Andrea Galvani, born in Verona Italy in 1973, lives in New York. He has participated in numerous international shows and his work has been published internationally.
His research is geared towards photography as his medium but also avails itself to other mediums which are: video, drawing, and wall painting. He constructs new constellations of feeling, drawing upon and mixing up concepts deriving from different disciplines.
In his photographs reality appears frozen, in a state of waiting, deconstructed, or potentially on other levels.The real relationship with experience, risk, phenomenons and physical limitations of the means and the site in which he works, is a deciding factor in the development of his projects.
His research often takes on a scientific aspect, focusing attention on the invisible mechanisms that construct and transform life. His work has partaken in prestigious collections in Europe, China, Japan, Australia, Brazil, and the U.S.



The Intelligence of Evil

The Intelligence of Evil project documents a series of actions the artist produced using military grade smoke bombs while working in the mountainous regions of Austria, Switzerland and Italy. Intelligence of Evil #5 and #6 are portraits of the artist’s father, taken on the Val Senales glacier at an altitude of about 2800 meters. In these images, the black smoke envelops his body and his disappearance is frozen in time. The dense smoke penetrates and fractures the white landscape, thereby transforming the natural surrounding beauty and altering the perceived of the depth of field.



The wall of sound

I like to think of velocity as an access code to another level, a propelling acceleration so rapid that resets all references. When a plane goes beyond the speed of sound, it enters a capsule of silence. Its mass meets with a physical limit, abruptly interrupting the diffusion of sound waves, which are compressed until they stick to its surface like a glove. In the project Wall of Sound, a selection of photographic images are blown up and moved physically around the shoot location. The collision between actual landscape and photographic clone generates a force field, a visual plunge built around the rectangular perimeter that borders the images. The time between production and reproduction is compressed to the point that it appears absent.
Wall of Sound is the staging of an impossible simultaneity, a two-dimensional deception, a transgression in the hysteresis of reality. The images both reveal and subtract. They are erected as altars and they safeguard mystery.

Andrea Galvani, Selfportrait for «Tema Celeste», n.120, March – April 2007, Gabrius Editore, Milan


Death of an image
When things become hot or very cold they change.
Sometimes it happens in such a radical way that it is no longer possible to recognize them. They change so much that, by just looking, there is nothing that would enable us to recognize their original molecular structure. At the same time, beyond 780 nm, the threshold of the visible spectrum, the human eye is plunged into darkness, a cosmic darkness in which the electromagnetic waves transmitted by objects are imperceptible.
Death of an Image is an attempt to cross a boundary, the desperate need to cancel something out in order to rebuild it. Objects, placed within the area of the shot according to precise perspectival hierarchies, generate their own absence, exposing hiatuses in the landscape, cloaking it, transforming the subjects. They are physical subtractions repeated in space, calibrated violence that triggers a process of the image’s resurrection. They are precarious interventions, light superstructures that interfere, doubling the visual epicenter.

Andrea Galvani, Selfportrait for «Tema Celeste», n.120, March – April 2007, Gabrius Editore, Milan

Death of an image #5 and #9 (belongs to the namesake series 2005-2008), are the documentation of two actions produced respectively in an embankment nearby an industrial area of Cagliari in Sardinia and a shipyard in southern Corsica. The heads of two horses, training for military ceremony, have been physically covered by a soft and precarious structure; constructed by fine metal wire, foam rubber and balloons filled with helium gas. The subjects are then distorted, censored by the volume of objects and interrupted by a black or white visual pause. The animals appear and usher in a new transfigured form, portrayed in an almost primordial stage.In the entire series of Death of an Image, Andrea Galvani uses a barrage of objects, mirrors and reflections of light, smoke and the process of detonation, and has worked for several years on the landscape as subject, detracting portions, unfolding and altering the physical perception of the space. Suspended in remote and dilated time, the locations seem perturbed by the artist, having done mysterious physical experiments as violent actions that last for fractions of a second or on the contrary, structural interventions that have fragile properties, which are constructed through a very slow process. In the photographs of this series, the space seems expanded, deposited under the form of biological aggregations, strange formations of crystals or planetary explosions.


During the weeks immediately preceding his departure to the Arctic, Galvani conducted several tests for collecting, storing, and retransmitting the energy of the sun using solar panels installed on top of a group of cars. He experimented at numerous locations throughout Brooklyn, New York and with various equipment configurations. Higgs Ocean #1 was shot on an extremely cold January day when an unexpected snowstorm interrupted Galvani’s tests. The storm and ensuing blanket of snow interfered with the process of absorbing light and transformed the car into an inactive sculpture, frozen in a state of temporary helplessness.

For Higgs Ocean #5, light was collected over the course of one day, from sunrise to sunset, using the same setup of vehicles and solar panels. The accumulated energy was then released from beneath the vehicles throughout the evening, allowing a trace of the day’s sunlight to persist into the night, until it was depleted. In the resulting image, the light creates an effect like an X-ray, revealing parts of the structures that usually remain obscured.


Andrea Galvani is the winner of Location One 2008 / 2009 and will represent Italy at the International Residency Program in New York.

There are only 12 international artists invited to the program and each one has his institutional nominator: the cultural ministry, cultural foundations and museums of the participating country. Since 2005 Artegiovane Milano is Italy’s home country sponsoring institution and with the contribution of Anima S.G.R.p.A. and the City of Milan, it permits one young Italian artist to participate for six months in the Studio Program in New York. Every year, after a first selection on a national level done by Italian critics and curators chosen by the association Artegiovane, the portfolios of the candidates are examined by an American commission composed by art museum and art review directors, American curators and by the staff of Location One, who elect one single artist-in-residence.At Location One the artist will have a working studio and will be followed by his personal curator.The award is aimed at the divulgation and the promotion of the work of the artists-in-residence through an intensive program of encounters and studio visits with curators and insiders of the contemporary art system of New York. At the end of the residency program, the artist will exhibit the work created in a show in one of Location One’s main galleries or in their project space.

Location One is located at:
26 Greene Street (between Canal and Grand), NY NY, 10013
Subway: A-C-E; N-R-Q-W; 6; J-M-Z to Canal Street




curated by Anna Daneri
Opening Saturday 17th November 2007 at 6 pm
20th November 2007 – 16th February 2008
Special Bac! project : Saturday 1th December at 11 am
Galleria Artericambi, via A.Cesari 10 Verona, Italy

In the project N⁻¹, the second part of the trilogy “the intelligence of evil”, Andrea Galvani seems to operate through subtraction, orchestrating the slow disappearance of the subject.
Creatures which become penultimate, absorbed by mist or by darkness, like the damned in Beckett, they stand in silhouette, waiting for the end. But it is a process which is open, a mathematical function whose equilateral curve plunges downwards without reaching zero.
It is an intensity directed at exhaustion which divides and changes each time.
In the video installation «La triade di Bichat II», developed with the technical colaboration of Paolo Berto Durante, a series of objects is projected life-size onto the wall. At different times and in different ways, these objects are subject to a sudden process of disagregation, being sublimated and losing themselves in the space. In the photographic images, the landscape draws on gradients through which it dissolves.
A group of rabbits let loose in the middle of a 3,400m high glacier collaborate in the staging of a change. Like a cloud which breaks apart, a feed-back of light in the dilated pupils of the animals at night, the limit is not found in terms of infinity, but is found anywhere, bouncing from one to the other so much that it forms them.


others works