Photography installation by Marco Palmieri

september-october 2021


Photography installation by Marco Palmieri

september-october 2021

From 4 September to 16 October
From Wednesday to Friday 3 to 7pm, Saturday by appointment
Special openings on the occasion of Salone del Mobile Monday 6, Tuesday 7 and Saturday 11 September 3 to7pm

Saturday 4 and Sunday 5 September 4 to 8pm

Access upon reservation on Eventbrite

More info info@assab-one.org

360° HORIZION is a series consisting of eight panels measuring 150 x 100cm. Printed with inkjet on Hahnemühle Photo Rag paper mounted on aluminium.

The protagonist of eight shots on display is the horizon with architectural elements that articulate the space and the perception of the sea. The series is conceived as a unicum, in which the line of infinity remains constant throughout all the photos, to create an enveloping space. The infinity of the sea creates the backdrop to clear and geometric figures, with precise shadows that draw the space. As is the artist’s style, these are authentic shots of small built relics, positioned and photographed by the author, enlarged and printed in a large format.

The work follows Palmieri’s series, Standing on a beach, shown at Galleria Jannone in Milan in 2015.


Marco Palmieri (b. 1969, Naples) studied as an architect; lives and works in Milan. Ettore Sottssass’ close collaborator, Palmieri is interested in the concept of space in all its facets between projects, set up and installations, with an undisciplined approach that spans architecture, photography, watercolours and performance.

Marco Palmieri started showing his works at galleria Antonia Jannone, Milan, in 2008. Recent solo shows incude: Galerie du jour – agnès b., Paris, France; Castel dell’Ovo, Naples; Collectors Lounge, Art Basel Miami, USA; group shows include: Galleria Nazionale di Arte Moderna e Contemporanea, Rome; Triennale Milano; PAN-Palazzo delle Arti, Naples; Villa Belgiojoso, Merate, Lecco.


Text by Denis Curti

I think Palmieri has made an incredible effort to come to a truly original point of view. In his images there are no moments, there are no facts and the shots deliberately mislead and constantly surprise. His vision has more to do with the disappearance. A generous gesture, made by him, intends to prioritise the viable harmonious nexus between vision and thought. If there really exists a grammar of images, this is the starting point for its research.

Denis Curti

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