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mostra in corso.trx_addons_inline_506480147{color:#e6afe0 !important} i nostri servizi.trx_addons_inline_1567935458{color:#e6afe0 !important} galleria d'arteil nostro spazio espositivo, la nostra galleria, si suddivide in tre aree, su due piani, in uno spazio totale di 80mq.  residenza artisticagata galleria taranto è anche un b&b provvisto di tre camere matrimoniali ed un laboratorio a disposizione degli artisti. barall’interno della nostra struttura troverete anche il bar, un angolo di rifornimento energetico che accompagnerà gli show. marco teatro fuck warmarco teatro solo showurgentemente. teatro e la street art come pronto interventomarco zecchini, in arte teatro, nasce a milano, dove vive e lavora, nel 1968. è lo stesso anno del maggio francese, dai cui valori e dalla cui energia hanno preso spunto e ispirazione anche artisti tra i pionieri degli interventi creativi nello spazio urbano. se teatro avesse avuto modo di parteciparvi, avrebbe fatto proprio e disseminato il motto “il est interdit d’interdire”, sul cui potente cortocircuito semantico si è avvitata l’intera sua vita e carriera, opponendosi agli oppositori.opera anche come scenografo per video, installazioni e teatro per artisti del calibro di bob wilson e peter greenaway. inizia a fare writing nel 1986, ai primordi della scena nazionale, e si accredita sin da subito come uno dei pionieri della street art italiana. contribuisce dalle prime ore al fenomeno e organizza eventi seminali, come il ciclo “happening international underground” (1993-2003), negli spazi del leoncavallo di via watteau, più precisamente nel sotterraneo dauntaun, dove in molti anni si conta abbiano prodotto e condiviso controcultura oltre un migliaio di artisti da tutto il mondo.teatro è nell’incauta frenesia della sua milano degli anni ottanta che trova terreno fertile e affonda i propri attrezzi polivalenti, destinato a vivere come agitatore culturale nel tempo di più generazioni e nello spazio fisico e simbolico di più forme di città. da queste esperienze, trasudano e cristallizzano gli elementi della sua poetica urbana, che anche sugli oggetti mobili, come tele o sculture, riportano in sagoma e materia un vissuto da sempre alternativo alle cornici ortogonali e ai piani lineari.è attento studioso e storico delle origini del fenomeno in italia e nel mondo; tra i suoi libri, figurano “happening international underground. 1993-2003”, “la guerra dei segni. un’altra storia dell’arte” e, il più intenso, “virus. il punk è rumore” (insieme a giacomo spazio). giacché è proprio nel punk, nella sua proposta culturale stridente – laddove è sempre “l’attrito che fa andare avanti il mondo” – che va ricercata e valorizzata l’origine del suo proposito creativo, l’urgenza del gesto come dicono e ridicono per altri versi certe retoriche della critica d’arte prettamente contemporanea.in effetti e meglio rappresentandosi, l’urgenza è sempre stata condizione di vita e di azione del punk e dei suoi protagonisti: urgenza di opporsi, lottare, protestare; urgenza di spendersi per temi sociali e ambientali, bioetici e animalistici, ma anche economici e ideologici; urgenza di avversare le forme e le sostanze del capitalismo; urgenza di dire e di fare la propria, con i propri mezzi e nei modi propri, do it yourself. anche dal punto di vista musicale, le produzioni sono sempre state urgenti, sintetiche, molto dirette, strumentazione essenziale e testi provocatori. trasponendo gli intenti su un differente orizzonte, non poteva esserci migliore ingaggio per esprimersi e diffondersi che con la street art e le sue dinamiche caratteristiche: interventi urgenti, sintetici, molto diretti, strumentazione essenziale e testi provocatori. ed è esattamente in questo modo che la prima street art italiana fa la sua comparsa a milano già nei primi anni ottanta e poi a seguire, con stencil come “three stomping men” o “stop apartheid” (paolo dolfini), “cerebro fritto” (spazio), “milano da pere” (schwarz), insieme ad altre firme come francesco garbelli, atomo, shah e lo stesso teatro.gli interventi creativi urbani di teatro e le sue opere su carta, cartone, plastica, legno, metallo e altri materiali riassumono, ora come allora, quel clima, quelle tensioni, le paure e le speranze, le urgenze ora più di allora agli sgoccioli, da un lato nella riflessione su un modello di città fallimentare poiché non organico bensì artificiale, impositivo, dittatoriale; dall’altro nell’ossessiva repulsione mai sopita nei confronti delle guerre, di ogni scala e in ogni dove, che oggigiorno ci arrivano così mediatizzate, così spettacolistiche, da farcele scivolare addosso e da rimuoverle agli occhi con un tocco.teatro all’inverso fissa in pittura il memento, per quanto temibile e angosciante possa sembrare, per scuoterci ancora lo sguardo, i pensieri, le stesse azioni quotidiane e forse in fin dei conti per provare a evitare o quanto meno a differire quel medesimo no future che ormai più di mezzo secolo addietro iniziava a sibilare tra le fila di un’intera generazione o anche due. e non si è ancora silenziato.luca borriello, direttore inward osservatorio nazionale sulla creatività urbanaingfuck warmarco teatro solo showurgently. teatro and street art as emergency responsemarco zecchini, aka teatro, was born in milan, where he lives and works, in 1968. it was the same year as the may 1968 protests in france, whose values ​​and energy inspired many pioneering artists of creative interventions in urban spaces. if teatro had the opportunity to participate, he would have embraced and disseminated the motto \"it is forbidden to forbid,\" a powerful semantic short-circuit that has shaped his entire life and career, defying his opponents.he also works as a set designer for videos, installations, and theater for artists such as bob wilson and peter greenaway. he began graffiti writing in 1986, at the dawn of the national scene, and immediately gained recognition as one of the pioneers of italian street art. he contributed to the phenomenon from the very beginning and organised seminal events, such as the “happening international underground” cycle (1993-2003), in the spaces of the leoncavallo in via watteau, more precisely in the dauntaun underground, where over a thousand artists from all over the world are thought to have produced and shared counterculture over many years.teatro finds fertile ground in the reckless frenzy of his 1980s milan, where he establishes his multipurpose tools, destined to thrive as a cultural agitator across generations and in the physical and symbolic space of diverse urban forms. from these experiences, the elements of his urban poetics emerge and crystallize, which, even on mobile objects like canvases or sculptures, convey in shape and matter an experience that has always been alternative to orthogonal frames and linear planes.he is a dedicated scholar and historian of the origins of the phenomenon in italy and around the world; his books include \"happening international underground. 1993-2003,\" \"the war of signs. another history of art,\" and, most poignantly, \"virus. punk is noise\" (with giacomo spazio). for it is precisely in punk, in its strident cultural proposal – where it is always \"friction that makes the world go forward\" – that we must seek and valorize the origin of its creative purpose, the urgency of the gesture as certain rhetoric of rather contemporary art criticism says and reiterates in other ways.indeed, and more accurately, urgency has always been a condition of life and action for punk and its protagonists: the urgency to oppose, fight, and protest; the urgency to engage in social and environmental, bioethical, and animalistic, but also economic and ideological issues; the urgency to oppose the forms and substances of capitalism; the urgency to speak out and do one's own thing, with one's own means and in one's own way, do it yourself. musically, too, productions have always been urgent, concise, and very direct, featuring essential instrumentation and provocative lyrics. transposing these intentions onto a different horizon, there could be no better engagement for self-expression and diffusion than street art and its characteristic dynamics: urgent, concise, and very direct interventions, essential instrumentation, and provocative lyrics. and it is precisely in this way that the first italian street art appeared in milan in the early 1980s and thereafter, with stencils like \"three stomping men\" or \"stop apartheid\" (paolo dolfini), \"cerebro fritto\" (spazio), \"milano da pere\" (schwarz), alongside other artists like francesco garbelli, atomo, shah, and teatro himself.teatro's creative urban interventions and his works on paper, cardboard, plastic, wood, metal, and other materials epitomize, now as then, that climate, those tensions, the fears and hopes, the urgencies now more than ever at their end. on the one hand, they reflect on a model of the city that is failing because it is not organic but artificial, imposing, and dictatorial; on the other, in the obsessive, never-ending revulsion against wars, of every scale and everywhere, which nowadays reach us so mediatically, so spectacularly, that they slip past us and disappear from our sight with a touch.teatro, conversely, captures the moment in painting, however fearful and distressing it may seem, to further shake our gaze, our thoughts, our daily actions, and perhaps ultimately to try to avoid, or at least postpone, that same no-future that, more than half a century ago, began to hiss within the ranks of an entire generation or even two. and it hasn't yet been silenced.luca borriello, director of inward osservatorio nazionale sulla creatività urbana cosimo calabrese short biocosimo calabrese (taranto, 1985) è un fotografo che si occupa principalmente di migrazioni e crisi ecologiche. dopo una formazione di stampo umanistico e gli studi alla d.o.o.r. academy di roma, ha lavorato nel fotogiornalismo per testate italiane ed estere, spostandosi in seguito verso una ricerca visiva più personale. tra i suoi progetti centrali figurano \"hybris\" e \"metastasis\", un'indagine a lungo termine sull'impatto dell'industria siderurgica a taranto. recentemente ha esposto in contesti come cortona on the move 2025 e gallerie d’italia a torino con il progetto \"cronache d'acqua\", oltre a partecipare a mostre presso flashback torino e la nuit blanche di parigi. la sua attività include diverse residenze d'artista e installazioni fotografiche focalizzate sul rapporto tra persone e territorioingcosimo calabrese (taranto, 1985) is a photographer who focuses on migration and ecological crises. after a humanistic education and studies at the d.o.o.r. academy in rome, he worked in photojournalism for italian and international publications, later shifting toward more personal visual research. his key projects include \"hybris\" and \"metastasis,\" a long-term investigation of the impact of the steel industry in taranto. he has recently exhibited in contexts such as cortona on the move 2025 and gallerie d’italia in turin with the project \"cronache d’acqua\", as well as participating in exhibitions at flashback turin and nuit blanche in paris. his work includes several artist residencies and photographic installations focusing on the relationship between people and territory.taranto storiesin questa esibizione cosimo ci offre una serie di racconti che riguardano la città di taranto, istantanee attraverso le quali scorrono gli anni dal 2011 al 2026 in immagini essenziali. l’artista vuole allineare rito popolare e caos urbano in una collisione silenziosa di storie. il peso di una corona d'argento, maschere grottesche, scritte sui muri e fuoco, salsedine e lavoro. registrare pause e gesti minimi, mantenendo le narrazioni volutamente aperte. sostituire la teatralità con l'osservazione rigorosa e sincera della pura convivenza umana. restituire queste cronache visive allo stesso identico tessuto sociale che le ha generate, in una mostra site specific al gata galleria taranto. ingin this exhibition, cosimo offers us a series of stories about the city of taranto, snapshots through which the years from 2011 to 2026 flow in essential images. the artist seeks to align popular ritual and urban chaos in a silent collision of stories. the weight of a silver crown, grotesque masks, graffiti, and fire, saltiness, and work. recording pauses and minimal gestures, keeping the narratives deliberately open. replacing theatricality with rigorous and sincere observation of pure human coexistence. returning these visual chronicles to the same exact social fabric that generated them, in a site-specific exhibition at the gata galleria taranto. kaf short biokaf inizia a fare writing nel 1993 e prosegue la sua carriera sperimentando numerose forme creative, dal disegno alla scultura. cofondatore del prolifico duo cyop&kaf, autori tra l’altro del film “il segreto” (vincitore di numerosi riconoscimenti e candidato al david di donatello come miglior documentario lungometraggio), partecipa alla realizzazione di oltre 250 opere pittoriche disseminate nei quartieri spagnoli di napoli (2013, quore spinato) e alla produzione d’interventi pittorici a taranto (2014, taranto. un anno in città vecchia).tra le più varie esperienze in tutta italia, europa e oltre, l’artista conta anche diverse pubblicazioni di settore e numerose esposizioni collettive e personali.ingkaf began writing in 1993 and continued his career experimenting with numerous creative forms, from drawing to sculpture. co-founder of the prolific duo cyop&kaf, authors of the film \"the secret\" (winner of numerous awards and nominated for a david di donatello for best feature-length documentary), he participated in the creation of over 250 paintings scattered throughout the spanish quarters of naples (2013, quore spinato) and in the production of pictorial interventions in taranto (2014, taranto. a year in the old town).among his diverse experiences throughout italy, europe, and beyond, the artist has also had several publications in the field and numerous group and solo exhibitions.surface[…]fino al 2025 e per trent’anni circa, kaf ha operato al cinquanta per cento del duo artistico cyop&kaf, questi ideando, producendo e diffondendo centinaia di motti, segni, forme, figure e composizioni e quindi dipingendo, affiggendo, installando e performando infinite volte tra i vicoli di napoli così come in numerose metropoli, periferie e paesi del mondo. […] dal 2025, ritroviamo in quest’ultimo artista l’energia delle origini, uguale a se stesso, tradizionale, eppure evoluto, alla ricerca, innovativo. vi rivediamo l’attitudine del writer in strada dal principio degli anni novanta, la sensibilità dello street artist nell’intervenire in pubblico sollecitando al pensiero critico e la tecnica del pittore che sa stendere vernice a rullo e pennello su muro, creando opere d’arte.sono emergenze, quelle che kaf eredita dai propri trascorsi, quelle che non cerca, ma ritrova, stratificate sulle cose della città e accumulano su vecchi fogli disegnati o dipinti; sono emergenze, quelle che ancora lo allertano, lo scuotono, lo invitano a renderne partecipi le comunità, verso cui kaf sintetizza in scenette di umanoidi e chimere non assoli ma sìnoli. ed è così che l’artista compatta la materia dei fogli perduti e ritrovati – cartine, cataloghi, carte da musica – e la materia della pittura che impasta e adopera nella forma di un piccolo dramma, di un avvertimento, del memento ecologico, di una mutilazione per inattivismo. […] ne derivano quegli umanoidi, chimere e altre “mostruosità”, in cui dapprima anche altre firme, come i vari debuffet, baj, persico, hanno intravisto, con inaudita sensibilità a servizio di una capace tecnica artistica, emergere un’emergenza.a dodici anni di distanza dalla sua ultima avventura a taranto, nella città vecchia, quando partecipò, per l’appunto, alla diffusione creativa di figure emergenti dalle emergenze della stessa, che ancora riescono a intravedersi nei suoi stretti vicoli, kaf concentra i propri ricordi, li espone e ci mostra, ancora attualissimo, manticore e blemmi a iosa che insidiano la nostra vita quotidiana.(da luca borriello, emergenze. la poetica scenica urbana di kaf)ing[…]until 2025 and for approximately thirty years, kaf operated as a 50/50 member of the artistic duo cyop & kaf, the latter conceiving, producing, and disseminating hundreds of mottos, signs, forms, figures, and compositions, and then painting, posting, installing, and performing countless times in the alleys of naples as well as in numerous cities, suburbs, and towns around the world. […] since 2025, we find in this artist the energy of his origins, unchanged, traditional, yet evolved, searching, innovative. we see in him the attitude of the street writer since the early 1990s, the sensitivity of the street artist in intervening in public, encouraging critical thinking, and the technique of the painter who knows how to spread paint with a roller and brush on walls, creating works of art.these are emergencies, those that kaf inherits from his past, those that he doesn't seek, but rediscovers, layered on the things of the city and accumulated on old sheets of drawn or painted paper; these are emergencies, the ones that still alert him, shake him, and invite him to involve the communities, which kaf synthesizes in sketches of humanoids and chimeras, not solos but synolon. and this is how the artist compacts the material of lost and rediscovered sheets of paper—maps, catalogs, music sheets—and the material of painting, which he mixes and uses in the form of a small drama, a warning, an ecological memento, a mutilation through inactivity. […] from this derive those humanoids, chimeras, and other \"monstrosities,\" in which initially even other artists, such as debuffet, baj, and persico, glimpsed, with unprecedented sensitivity at the service of a capable artistic technique, an emerging emergency.twelve years after his last adventure in taranto, in the old city, when he participated in the creative diffusion of figures emerging from its emergencies, which can still be glimpsed in its narrow alleys, kaf concentrates his memories, exposes them, and shows us, still very relevant, manticores and blemmyas galore that threaten our daily lives.(from luca borriello, emergenze. la poetica scenica urbana di kaf) monocarrasco short bioeduardo \"mono\" carrasco, the clandestine and temporary name of héctor carrasco, was born in santiago, chile, in 1954.a graphic designer, muralist, and founder of the brigada ramona parra (chilean muralist group), he has lived and worked in italy since 1974, the year he arrived from his country as a political refugee following the pinochet dictatorship.in 1971, in santiago, with the renowned artist roberto sebastian matta, he painted a major mural. this mural was later covered several times by the dictatorship, but has now been restored and declared a cultural heritage site. he has painted hundreds of murals throughout italy and europe. a cultural operator, exhibition curator, and project manager for major events, in july 2004 the chilean embassy in rome awarded him the government honor \"pablo neruda medal.\" among his books, the latest, \"chile italy, one way. story of a chilean refugee\" (fuoriasse editions, 2023), has a preface by the president of chile, gabriel boric font.sueño andinomonochromatic: a kaleidoscopic muralism neededin the complex landscape of what, with the recent conventional term \"urban creativity,\" is understood as an extended family of graffiti writing, street art, and new muralism, it is this latter visual culture that today accounts for the most diverse pictorial contributions. the trend toward muralism on facades, infrastructure, and other buildings has generated, over the past fifteen years and in nearly every medium-sized and large city, as well as in numerous countries, a body of pictorial works that range from free expression to commercial promotion, from simple decoration to social participation. the artists include not just those writers who are simply graffiti artists, nor those street artists who take their activist sentiments to the streets, but painters, illustrators, designers, creatives, and others, including writers and street artists who also engage in muralism.the so-called \"new\" muralism can be understood, in fact, as an update of wall painting, subsequent to the muralisms of the first half of the twentieth century—from mexican to fascist to chilean—and equally subsequent to the muralisms of the post-world war ii period—from sardinian to chilean refugee, from metropolitan indians to pignataro—and somewhat contaminated by the evident stratifications of street art and graffiti of the 1980s, 1990s, and beyond, at least in italy. throughout these experiences, though very different in form and substance, there is a certain muralism that we might call necessary. it is not a question of a brand's need for promotion, of a local public body's need to complete a regeneration, or of an artist's need to express their talent on a large scale; rather, it is a true mission, accomplished by artists who act as amplification antennas and instruments for developing the ideas, thoughts, fears, dreams, anxieties, hopes, and other feelings of a community, collective, and supportive body.if there is one man, one author, one creative mind, one artist who over the past fifty years has been capable of expressing, in hundreds of different, kaleidoscopic forms, these and other human storms, it is héctor carrasco, known as \"mono,\" born in santiago, chile, in 1954. there is a very evocative photo from 1970 in which mono can be seen already with a brush in hand, painting on the wall. it was the time when mono and his brigada friends were writing and drawing in the city, and it was the first year of allende's presidency, who particularly valued that freedom of expression. and it was that photograph that pinochet's military police, three years later, used to search for and capture those who had turned that freedom into messages, proclamations, and murals. through a series of events, mono escaped arrest and death and found refuge in italy, where, by re-creating the brigadas, he launched a prolific production of murals—plural, communal, colorful, intuitive, democratic, collective, and necessary.between the mid “years of lead” and the beginning of the “years of mud”, throughout italy, many chilean creatives and artists manifested colors and signs, forms and substance in urban and rural public spaces, in open protest against the prevailing state of affairs: messages of peace, love, respect, tolerance, and honesty found their expression in broad, flat areas and bold black outlines. anyone could paint and make mistakes, going off track, then paint again, improving, with the sole true purpose of participation. it's likely that these murals and their meanings were also observed, perhaps inadvertently, by the first street artists and writers active in italy, only to return to prominence decades later, becoming a hybrid.for mono, it has always been an urgency, a commitment, a self-commandment, a necessary muralism that reflects its intentions even in mobile works on wooden panels. his vast oeuvre features faces, landscapes, flowers, animals, gestures, memories, feelings of joy and sorrow. they are, or seem, exotic elements and settings, yet they speak to us of something physical, intimate, and of values. the face of a mapuche is the portrait of a chilean, but it is, above all, the universal warrior. on the back of his panels, mono always places, as a signature, a fingerprint, as if he were or will be a wanted man. some things are not forgotten; they are in the body, mind, and spirit, but here also reside the finest values, which a true artist feels the desire, the obligation, the need to communicate, even through paintings that seem like passports, and to transmit to the world to come.luca borriello, director of inward national observatory on urban creativity taraspaste-up taras paste-upbenvenuti al “taras paste-up”, il primo evento di poster art a taranto, lanciato con una open call lo scorso marzo ededicato alla nostra antichissima città taras, τάρας, taranto. l’evento organizzato dallo street artist @noire_cut75 in collaborazione con @gata_galleriataranto, @streetartsouthitaly, @167bstreet, si svilupperà in due momenti: esposizione in galleria ed affissione esterna. i poster inviatoci saranno esposti nello spazio del gata galleria taranto per un mese, in seguito saranno attaccati inluoghi strategici in giro per la città, così come quest’arte richiede. pronti ad essere contemplati, apprezzati oppure no, strappati oppure destinati a resistere e comunicare.mastergrapicdesign quel gran fico di @urkagramunitevi alla southitalystreetart, per amore o per passione, l’arte non è un crimine, è condivisione…welcome to the \"taras paste-up\", the first poster art event in taranto, launched with an open call last march and dedicated to our ancient city taras, τάρας, taranto. the event organized by the street artist @noire_cut75 in collaboration with @gata_galleriataranto, @streetartsouthitaly, @167bstreet, will develop in two moments: exposure in the gallery and external posting. the posters sent to us will be exhibited in the space of the gata galleria taranto for a month, later they will be attached to strategic places around the city, as this art requires. ready to be contemplated, appreciated or not, torn or destined to resist and communicate.mastergrapicdesign that hottie of @urkagramjoin the southitalysstreetar, for love or passion, art is not a crime, it is sharing ...group exhibitiondott.porka urkagram biodpi gecartgec martello pasquale essegeefra gabriele_benefico_illustration elkemi77 igorscalisipalmieri lus_cinquantasette akanewton tedio.arts stefanopando elektrart angelo_notaristefano stelleconfuse noonneonwalls recanimal _desx_ kris_rizek omino71wooda._._ pinovolpino easyleg noire_cut75 exit.enter.k chekosart_ roccocardinaleart jamesvega.it gods_in_lovefranklucignoloartist sandro84crash streetartsouthitaly luma_o_ biodpi r.i.p. rebel in paint“r.i.p.” è un viaggio nella materia viva dell’arte di biodpi, dove il gesto è urgente, ribelle, la superficie è muro e il pensiero si fa azione, colore. i suoi lavori sono frammenti attivi: denunciano, raccontano, proteggono. tra stencil, collage e interventi site-specific, l’artista crea immagini che germinano da un sentire collettivo e si trasformano in visioni personali, istintive, necessarie. concepita come attraversamento e non come celebrazione, questa mostra invita a leggere le superfici come spazi di conflitto simbolico. qui la tela è muro, la cornice è barriera e insieme protezione. e ogni opera è una domanda: chi sono i nostri “re”? cosa resta delle icone? chi dà voce a chi non ha voce? in esposizione una selezione di lavori emblematici della sua ricerca: da sophia loren a the notorious b.i.g., da muhammad ali a maradona, passando per figure mitologiche e interventi a forte connotazione politica come change o bla bla bla – chiaro riferimento alla retorica sul cambiamento climatico. in ogni quadro si avverte un’urgenza comunicativa che nasce da un rapporto diretto con la realtà: le immagini di biodpi non decorano, ma interrogano, espongono contraddizioni, ridanno forma a memorie personali e collettive. ogni opera è un frammento di “vita” che resiste all’omologazione e reclama il diritto all’esistenza.“r.i.p.” is a journey into the living matter of biodpi’s art, where the gesture is urgent, rebellious, the surface is a wall and thought becomes action, color. his works are active fragments: they denounce, tell, protect. between stencils, collages and site-specific interventions, the artist creates images that germinate from a collective feeling and transform into personal, instinctive, necessary visions. conceived as a crossing and not as a celebration, this exhibition invites us to read the surfaces as spaces of symbolic conflict. here the canvas is a wall, the frame is a barrier and at the same time protection. and each work is a question: who are our “kings”? what remains of the icons? who gives voice to those who have no voice? the exhibition brings together a selection of emblematic works of his research: from sophia loren to the notorious b.i.g., from muhammad ali to maradona, passing through mythological figures and interventions with a strong political connotation such as change or bla bla bla – a clear reference to the rhetoric on climate change. in each painting, there is a sense of communicative urgency that comes from a direct relationship with reality: biodpi's images do not decorate, but question, expose contradictions, give shape to personal and collective memories. each work is a fragment of \"life\" that resists homologation and claims the right to existence.biographybiodpi, al secolo fabio della ratta, è un artista visivo che affonda le radici nella cultura della street art, ma che negli anni ha raffinato un linguaggio personale capace di unire ironia pop, impegno civile e stratificazione iconografica. le sue opere – spesso realizzate con la tecnica dello stencil – si muovono con agilità tra riferimenti colti e cultura di massa, personaggi iconici e simboli collettivi, rielaborati con una forza visiva che sfida l’indifferenza. cornici antiche, colori fluo, lettering ironico e sovversione visiva compongono una grammatica che fa del con

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