GALLUZZI Nonexisting Gallery

Antonio Galluzzi (San Pietro Vernotico, June 14, 1962) is an Italian artist.

Born in Puglia, he moved at three months of age to Varese, his father’s hometown. His life and career developed mainly between Varese and Milan until 2017, when he returned to his native region while maintaining an active connection with Lombardy.

Biography

Education and Early Years

Galluzzi began his artistic activity at a young age, receiving early recognition during his high school years. He went on to study at the Brera Academy of Fine Arts in Milan, a formative period influenced by professors such as Francesco Leonetti, a key figure of the Neo-avant-garde movement, and by encounters with major art world personalities including critic Jole De Sanna and artists Hidetoshi Nagasawa and Luciano Fabro.

These experiences proved decisive, leading him to frequent the Casa degli Artisti in Milan and to take part in major events such as the 18th Triennale di Milano.

The INTERZONE Group

In 1993, Galluzzi founded the artistic collective INTERZONE, with Gianfranco Galluzzi as its first collaborator. Under his direction, the group drafted the Manifesto of the Interzone Operators, published a namesake magazine, and developed an active exhibition program both in Italy and abroad, with shows in cities including Cologne and Copenhagen.

Their work received attention from specialized art media, as documented in publications such as Flash Art and Art Press (Flash Art, Giancarlo Politi Editore, Milan, no. 187, October 1994 – Art Press, no. 222, March 1997).

The philosophy of INTERZONE centered on a social critique that viewed individual discomfort as a reflection of specific historical conditions. The group examined the relationship between human beings and technology, emphasizing its power to distort the perception of reality. Inspired by Antonin Artaud’s thought (“If we could love—truly love—science would be useless”), INTERZONE promoted the pursuit of a deeper and more spiritual human evolution, distinct from mere technological progress.

Video Art and Collaborations

Alongside his work with INTERZONE, Galluzzi explored the medium of video art, creating pieces that also appeared in national television productions such as Le Notti dell’Angelo (Mediaset) and Blob (Rai Tre).

His artistic path also led to collaborations and exhibitions with other prominent Italian figures, including Vanessa Beecroft and Franco Battiato.

Style, Technique, and Artistic Research

Digital Exploration and Themes

Galluzzi is regarded as one of the pioneers of digital art in Italy, having begun to experiment with technological tools for creative purposes as early as the 1980s.

A central theme of his research is the exploration of the sacred and the connection between art and spirituality, based on the idea of a link between the human dimension and higher, often imperceptible, entities.

This investigation takes shape in cycles such as Mysterious Traveller, where Galluzzi engages with existential questions through enigmatic black figures.

His work is marked by a refined compositional balance between fullness and emptiness, often dominated by luminous whites that contrast sharply with material density. In series such as Serie Rossa and Mysterious Traveller, Galluzzi creates hybrid forms where biological and inorganic elements merge. His figures have been described as “effigies” suspended in abstract spaces, questioning the viewer’s perception.

His poetics revolve around an inquiry into the “substance of the gods,” aiming to “disrupt the elements of history to find the fracture in the pattern.”

Evolution of Technique

From a technical standpoint, Galluzzi combines digital foundations with a return to manual techniques. While the digital remains a point of departure, his more recent works emphasize a slow, meditative execution, standing in contrast to the rapid pace of the digital age.

This methodological choice reflects his reflection on technology and the value of an approach that engages both physical and psychological dimensions.

His return to matter is evident in his so-called neographies: images created through the juxtaposition of existing elements and executed with extreme precision. These works, often featuring micro-grooves traced with metal points, generate a subtle bas-relief effect. Through these forms—hypothetical structures devoid of direct iconographic references—Galluzzi invites viewers to contemplate the tangibility of what seems incorporeal, attempting to give shape to a world poised between the visible and the invisible.

Artistic Thought

Galluzzi defines his conception of art as a “unified discipline of knowledge.”

In his view, beyond formal and linguistic differences, all arts share a common root—a principle that extends his exploration into the field of writing as well.

Would you like me to make this translation sound more academic and museum-catalog ready (for example, suitable for a press release or exhibition catalogue), or keep it in this clear, narrative tone?