Enrico Somaré, editor and art critic, opened Galleria Milano in 1928. During the ten years that followed, « the gallery closed shortly before Second World War », Somaré exposed Casorati, Wildt, Eleonor Fini, Sironi, Tosi, Tozzi, Manzù, Carrà and many others. Enrico Somare’s sons, both painters, decided to reopen the gallery in 1964. In 1965 Carla Pellegrini Rocca takes over and she still runs the gallery. During these years the gallery sets up almost 300 shows . The gallery offers and give particular attention to modern and contemporary art lesser known by the italian public, here are some examples: in the spring of 1966 an English Pop art exhibition, in 1969 “Irritarte” (Otto Muehl, Kudo etc.)curated by Lea Vergine, in 1971 and in 1972 two exhibitions “Il mondo della Non – Oggettività” as to say the various aspects of Abstract Art from 1924 to 1955. In 1974 “Mitologie Individuali” presented a group of young German artists like Baselitz, Polke, Palermo, Penk, Beuys, Darbhoven etc. that later on became protagonists of the art scene. Again in 1974 Edward Rucha and other West Coast artists and a Fred Sandback show. In 1976 Dada together with Arturo Schwartz, in 1980 Fontana and Architecture, in 1984 Shiraga and the Gutai Group. In 1995 Pino Pascali: “L’arte e il gioco nella pubblicità”, and “Realismo Sociale nella Germania degli Anni 20”. In 1966 “La fotografia fra le due Guerre”, 1998 “Ballet Russe” and in 2001 “La geografia degli artisti”. In 2002 Alexander Brodsky’s first italian show. A lot of research is done by the gallery by presenting specific shows where on “the way to do art”.Among these shows we have to mention: “Opera ricerca e documento” , “Il contesto Dannunziano”, “Decostruzione del Quotidiano” e “L’avanguardia in Ungheria, 1919-1924”, “Riflessioni sugli effetti delle guerre” (da Goya a oggi), “Tuttolibri” by Lea Vergine. Starting from 2006 the gallery presents, every year in November, a concert on music written by Davide Mosconi. Besides contemporary artists, the gallery exposes regularly: Vincenzo Agnetti, Carlo Alfano, Arakawa, Gianfranco Baruchello, William Beckley, Alexander Brodsky, Antonio Calderara, Fabio Mauri, Davide Mosconi, Magdalo Mussio, Gastone Novelli, Pino Pascali, Giò Ponti, Tancredi, Aldo Tagliaferro, Fred Sandback, Shiraga, Nanni Valentini, Luigi Veronesi, Roger Welch.
The fundamental theme of Mosconi’s work is casualty as transformed by avant-garde movements, Pure chance plays here the role of the lord and the master as it creates and it fixes the image. Is it not this the essence of photography after all? And even what we call order isn’t a particular moment of an unforeseen event? Using a term of another discipline that Mosconi practiced we would say that for him photography was the instrument with which he could play the shapes of chance, and the resulting image was each time the score of visual music. Here we understand the refined function of out of focus: it reveals the vibration and invites us to let it sink deeper in ourselves through our eyes as a proper “listening with the eyes”. In this way art captures fleeting reality and makes it durable. Elio Grazioli
Via Daniele Manin, 13
Tel : 02 2900 0352