32a2980 copia 2




I was born July 7, 1965 and brought up in Milan. I lived on and off for a few years (1984–2007) in New York, and in around 1992 I chose to come and live in Venice, with occasional stays on the island of Pellestrina. 

My education took place between Milan and New York. From 1979 to 1985 while I was studying at the Hajeck artistic high school in Milan, I hung out at the “Casa degli Artisti” on Via Garibaldi for a while. In 1985 I moved to New York to study at the Studio School. I then graduated from the Accademia di Belle Arti di Brera in Milan and in 1990 attended the New York University Master course in Studio Fine Arts for a year. Meeting with the artists/teachers Carmengloria Morales, Frederic Matys Thursz and Angiola Riva Churchill was influential in those years. 

Evaluating work with other artists, visiting studios, sharing time, life and workspaces, and participating in residencies for artists and seminars is always an intense and assiduous experience.
Over the years I have worked with many artists and lots of them have invited me to take part in their projects, to talk at conferences and to talk to their students. These artists include Stefano Arienti, Luca Bertolo, Simon Callery, Roberto Caracciolo, Francesco Carone, Lawrence Carroll, Ermanno Cristini, Enzo De Leonibus, Elisabetta Di Maggio, Ghislaine De Montaouduin, Bruna Esposito, Paolo Gallerani, Mark Harris, Joan Jonas, Massimo Kaufmann, Joyce Kozloff, Andrea Kvas, Carmengloria Morales, Concetta Modica, Antoni Muntadas, Cesare Pietroiusti, Giordano Pozzi, Lucio Pozzi, Remo Salvadori, Mariateresa Sartori, Luca Scarabelli, Giuli Squillacciotti, Giuseppe Stampone, Ritsuko Taho, Lucia Veronesi, Serena Vestrucci, Jerry Zeniuk.

For ten years from 1992 until 2012 I coordinated the “Wednsday meetings”, which started in my studio before moving to the Fondazione Bevilacqua La Masa. These meetings were only and exclusively for artists: each week an artist could show, talk about and reflect on their work together with their peers.
The relationship between an older and a younger artist is another form of interaction, which I consider important. This has happened to me, for example, in the framework of art spaces devoted to teaching and workshops. I would like to mention, among others: the workshop on painting DOCVA at Via Farini in Milan, that I curated in 2007; the Visual Knowledge intensive lab in 2012, that I staged for the CLASAV Master Course at IUAV University in Venice; and the Artist Residency at the Spinola Banna Art Foundation, in collaboration with the GAM Art Gallery in Turin, which I curated in 2018-2019, with the project "Diaries among Diaries".
Residencies that I took part in it include: Made in Filandia,  Pieve a Presciano, Arezzo 2015; “Conservare il futuro” Palazzo Bonaguro, Bassano del Grappa, Vicenza 2006; Art/Omi,  Ghent (USA) 1997; “Le Genie de la Bastille”, Paris 1988.

I think of exhibitions as a complementary part of the creative process. Since 1983 I have exhibited in Italy and abroad in private and public spaces officially intended for art and not only, sometimes even exhibiting alfresco. I have often worked in highly connoted places from a symbolic, artistic, historic and architectural visual point of view. What I produce alone in my studio is placed in relation to other spaces, reactivating it differently and producing a new meaning every time. 
From this point of view, I consider my relationship with critics and curators essential because thanks to the dialogue with them my exhibitions always take on different forms. Many curators have invited me to participate in their exhibitions, or included me in their publications and invited me to talk about my work at conferences, seminars and lessons. They include: Cristina Baldacci, Chiara Bertola, Cecilia Canziani, Davide Ferri, Ilaria Gianni, Antonio Grulli, Simone Menegoi, Francesca Pasini, Gabi Scardi, Marco Tagliafierro, Claire Tancons, Paola Tognon, Giorgio Verzotti, Angela Vettese, Elena Volpato.
My first important solo exhibition in an public institution was curated by Marco Ferraris and Angela Vettese at the Fondazione Bevilacqua La Masa in Venice in 2006. Since then I have had various exhibitions in museums and institutions such as Via Farini, “Leporelli”, curated by Milovan Farronato, Milan, 2007; “Diario cromatico”, curated by Chiara Bertola, Fondazione Querini Stampalia, Venice 2008; Museo di Castelvecchio, “L’unità di misura è il colore”, curated by Chiara Bertola, Verona, 2010; Casa Testori, “Giardini squisiti” with Massimo Kaufmann, Novate Milanese (Milan), 2014. 

In 2017 I inaugurated “Svolgimento di un quadro”, a permanent installation, curated by Chiara Bertola, in the cafe designed by Mario Botta at the Fondazione Querini Stampalia in Venice.

I have participated in numerous  group exhibitions in public musuem such as: “L’emozione dei colori nell’arte”, curated by (among others) Carolyn Christov-Bakargiev, Marcella Beccaria, Elif Kamisli and Elena Volpato,  GAM / Castello di Rivoli, Turin, 2017; “Èdra, tutta l’Italia è silenziosa”, curated by Davide Ferri, Accademia Reale di Spagna, Rome, 2015; “Autoritratti, Iscrizioni del femminile nell’arte italiana contemporanea”, curated by Francesca Pasini (among others), MAMbo, Bologna, 2013; “La fortezza plurale dell’arte”, curated by Giacinto Di Pietrantonio and Umberto Palestini, Fortezza Borbonica, Civitella del Tronto, 2012; Quadriennale, Rome 2009; “Kunst in Bewegung”, curated by Agnes Kohlmeyer, Kunstverein, Ludwisburg, 2006; “Per una riflessione e ridefinizione dell’arte astratta in Italia”, curated by Giovanni Maria Accame (among others), Museo d’arte contemporanea di Gallarate, 1995; “Primordi”, Triennale, Milan, 1994; “La fabbrica estetica”, Grand Palais, Paris, 1993.

The first gallery owner to put on a solo show was Florence Lynch in New York in 1996. Then, in the past, I have exhibited in numerous private galleries which have often represented me in art fairs in Italy and abroad. These include: Otto Zoo, Milan; Caterina Tognon Arte Contemporanea, Venice; Lawrence Rubin Gallery, Milan; Grossetti Arte Contemporanea, Milan; Barbara Behan Gallery, London; Galleria Michela Rizzo, Venice; Galerie Studio G7, Bologna; Plurima, Udine; Arte Giani, Franckfurt; Nuova Icona, Venice; Arnaud Lefebvre, Paris. 

In some cases, I have worked with companies and artisans. Working in harmony with other research and work experiences and other forms of production have led to the creation of new connections. The artisans and companies I have worked with include: Bonotto, Bassano del Grappa (Vicenza); Fiorenzo Fallani, Venice; Favini, Rossano Veneto (Vicenza); Orsoni,   Venice; Zegna, Trivero (Biella).

My relationships with theorists, philosophers, writers, critics and art historians, intended as an open dialogue about the work and the process, is central to the development of my thinking. The texts that many of them have written are a focal point for understanding my work. Over the years, a series of works have been published with the contribution of, among others: Stefano Arienti, Cristina Baldacci, Chiara Bertola, Davide Ferri, Mel Gooding, Susan Harris, Paul Hills, Caoimhin Mac Giolla Léith, Francesca Pasini, Rosella Prezzo, Raphael Rubinstein, Gabi Scardi, Barry Schwabsky, Marco Tagliafierro, Angela Vettese, Giorgio Verzotti, Elena Volpato.
Verbalizing and writing about my work are an important part of my process. Sometimes my publications are accompanied by texts I have written myself. Various reflections have appeared in magazines, catalogues, books and press releases, and I have appeared at conferences to talk about my work, believing it is important to contribute to its interpretation.

Some interviews and conversations have been filmed, others published, and still others recorded. I would like to mention: “I martedì critici” with Helga Marsala curated by Alberto Dambruoso, Rome, 2017; “Per strade maestre” curated by Stefano Regondi, Mondadori, 2016; “Talking Art” curated by Egle Prati, 2014; “Il posto delle fragole”, curated by Simona Confalonieri, Sky Arte, 2012. 
Conferences, book launches, public conversations include: “Faccia a faccia con l’archivio” with Cristina Baldacci, Antoni Muntadas and Angela Vettese, Teatrino Palazzo Grassi, Venice, 2017; “Lettura per voci e silenzio”, with Francesco Arena, Luca Bertolo, curated by Elena Volpato, FLAT, Turin, 2017; “Il colore succede, non si provoca” curated by Pietro Gaglianò, Scripta Festival, Florence, 2017; Libreria delle donne with Corrado Levi, Luisa Muraro and Francesca Pasini, Milan, 2015; “Un diario tira l’altro” with Giacinto Di Pietrantonio, Mel Gooding and Henry Meryc Huges, Camden Art, London, 2011.


I have conceived some artists books and other types of publications that I think of as places where I can share my experiences with others. In 2018 had been published two book: a little Monography curated by Stefano Arienti and “In the hole”, an artist's book for children. In 2017 I worked with Jean-Luc Nancy on “Il colore succede, non si provoca”, in 2016 with my son Piero Pes on “Mi aiuti a capire cosa sto facendo?”, in 2014 with Matteo Nucci on “I diari di Via dell’Oca e di Via della Penna” and in 2006 with Barry Schwabsky on “Storia di un quadro”. In 2010 I produced a book in two volumes: “Un diario tira l’altro”. In the first volume I placed my chromatic diaries alongside my father Piero Morganti’s written diaries and in the second I asked others to participate: Claudio Bartocci, Laura Boella, David Carrier, James Elkins, Anna Finocchi, Vincent Katz and Tiziano Scarpa.

Download materials