traveling, a personal exodus. There is a full universe in the artist's canvases and behind the vivid images, a philosophy of existence that shines through and manifests itself through paintings-stories full of signs, allusions, plots that never end the fleeting glance. The Turin painter with an oriental name sets his painting, all of it, on the sense of a contact with another world, a bridge which, through the delightful ignorance of child-Masters and of angelic creatures still uncontaminated, allows man to land in the non- a place where beauty can be savored and captured, in a dimension without conditioning. Also for Zakamoto, as for Palumbo, it is Utopia. When two painters unite in the sign of the dream, we witness a miracle, we said. We are witnessing the construction of an impregnable fortress of dreams, the desire to clearly delineate the boundaries of a limbo in which creation is shared and the passage to the non-place is offered and told. And this is the story that will be told in a tower in Rivoli in September, through the exhibition of paintings whose different Palumbo-Zakamoto languages ​​will speak of the same different vision. The Torre della Filanda, from 23 September to 1 October, becomes a sacred place where paintings and indefinable realities, on the border between visual and auditory art, will involve the public in a perceptive journey with sound and tactile nuances. Where the angels of Zakamoto will live, smiling, among the rocks of the Palombo islands, in the untouchable fortresses of the dream.

25th National Contemporary Art Competition Award "Satura arte"

Award 24th national contemporary art competition "Satura arte"

Metropolitan Culture Experience Foundation Award, Freidano Ecomuseum

B.ART International Prize international public art competition promoted by the City of Turin


A multi-art show by Bottega indaco for Telefono Rosa

12 March 2010

VITTORIA THEATER Via Gramsci, 4 - Turin


Expo-performance by Bottega Indaco and Telefono Rosa

March 4, 2009

VITTORIA THEATER Via Gramsci, 4 - Turin


Expo performance by Bottega Indaco

10 October 2008

Spazio Tadini - Via Jommelli, 24 Milan


Expo performance by Bottega Indaco

August 30, 2008

FORMER ANGLICAN CHURCH - Via Adelasia 10 Alassio (SV)

The Artist performs works on commission, concerning portraiture and the variation of his own works

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