Esercizi di forma, Antonio Bernardo. Opera ritraente quattro bambine intente in un movimento corporeo come se stessero ballando

A Proper Distance

The year 2020 will be remembered as the year of lockdown, when the whole world, with few exceptions, has stopped and forced at home.

Between hashtags of hope and Instagram lives, everyone found themselves dealing with the intimacy of their own rooms and thoughts.

A suspended time, in which we all experienced the social distance, that brought anxiety, fear but also moments of inspiration and enjoyment for the time for ourselves finally found again.

This first “introspective” time was followed by the phase of the restart of activities and the return to everyday life, as we all knew it.

A delicate and tumultuous moment in which the whole of humanity has been called to reinvent itself and imagine for the future a more sustainable world that, between barriers and precautions, does not ignore interpersonal relationships (“Man is a social animal” Aristotle said 2500 years ago).

We cannot find the wisdom within us without making experiences of the nature that surrounds us, the objects that make it up and above all the other, of our fellow man.

Hub/Art for the reopening of its exhibition season, has imagined the warning (Keep your social distance!) turning into a polite invitation to keep the right distance, the one closest to the feeling of each of us.

The exhibition, entitled “A proper distance”, works on the distances and the proximities, not only as a way of perceiving space and time, but as a real way of seeing.

Nine artists, called to interact first virtually and then in a real common space, have thus created a first experiment of “proper distance”.

What do you feel when you look at the things around you from a different point?

From a distance or maybe a few centimeters away.

Upside down or maybe with your eyes closed.

The right distance, the distance that everyone considers most suitable for themselves to read the present moment, the transformation in progress, aware that the return to normality is more necessary than ever.

A special thanks to the artists

Paolo Basso, Antonio Bernardo, Pietro Campagnoli, Giovanni Fava, Eugenio Galli, Luca Marianaccio, Noah, Valentina Porcelli, Letteria Russo

Zino / Luigi Franchi

Luigi Franchi, aka Zino, was born in Teramo in 1973. He graduated in History of Art at the University of Bologna in the 90s. After graduating, he moved to Rome where he began to work with some artists of the former factory Cerere and where his love for contemporary art was born. After having collaborated in the development of some installations for artistic events in Abruzzo, in 2003 Zino graduated in Restoration in Florence at Palazzo Spinelli. In 2013, Zino began his artistic career, succeeded in a short time to exhibit in several public institutions, galleries and art fairs.

His work features the continuous research for new formal solutions to deal with contemporary society.  He used to experiment different languages to test the expressive potential at the basis of his work. Close to themes related to the world of contemporary society, from consumerism to globalization, from pop culture to youth trends, his path is characterized by the use of different materials mostly belonging to non-artistic environments such as Lego bricks, PVC balls, 3D prints.

His latest research is rooted in the Tape-Art current, which involves the creation of works of art through the use of adhesive tapes of various types. In his latest works, the use of coloured tape has become the main stylistic feature through which he has created a new communicative alphabet in balance between the pop-media language and the street art.

He lives and works in Rimini.

Instagram @zino_lab

Personal website

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Ragazza con turbante, Zino, 100x100cm

People and Things / Zino

HUB/ART is pleased to announce the opening of the exhibition “People and Things” by Zino (nickname of Luigi Franchi), curated by Greta Zuccali with the technical support of Interface Facility Management and GAG London. The exhibition will be open from January 22 to July 31 2020.

For the exhibition the artist, using the tape-art technique, has created a series of work divided into two independent sections but connected to each other. 

In the first one, 10 works of art – icons of the history of art – are reinterpreted by Zino through the main tool of contemporary society: the screen filter, whether it be that of the smartphone or the TV.  This procedure leads to the deformation of the original, which, while retaining its distinctive features, is emptied of its deeper meanings to return only the matrix of the image, that superficial imprint that allows its reproducibility while neglecting its uniqueness.

In the second section, instead, some characters from the past are combined with objects out of context. To complete the work, ironic titles with the aim of making people smile, surprise or indignation, in order to create an intimate communication between the viewer and the proposed image. 

Al Zigant, Zino, 90x50cm
Europietà, Zino, 100x100cm

Zino is graduated in Art History from the University of Bologna and he is specialized in the restoration at Palazzo Spinelli in Florence. His artistic research has the aim to explore the concept of stratification and assembly using mediums that reflect the deconstruction of the image and context in which we live. Hence the start of the research through the use of the famous Lego bricks and then arrive today at the experimentation of the expressive potential of tape art, a technique that through the use of colored adhesive tapes is connected in a manner consistent with his artistic path. 

His works are visual dialogues of citationists, unpredictable, sometimes ironic. These tributes alter the matrix and are intended to provoke reflections on the idea of authenticity and counterfeiting.

He currently lives and works in Rimini. Among his participations we remember SetUp Fair Bologna 2014 and 2015, the exhibition “Imago Mundi” at the historical gallery of Cesare Manzo in Pescara and the exhibition “Luogo comune” in Milan during Expo 2015.


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HUB/ART Gallery
Via Privata Passo Pordoi 7/3
20139, Milano

Get directions

Wednesday 22 January 2020, from 18:30 to 21:00

Opening to the public
From 22 January to 29 March, 2020
Monday–Friday 8:00-20:00
Saturday: 9:00-13:00

Sunday by appointment only

Book your Sunday visit

Monica Bonvicini

Monica Bonvicini emerged as visual artist and started exhibiting internationally in the mid-1990s. Her multifaceted practice—which investigates the relationship between architecture, power, gender, space, surveillance and control—is translated into works that question the meaning of making art, the ambiguity of language, and the limits and possibilities attached to the ideal of freedom.

Bonvicini has earned several awards, including the Golden Lion at the Biennale di Venezia (1999). She is currently represented by Galerie Peter Kilchmann, Zurich; König Galerie, Berlin; Galleria Raffaella Cortese, Milan; and Mitchell-Innes & Nash, New York.


© Monica Bonvicini —↗︎
Photo by Jens Ziehe, Achim Kukulies, Christopher Burke

Adelaide Cioni

Adelaide Cioni ↗︎ (Bologna, 1976) studied drawing at UCLA, Los Angeles, and holds a BA in Sculpture from the Academy of Fine Arts in Rome.

In 2014 she was resident for six months at the Cité Internationale des Arts in Paris, and won the Celeste award. In 2015 she was resident in Villa Sträuli, Switzerland. In 2016 she moved to Umbria and opened with Fabio Giorgi Alberti an independent space/studio called “Franca ↗︎“.

She has exhibited in Italy and abroad in independent and institutional venue, including the MAMbo ↗︎ in Bologna with the solo exhibition “à propos de bacchelli 5″, curated by Elisa del Prete and Home Movies in 2015.

Cioni works with drawing, also in installation form.
Among the themes of his research there is the relationship with the living space, memory and objects.

In Adelaide Cioni’s work, colour breaks in and invests in us: it is a body-colour that embodies itself in a form, becoming volume, surface or threshold and filling the space.

—Cecilia Canziani, 2019


His latest exhibition “Shape, color, taste, sound and smell” has been presented by the P420 ↗︎ gallery in Bologna in a double solo exhibition with the Belgian artist Guy Mees (Mecheln, 1935 – Antwerp 2003).

© Works by Adelaide Cioni — ↗︎
© Pictures C. Favero – Courtesy P420, Bologna

The architectural metamorphoses in the work of Matteo Galvano / Interview

The exhibition architAMORfosi by Matteo Galvano, sponsored by the Association of Architects of Milan and supported by Interface Facility Management ↗︎ and Sharebot Monza ↗︎, has been inaugurated at the Interface HUB/ART exhibition space and will be open until September 8th.

The exhibition, curated by Roberta Macchia and Greta Zuccali, highlights the Galvano’s work.

His artistic research characterized by the use of the pen, a technique that requires time and precision to trace by hand countless signs and traits, sometimes more intense and others lighter, offers the opportunity to capture the essence of the subjects represented.

GZ. Your research started in 2002 and evolved along with your ability to use the ballpoint pen. Your work now arrives in Milan, a city while maintaining intact a bourgeois soul represented by the beautiful Art Nouveau buildings of the early twentieth century, in the last twenty years has not only changed skyline but also architectural imagery. Can you tell us how your work was born, and which city inspired it?

MG. My work was born from a trip to New York in 2010 where I developed the idea of evolving my artistic research focusing it on the theme of architecture. Initially, the vision also contained elements of the urban landscape that I called “urban jungle” and I was constantly looking for perspective details useful to enhance the architecture of my interest, as if they were accompanying it.


So, from the study of the architectures encountered during your travels was born in 2014 the series architAMORfosi (officially presented at the Italian Pavilion during EXPO 2015) in which, through drawings made in black and white, rewrite with the sign of the “ballpoint” your personal vision of urban architecture, you suggest new spatial and temporal coordinates. How does the theme of metamorphosis, who evokes multiple references and literary references, fit into your work?

From 2015 comes architAMORfosi, a new term coined by myself, as my strong need to unite the heart of different cities by creating a single body. I evolve this new research as every chrysalis becomes a butterfly. Just as Ovid in “Le metamorfosi” remembers that the creator of things forced the human being to contemplate the sky and raise his gaze straight to the stars, so my gaze moves from earth to sky imagining the amalgamation of my favorite architectural elements.

ARCHITECTURE – LOVE – METHAMORPHOSIS. This is the basis of my new current.


In Milan, as in other European cities, social inequalities are often associated with spatial inequalities. Do you think that your work can be the basis of an experimentation that leads to the birth of forward-looking and cutting-edge projects for the cities’ outskirts?

I am wide open to the use of new housing units in unimaginable contexts. With the current exhibition I have had the confirmation that every project can have an aim. The 3D prints, made in collaboration with Sharebot Monza, have confirmed that my future consists of entrances and exits just like any building in which everyone can find shelter. All this without any social distinction: I dream of a world accessible to all and I am sure that my “home” will become “home for all”.


On display at Interface HUB/ART an unpublished work entitled Land Time. 18 merged architectures give life to what you call your “ideal city”. In it you will find symbols such as Christ the Redeemer, who from the bay of Rio de Janeiro reaches the Statue of Liberty in New York or the Basilica of Santa Sofia in Istanbul, with its majestic profile blends with the fluid geometry of the Harbin Opera House in China. Have you ever thought of your work as an invitation to cross cultural boundaries and play with you, the author, in the search for hidden combinations in the work?

This question suggests a well-known game that has passed through the hands of several generations: the Rubik’s cube, not by chance, already described in the past as a 3D puzzle and invented by a Hungarian professor of architecture. Through the attempts to find the final solution, Rubik’s cube and the work you mentioned under the title Land-Time, synthesize in a single element the concept of achieving perfection passing from an initial state of disruption. Plato himself referred to the concept explained above, with the definition of the PRIMORDIAL CAOS from which the Demiurge draws for the formation of an ordered world: THE COSMOS.


In addition to Land Time and the series of sketches and drawings, the exhibition includes three works 3D printed. We are talking about the fusion between the Arena of Verona and the Tietgenkollegiet of Copenhagen, the monumental Makedonium of Kruševo that merges with the Fiore di Pietra of Mario Botta and Interface HUB (building that houses architAMORfosi), created by Attilio Terragni in 2012, which meets the Novocomum of Como, designed by Giuseppe Terragni in the late 20s of ‘900. Could you tell us more about the genesis of these projects?

The 3D project was born from my strong desire to create a work capable of being caressed to the point of offering the opportunity to dive into it in order to live it all around. The idea was born between several speeches treated with the curator Roberta Macchia, my collaborator and life partner. Every day we mature ideas to believe in, we store them and we keep them in mind to go to the constant search for the right place and time to be able to realize them. At Interface HUB/ART in Milan we managed to plant the first seed for a harvest that we hope will be flourishing, thanks to the commitment of the team that has supported us until now. The hope is to see it grow in other cities in Italy and abroad.


A work that is at once an invitation to travel.

A process that crosses the entire history of architecture and looks at it as a living organism in continuous transformation, a three-dimensional puzzle that acts as a backdrop to our lives and welcomes us every day, incessantly, in every city in the world.

Greta Zuccali

Co-curator of the exhibition

Matteo Galvano


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Ai Nati Oggi — Alberto Garutti in Rome

Ai Nati Oggi. The installation of Alberto Garutti opens in Rome

The public art project “Ai nati oggi ↗︎” (To the ones born today) created by Alberto Garutti ↗︎ has been unveiled in Piazza del Popolo in Rome on July 2nd, with the presence of the mayor Virginia Raggi and Giovanna Melandri, President of the MAXXI Foundation.

As reported by ISTAT ↗︎, Italy has registered its “demographic decline” for the first time in the last 90 years, in the meantime “Ai nati oggi” celebrate the universal event of birth, moving a sudden and sincere emotion.

The ambitious project curated by Hou Hanru ↗︎ e Monia Trombetta ↗︎ and made possible thanks to Foundation Policlinico Universitario Agostino Gemelli IRCCS, the project connects the square’s lampposts with the Policlinico Agostino Gemelli IRCCS’ maternity ward. Every time the light pulses it means a baby is born: the installation is dedicated to him (or her) and all the newly born that day in the city.

Garutti, a significant public art’s representative, develops his research starting from works that leave the museum’s spaces to enter the urban landscape and create total engagement and sharing from the audience.

Pushing a button on every birth’s occasion – by the Policlinico Agostino Gemelli IRCCS’ ward staff – the lampposts light intensity will increase a bit for approximately thirty seconds before returning to its regular power. At every pedestrian entrance/exit route of the Piazza an iron plate is positioned with the caption’s high-relief:

The streetlights of Piazza del Popolo are connected to the maternity ward of Policlinico Agostino Gemelli.
Every time the light blinks, it means a child is born.
The work is dedicated to that child and all the children born today in this city.

Greta Zuccali


from 02/07/2019 to 01/12/2019

02/07/2019 at 21:00

Alberto Garutti

Curated by
Monia Trombetta, Hou Hanru

Public Art, Contemporary Art

Matteo Galvano

Matteo Galvano was born in Como on January 3rd, 1983, where he currently lives and works.

He graduated at the Art Institute in Cantù, where he dedicated his studies on the artistic techniques deepen the interest in the use of a new tool: the ballpoint pen created by László József Bíró in 1938. An interesting fact is this year has the same digits in his date of birth.

From 2002, his artistic research has evolved with his ability to use the ballpoint pen: a technique with a high level of difficulty that requires extreme precision in tracing signs and strokes, now more intense, now lighter, knowing how to masterfully tame the ink that slips fast on white cotton paper, only after carefully studied the design idea.


In 2010 he went to New York. This trip can be considered the turning point of his artistic research architectures minded: witnesses of one of the highest forms of human intelligence, inspiring unlimited freedom of imagination.


The artist has received interesting reviews from art critics, newspapers and magazines journalists.

Today he is Testimonial of the company PaperMate with which he has collaborated on several projects including, in 2013, his first solo exhibition: “When Reason meets the Biro” and in 2015 the participation in EXPO at the Italian Pavilion.

In Italy, one of his works is in the permanent collection of the Bernasconi Museum in Cernobbio (CO).


Sito web personale


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Intro "architAMORfosi"

The project architAMORfosi was born from the need of the artist to represent corners of the city in a way of their own, or rather corners of different cities as we have never seen them.

Looking at the works on display, we can notice a strong reference to the scripts of a film, to the shots capable of highlighting environment and character in a passage of images that flow and evolve between a frame and the other to create the film.

In detail, it is the medium field that has the greatest affinity with what has just been mentioned: in each of the works the environment is still very much present, even though the protagonist has a stronger impact. An environment that the artist interprets as a very white beam of light that, at high frequency, radiates out over the entire surface, leaving room for a single and unique protagonist: the architectural element.

Not only affinities but also distinctions between the world of cinema and the works on display. For Matteo Galvano, light is freedom, space where everything can be built, the possibility of making count what could be only considered an imaginary scheme.

Black and white until the early ’30s. Later, the colour projections.

At that moment, the decomposition of the white light visible in this exhibition path, according to Newton’s Theory of the Prism, is transformed into the seven colours of the spectrum within each of us, in the moment of transition between our logical reasoning (conscious mind) and our emotion (unconscious). We are therefore part of the prism that absorbs, decomposes and disperses, considering that every human being memorizes, reinterprets and communicates.

Following the route and observing each work, you will feel as if you are travelling through cities geographically distant from each other, and even more so, the sensation will explode in front of the work “Land-Time”.

The latter is an unpublished work in which the artist has engaged his creative force by multiplying that fusion that until today took its space on one side only. With “Land-Time”, Matteo Galvano wants to underline that the history of architecture is to be written not only in the vision of restored buildings but combining various architectural elements of the past as well as the present and making them an imaginative restoration.

In addition to the conventional works of the architAMORfosi series, the artist has realized “the desire” to hold a creation: exposed for the first time three examples of 3D printing reinterpreted to create a new visual effect and studied differently for each of them.

For the 3D section, the artist was joined by Lorenzo Manzoni, co-designer and eyewear designer, Riccardo Gatti (Master of Industrial Design) who took care of the 3D modelling and Sharebot Monza, who printed the works.

It is the beginning of a path that aims to revolutionize the way of interpreting architecture, proposing new mergers and new dimensions to explore.

Roberta Macchia

Exhibition Co-curator

architAMORfosi / Matteo Galvano

Interface HUB/ART presents architAMORfosi by Matteo Galvano, curated by Roberta Macchia and Greta Zuccali, a project that offers a new interpretation of urban spaces starting from the analysis of architectural elements. The exhibition will be open from June 13th to September 8th.

With the support of Interface Facility Management and Sharebot Monza.

Matteo Galvano is an artist from Como, icastic and rational, known for his ballpoint pen technique that has allowed him to develop the ability to modulate the infinite range of greys to the softest black. His work, characterized by the sharpness and visual clarity, develops the study of architectural elements encountered during his travels. From this study, is born in 2014 the series “architAMORfosi” (officially presented at the Italian Pavilion during EXPO 2015) in which, through drawings made in black and white, Galvano rewrites with the sign of the “ballpoint” his personal vision of urban architecture, suggesting new spatial-temporal coordinates.

Matteo Galvano

Roberta Macchia e Greta Zuccali

Thursday, June 13 2019
H. 18:30 – 21:30

Interface HUB/ART
Via Privata Passo Pordoi 7/3 – Milano

Download catalogueBrowse catalogue
Interface HUB / Novocomum / Matteo Galvano

On display, during this exhibition, even three works exhibited for the first time in 3D format.

The building that houses the exhibition – Interface HUB – created by Attilio Terragni in 2012, which meets the Novocomum in Como, designed by Giuseppe Terragni at the end of the 1920s; the monumental Makedomium in Krusevo, which merges with the Fiore di Pietra by Mario Botta; and finally the Arena in Verona, which meets the student residence Tietgen Kollegiet in Copenhagen.


The great protagonist is, therefore, the reflection on the architecture, which – understood as the art of giving shape to spaces usable by man- plays on the contrast between the static nature of buildings and the dynamism of the city.


The exhibition marks the beginning of a new path of research for the exhibition space Interface HUB/ART. architAMORfosi wants to begin to deepen the issues related to architecture and design, offering visitors different opportunities to discover the themes.

For the 3D section, the artist was joined by Lorenzo Manzoni, co-designer and eyewear designer, and Riccardo Gatti expert in 3D modelling. The projects were printed by Sharebot Monza, a company whose core business is based on 3D service, the sale of Sharebot 3D printers and qualified technical assistance to companies, professionals and individuals.

The exhibition is supported by Interface Facility Management, Sharebot Monza and CR Design Studio and sponsored by the Order of Architects of Milan.


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Interface HUB/ART
Via Privata Passo Pordoi 7/3
20139, Milano

Get directions

Thursday, June 13, from 18:30 to 21:30

Opening to the public
From June 13 to September 8, 2019
Monday – Friday 9:30 – 12:30 / 14:00 – 18:00
Saturday – Sunday by appointment only

Book your visit during the week-end