"The pictorial representation of the city in the history of art has taken on different roles. For example, in the fifteenth century it was the background of the human and divine scene to exalt religious and political power. In the eighteenth century his depiction often documented the journey before the invention of photography. In the early twentieth century, urban centers were dominated by aerial perspectives in a blaze of dynamism, technology and positivity, to then see every exaltation extinguished at the end of the same century, when the city became a place of alienation, of life overwhelmed by the unruly and unrestrainable construction cement and keeper of abandoned industrial cathedrals. Of the city, of this man-made landscape, where domesticated nature and human design had the upper hand over the housing choice of the world population, Andrea Gnocchi chose to make it his contemporary story. He has tried his hand at a difficult task that has never been necessary to express that change at the beginning of the third millennium that leads to a new vision of the urban landscape, now defined as metropolitan and cosmopolitan. His pictorial research led him to a representative synthesis in which a concept of time dominates, a sign through the light, a structure and a socio-political story of the city that passes through an iconographic vision. We could define it as an architect of thought, the constructor of a conceptual map of the territory of contemporary man who finds his focal points in the illuminating permanence of some symbolic buildings (...) (excerpt from the critical text by Melina Scalise).

A research that is as timely as today any city has by now identified a series of symbolic places and architectures, elements of identification of a nation, of a people, of a culture. The exhibition at Spazio Tadini presents Andrea Gnocchi's latest production and his spotlights on the cities.