Following government announcements, 22.48 m2 is due to temporarily close its doors to the public until December 2, but is looking forward to seeing you online on Facebook / Twitter / Instagram. To be informed of exclusive content, subscribe to our newsletter. ❤️
Pandora's Gift, 2020, Carrara white marble, pigments, ink, 1.17 x 1.17 x 7.08 inches
Rifiuti sanitari pericolosi, 2020, limestone, ink, 18.5 x 14.9 x 7.87 inches
Be Mephisto, 2020, Carrara white marble, pigments, ink, 12.9 x 8.26 x 8.6 inches
Holder, 2006, sandstone of Sarnico, 12.2 x 11.4 x 12.5 inches
Doner Kebab, 2008, white stone, ink, 19.6 x 7.87 x 7.87 inches
Shut up And Dance, 2018, Belgium black marble, mobil size
Shut up And Dance, 2018, Belgium black marble, digital tablet size
Shut up And Dance, 2018, Belgium black marble, mobil and laptop size
Oggetti scocciati #3 (studio per una natura morta), 2015, plastic bottles, paper tape, table, 47,2 x 27,5 x 51,1 inches
Oggetti scocciati #10 cactus (détail), 2019, plastic bottles, paper tape, variable dimensions
Oggetti scocciati #12 (waiting for the best fucking days), 2020, paper tape, wood, 39,3 x 47,2 x 3,9 inches
Oggetti scocciati #11 (zero), 2020, paper tape, neon, 11,8 x 11,8 x 1,57 inches
Oggetti scocciati #9 (François Le Clerc leg's set), 2018, wood, paper tape, variable dimensions
Oggetti scocciati #6 (nature morte), 2015, fine art print, 13,7 x 19,6 inches
Oggetti scocciati #3 (studio per una natura morta), 2015, plastic bottles, paper tape, table, 47.2 x 27.5 x 51.2 inches
Oggetti scocciati #3 (studio per una natura morta), 2015, plastic bottles, paper tape, table, 47,2 x 27,5 x 51,1 inches
Oggetti scocciati #2 (natura morta con occhiali), 2014, print art, 13,7 x 19,6 inches
Exhibition view
Oggetti scocciati #1 (nature morte au plafond), 2014, plastic bottles, paper tape, 11,8 x 11,8 x 7,8 inches
Superposition #1, 2014, paper tape, architecture, 11.850 m. paper tape,12 days performance
Superposition #2, 2016, 3.650 m paper tape, architecture, 3 days performance, exhibition view "do disturb" Palais de Tokyo, Paris, France
Superposition #4 2017, paper tape, architecture, 15.100 m. paper tape, 15 days performance
Ciao mamma, io esco, 2012-2019, warfare cartboard, foam rubber, plastic and scotch variable dimensions. Exhibition view "depiction of nature and society", Galerie Italienne, Paris, France
Ciao mamma, io esco, 2012-2019, warfare cartboard, foam rubber, plastic and scotch, variable dimensions
Ciao mamma, io esco, 2012-2019, warfare cartboard, foam rubber, plastic and scotch, variable dimensions
Monuments (Genoa Social Forum dress code souvenir), 2022, bottles, tape, resin, glass, metal 29,5 x 16,1 x 66,1 inches
Golden Gods (choir), 2012, melted coins, 9,8 x 9,8 x 2, 3 inches
Golden Gods (lego), 2010, melted oins, real size
Golden Gods (Payet souvenir), 2022, nordic Gold (melted €0.10 coins) 1,2 x 0,3 inches
To Go Back #1, 2013, Carrara white marble, 5 x 3,1 x 0,010 inches
Tools #3, 2020, Carrera white marble, steel, 7,8 x 7,8 x 10,6 inches
Tools #2, 2011, Carrera white marble, steel, 27,8 x 7,8 x 10,6 inches
Tools #1, 2008, Carrera white marble, steel, 9 x 0,5 x 0,1 inches
Men at Work, 2009-2017, Carrera white marble, different sizes, variable dimensions
TSORPM #1 (boxes), 2006-on going, 1032 different cardboard boxes, environmental installation
Monuments (en plein air dinner souvenir), 2022, soapstone, glass, metal 29,5 x 16,1 x 44,1 inches
TSORPM #4 (frame breeding), 2013 - 2017, 164 frames, gun powder on paper, different size, variable dimensions
TSORPM #2 (disposable cutlery), 2013, 2377 different disposable cutlery, 59 x 393,7 x 7,8 inches. Exhibition view "rites et tempo", L'Atelier Blanc, Villefranche, France
TSORPM # 7 - Volume 1, 2022, 456 pages, edition of 22,48 m2. With the support of the galleries / publication of the National Center for Plastic Arts
But Italians Love Football, 2011, eleven shopping bags framed, 26,6 x 208,7 inches
Luca Resta’s work stems from objects. The artist explores the social and cultural space he inhabits to refine a creative process linked to the practices of accumulation, reproduction, and transformation. Like a sort of contemporary archaeology, he explores the vertigo of the series through endless collections of everyday forms: disposable cutlery, plastic packaging, hybrid objects, cardboard boxes, and even more ephemeral elements. He investigates the narrative potential of these elements that gradually end up finding their place in his visual imaginary through an expanded idea of the sculptural practice. His artistic vocabulary—series and homologation, replication and standardisation, industrial accumulation, mechanical iteration …—enters into dialogue with his devices and his manual ability. From his visual experiences, multiple sculptural, sound, or architectural projects arise, thanks to which Luca Resta goes beyond the mere objects to explore the related and representative sociocultural logic, as well as to propose other ways of meeting between individuals and forms. Eventually, the aesthetic power of his artistic approach, hidden behind the idea of “common” form, appears thanks to new ways of looking.