Mauro’s work unites Pop aesthetics with social comment, addressing some of the most pressing and difficult issues in today’s society in a way that is subtle and accessible, without being trite, shocking or obscure. Mauro is an artist connected; he sees the bigger picture and world affairs and his finger on the pulse of contemporary society.
Mauro lives in London with his wife PR Director Lorena Perucchetti.
MAURO PERUCCHETTI ARTIST BIOGRAPHY:
Solo Exhibitions:
2013 The Power of Love, Madison Gallery La Jolla, CA, USA
2013 Reflection in a Golden Eye, Galerie Bel-Air, Geneva, Switzerland
2013 Unicum, Absolute Art Gallery, Knokke, Belgium
2013 Unicum, Halcyon Gallery, London, UK
2013 Hip Pop Art, Ode To Art Gallery, Art Stage Singapore
2012 Warhol/Mauro, Halcyon Gallery, London, UK
2012 Sem Art Gallery, (Princess Grace Academy), Monaco
2012 Principality of Monaco (Barclays Wealth Management Bank)
2011 Art Paris (Grand Palais) Absolute Art Gallery, Belgium
2010 Galerie Bel-Air, Geneva, Switzerland
2010 Modern Heroes, Hip-Pop-Art & Daily News, Halcyon Gallery, London
2009 APOPALYPTIC, Halcyon Gallery, London, UK
2008 Absolute Art Gallery, Knokke, Belgium
2008 Galerie Bertin-Toublanc, Paris, France
2007 Blast, Galerie Semmingsen, Olso, Norway
2006 Blast, Galerie Bertin-Toublanc, Paris, France
2006 Blast, Beaux Arts, London, UK
2005 Cloning and Religion, The Atkinson Gallery, Millfield, Somerset, UK
2004 Cloning and Religion, Beaux Arts, London, UK
Group Exhibitions:
2013 Imago Gallery, Palm Desert, CA, USA
2013 Baker Sponder Gallery, Miami, Florida, USA
2013 Madison Gallery, La Jolla, CA, USA
2012 Sem Art Gallery, Monaco
2012 Ode To Art Gallery, Singapore
2012 Galerie Bel-Air, Sardinia, Italy
2012 Galerie des Lices, Saint Tropez, France
2011 Art-Elysee (Salon d’ Art Contemporain), Paris, France
2011 Galerie des Lices, Saint Tropez, France
2011 Absolute Art Gallery, Knokke, Belgium
2011 Galerie Bel-Air, Geneva, Switzerland
2008 Galerie Bertin-Toublanc, Miami, USA
2008 London Art Fair, London, UK
2007 Beaux Arts, London, UK
2007 Rudolf Budja Galerie, Salzburg, Austria
2006 Sense and Sensuality (Blind Art 1st Prize), London, UK
2006 London Art Fair, London, UK
2005 Beaux Arts, London, UK
2005 British Art Fair, London, UK
2005 Royal Academy of Arts Summer Exhibition, London, UK
2005 London Art Fair, London, UK
2003 Art Palm Beach, Florida, USA
2003 Royal Academy of Arts Summer Exhibition, London, UK
2002 Blue Gallery, London, UK
Public Collections:
Bill & Melinda Gates Foundation "The Art of Saving A Life"
The Welcome Trust, London, UK
The Gateway Foundation, St. Louis, Missouri, USA
Plaza Singapura, Singapore
Public Installations:
Marble Arch, London, UK
Place du Louvre, Paris, France
Villa Borghese Roma Biennale, Rome, Italy
Boca Raton Resort, Florida, USA
Plaza Singapura, Singapore
Essays:
2014 Peter Frank, essay Hip Pop Art, Los Angeles, USA
2010 Sue Hubbard, essay Hip Pop Art, Daily News, Modern Heroes
2010 Richard Cork, Meeting Mauro Perucchetti
2009 Michael Bracewell, essay APOPALYPTIC
2006 Edward Lucie-Smith, Blast essay, Beaux Arts, UK
2004 Elspeth Moncrieff, essay, Cloning and Religion, Beaux Arts, UK
Publications:
2013 BLOUIN ARTINFO Magazine
2012 Lodown Magazine, Rider of the APOPALYPSE
2012 Fluoro Magazine, Jelly Baby, Bullets and Condoms
2012 Singapore TATLER Interview
2012 SWAROVSKI GEMSVISIONS “Cool clinical”
2012 Edelweiss Magazine, Geneva, Switzerland
2012 Sculpture magazine
2011 Eyes magazine, Geneva, Switzerland
2011 Robb Report magazine, China
2011 Idol Magazine Interview
2011 Wall Street Journal interview
2010 Vanity Fair, Italy
2010 The New Heroes, Modern Heroes interview
2010 MNENIE Russian Magazine Interview
2010 AGITPOP magazine
2010 BBC News “Jelly Baby sculpture displayed London Marble Arch.”
2010 GQ Magazine
2009 Blueprint Magazine Interview
2008 Tate Modern newsletter “Apopalyptic”
2008 Florida Inside Out magazine, Miami
2007 Where magazine, Miami
2007 The Financial Times
2006 The Tablet
2006 The Daily Telegraph
2006 The Times
2006 Cimaise magazine France “Blast Interview.”
2005 The Times magazine
2005 TATLER Magazine London
2005 Le Point magazine France
2005 Le Journal des Arts France
2005 The Evening Standard magazine
2004 The Tablet “What the cross will bear”
Books:
2014 From Marble to Flesh The Biography of Michelangelo David, The Florentine Press
2011 The Art of Medicine, Wellcome Collection
2011 A Guide for the incurably curious, Wellcome Collection
2011 Skull Style: Neon camouflage: Skulls in contemporary art, Farameh Media
The Melinda and Bill Gates foundation recently
asked Mauro to produce a special commission
artwork for their cause Art of Saving A Life
Photoquelle/credit: Lorena Perucchetti - PR Director / Art Consultant
THE U.S. MESS: MAURO PERUCCHETTI
AND AMERICA THE BEAUTIFUL
By Peter Frank
Mauro Perucchetti’s preoccupation with the paraphernalia of Pop – or,
perhaps more accurately, the Pop-ization of paraphernalia – ultimately
must alight upon the United States of America. This country, after all, is
the original, purest, and most consistent source of Pop artifacture and
Pop sensibility.
Actually, make that lower-case “pop”; the capitalized version of the label
speaks of an art movement, and, while American Pop Art made a
profound and lasting impact on artistic practice around the world, it did
not represent the American soul. The work of Warhol, Lichtenstein, et
al, arguably found American social discourse as foreign as did its English
and Continental counterparts; it looked at pop-culture phenomena with
the same longing, ecstatic confusion, and eros-tinged sense of mystery
that motivated the Europeans, even while surrounded by the stuff.
American Pop, and European, made “art” out of that which was trying
so hard not to be art.
The Italian-born, London-based Perucchetti addresses America the
Popular from the same partly-estranged vantage as his Pop forebears,
American and non-American alike. But these days, everyone – everyone
– is less estranged from popular culture than anyone was fifty years ago.
The globe-girdling dominance of American culture and society is
complete, after all. Abetted by social media and the World Wide Web,
unimpeded by opposing nations or cultures (which now rely on
America’s existence for their own anti-American potency), Americulture
is world culture. America’s tastes are the world’s tastes (even if you can
get wine at McDonald’s in some countries). America’s problems are the
world’s problems.
This is the premise on which Perucchetti’s collection of objects aimed
at American peccadilloes is based. Part of his “Hip Pop Art” series,
these delirious elaborations on American gun culture, police aggression,
patriotic mythology, and money worship manifest less a scolding tone
than one of awe. A sense of incredulity filters through these over-thetop,
delicious fabrications; the patterns of repetition that characterize
so many of them seem like mantras on material things. The parodic tone
that inflects these grotesque transformations of ordinary objects into
menacing tropes may begin pointedly, but gets blunted by the sadness,
nervous exhaustion, and even nostalgia that hover around them. These
reimagined, reformulated, repurposed objects, no matter how benign
any particular one might seem, project power – and, even more, project
the tristesse of power and the anguish of America’s unique task: it seeks
to rule the world while increasingly unable to rule itself.
Why doesn’t Perucchetti pick on some other benighted country? Lord
knows, the world is full of them. But none engulfs the entire earth with
itself as the United States does. When China takes over, Perucchetti will
doubtless skewer the resurgent Middle Kingdom with doting satire. In
the meantime, he takes aim at America – an immense target, to be sure,
but able to swallow most arrows aimed at it. Indeed, these sculptures
do not mock the country, they mock – and at the same time marvel at
– various behaviors and presumptions that make modern – or, if you
would, post-modern – America what it is nowadays.
“Don’t Mess With The U.S.,” Mauro Perucchetti’s ultimate object in this
group – and the name of the group itself – announces. Far from echoing
the defiant cry of the American jingo, the declaration provides a yet more
dire and forlorn warning: the U.S. is messing with itself, and it doesn’t
need your help.
Los Angeles, January 2015
Contact: Lorena Perucchetti ( hip-pop-art.com )
PR manager/Art consultant |
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