Giancarlo Zamponi was born in Pistoia, Italy in 1939. He is a graduate of The Academy of Fine Arts in Florence. He taught art for many years at the High School of Fine Arts in Lucca, Italy, and earlier in his career taught art in Triest and Florence. Zamponi s works have been exhibited in Italy, France, Holland, Germany, Norway, Morocco, Spain, Mongolia and China.

Exhibitions:

• 1976 Bari, Galleria Il Gabbiano
• 1978 Marina di Massa, Palazzo E.P.T. Turismo
• 1984 Pistoia, Palazzo dei Vescovi
• 1985 Pistoia, Studio Alcione
• 1987 Montale (Pistoia), Biblioteca Comunale
• 1988 Pistoia, Galleria Il Mezzanino
• 1989 Unna, Galerie OAK - Germany
• 1989 Buggiano (Pistoia), Palazzo Pretorio
• 1990 Pistoia, Palazzo Comunale
• 1993 Unna, Haus Opherdicke Holzwickede - Germany
• 1993 Hamm, Galerie in Hause Optik Krane Kunstkrais - Germany
• 1993 Waalwijk, Cultureel Centrum De Leest - Holland
• 1994 Ville de Palaiseau (Paris), Mediatheque George Sand - France
• 1994 Haseldorf, Schleswig-Holstein Artforum - Germany
• 1997 Kamen, Rathaus Galeria - Germany
• 1997 Hamminkeln, Rathaus Galerie - Germany
• 1998 Hamm, Maximilianpark, Germany
• 2003 Oslo, Norvegia - "Gathering of the Continents" Palazzo Comunale di Oslo
• 2003 Prato, City Sixty Italy
• 2004 Oslo Town Hall Gathering of the Continents - Norway
• 2004 Rabat, Bab El Kebir Marocco
• 2004 Casablanca, El Mechouar Marocco
• 2004 Prato, Borgo al Cornio Italy
• 2005 Ulaan Bataar, National Art Gallery - Mongolia
• 2005 Beijing, Pickled Art Centre - China
• 2005 Burjassot, Case de Cultura - Spain
• 2006 Munich, Italian Cultural Institute Germany
• 2006 Munich, Germany Fuchs Law Offices
• 2006 Vaterstetten, Germany - Vaterstetten Rathaus Galerie
• 2007 Marrakech, Marocco - Marrakech Museum of Contemporary Art
• 2007 Helsinki, Finland - The Helsinki International Art Exhibition

Address: Giancarlo Zamponi Via Bargi, 137 51030 Pistoia, Italy
Telephone: +39.0573.570771

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"The reference to the reality of Giancarlo Zamponi is of great artistic strength and marked by an extraordinary inventive authenticity. He refuses an abstract vision of objects, he never transports the execution that marks the perceptive process through intellect, but instead he celebrates in front of our eyes what is independently concluded from our analytical faculty of designation. This defines the man and the passage by an immediate impact of sensual perception, without which the fantasy of his interpretation adjusts or even subdues it. In contrast, he uses real situations like exploratory ingredients as an impulse which accompanies his figurative sense. During the painting process, the artist transforms himself into an medium and begins the process of modelling which, in the expression of his inventive potential is not hindered by any constraints to imitate. His definitions are parallel to his demonstration of the material. Giancarlo Zamponi doesn't want these definitions to create a transposition of reality into images. He develops a formal expression which is completely removed from the real model, whose expressive content closes within itself the power to narrate the multiplicity of the reality perceived, and to point out individual characters. Giancarlo Zamponi comments in a programmed manner and with mastery uses an autonomous formal competence. And this doesn't try to isolate the moment in a serene snapshot to crystallize it into a lifeless statue, but it gathers in an ample gesture the vibration of the non-stop mutation of the material that surrounds us."
Ulrike Weidmann