“GREEN ROOM”, 2016 installation viewBACO Arte Contemporanea

COLON (Exquisitor), 2016 tecnica mista su fibra cellulosica alla gelatina plasticizzata, in teca di polietilene mixed media on cellulose fibre with plasticized gelatine, in a polyethylene case 22 x 32 cm61.5 x 71.5 cm

COLON, 2016 ossidi, acqua marina, fertilizzante, solfato ferroso, verde rame, pastello, acrilico su carta lubrificata in teca di salpaoxides, seawater, fertilizer, ferrous sulphate, verdigris, pastel, acrylic on oiled paper in a bonded-leather case 120 x 216 cm140 x 236 cm

SEXUAL CLUMSINESS OF AMPHIBIOUS MACHINE, 2017 olio su carta intelata in teca di salpa acidata oil on paper on canvas in a acidic bonded-leather case

32 x 45 cm40 x 53 cm

SEXUAL CLUMSINESS OF AMPHIBIOUS MACHINE, 2017 olio su carta lubrificata in teca di salpa acidata oil on lubricated paper in a acidic bonded-leather case

45 x 32 cm53 x 40 cm

MOTHERBOARD 1, 2016 uretano da prototipazione, sale marino, zolfo, percloruro di ferro, tappi in vulkollan, tubi di silicone prototyping urethane, sea salt, sulphur, ferric chloride, vulkollan plugs, silicone tubes61 x 81 x 5 cm

GINNUNGAGAP (The Machinist), 2014 olio su carta intelata in teca di nylon e silicone oil on paper on canvas in nylon and silicone case46.5 x 31.5 cm

74 x 60 cm

GINNUNGAGAP, 2010 olio su carta intelata in teca di nylon e silicone oil on paper on canvas in nylon and silicone case

48 x 33 cm74 x 60 cm

GINNUNGAGAP (The Paintoker), 2011 olio su carta intelata in teca di nylon e silicone oil on paper on canvas in nylon and silicone case

48 x 33 cm74 x 60 cm

AYE-AYE, 2016 olio su carta intelata in teca di nylon e silicone oil on paper on canvas in nylon and silicone case

30 x 24 cm74 x 60 cm

AYE-AYE, 2014 olio su carta intelata in teca di nylon e silicone oil on paper on canvas in nylon and silicone case

45 x 32 cm74 x 60 cm

COLON, 2011 grafite su carta lubrificata in teca di nylon e siliconegraphite on lubricated paper in nylon and silicone case

24 x 33 cm53 x 40 cm

THE GRINDER, 2013 grafite su carta lubrificata in teca di neoprene graphite on lubricated paper in neoprene case

100 x 70 cm110 x 80 cm

COLON, 2011 grafite su carta lubrificata in teca di nylon e silicone graphite on lubricated paper in nylon and silicone case

24 x 33 cm 59.5 x 74 cm

COLON, 2012 grafite su carta lubrificata in teca di nylon graphite on lubricated paper in nylon case

70 x 100 cm72.5 x 102.5 cm

“ALEA”, 2012installation viewThomas Brambilla Gallery

COLON, 2011 grafite su carta lubrificata in teca di nylon e silicone graphite on lubricated paper in nylon and silicone case

24 x 33 cm53 x 40 cm

serie di 4 — series of 4

COLON, 2014 trippa disidratata, gomma para e silicone in teca di vetro dehydrated tripe, para rubber and silicone in glass case 40 x 39 x 39 cm136 x 40 x 40 cm

CALABIYAU, 2015 trippa disidratata, grasso animale, sale marino, gel di agar, ossidi, amminoacidi ramificati, poliuretano, gomma para, nylon, chiodi da tassidermia in teca di vetro.dessicate tripe, animal fat, sea salt, agar gel, oxides, branched amino acids, polyurethane, para rubber, nylon, taxidermy nails in a glass case.

67 x Ø10 cm35 x 25 x 85 cm

COLON, 2011 grafite e penna su carta fotografica acidata in teca di nylon e vulkollangraphite on acidic photographic paper in nylon and vulkollan case

10 x 15 cm52 x 202 cm

COLON (fondale per tassidermie, esche e vecchie trappole), 2015 smalto industriale, percloruro di ferro, ossidi, gel di agar, polveri di aminoacidi e proteine, sale marino, fertilizzante su silicone industrial varnish, iron perchloride, oxides, agar gel, powders of amino acids and proteins, fertilizer on silicone

90 x 61 cm65 x 95 x 66 cm

COLON, 2013 grafite su carta lubrificata in teca di nylon e siliconegraphite on lubricated paper in nylon and silicone case

33 x 24 cm53 x 40 cm

serie di 4 — series of 4

THE GRINDER, 2015 tempera all’uovo su carta lubrificata in teca di silicone e gomma para egg tempera on lubricated paper in silicone and para rubber case

24 x 33 cm76 x 121 cm

GINNUNGAGAP (Camouflage Lesson), 2012 olio su carta intelata in teca di nylon e silicone oil on paper on canvas in nylon and silicone case

15 x 28 cm59.5 x 74 cm

GINNUNGAGAP, 2011 olio su carta intelata in teca di nylon e silicone oil on paper on canvas in nylon and silicone case

15 x 28 cm59.5 x 74 cm

THE GRINDER, 2012 olio su carta intelata in teca di nylon e silicone oil on paper on canvas in nylon and silicone case

35 x 49 cm60 x 74 cm

COLON, 2013 olio su carta lubrificata in teca di nylon oil on lubricated paper in nylon case

70 x 100 cm72.5 x 102.5 cm

GINNUNGAGAP, 2011 olio su carta intelata in teca di nylon e silicone oil on paper on canvas in nylon and silicone case

48 x 33 cm74 x 60 cm

THE GRINDER, 2015 olio su carta intelata in teca di neopreneoil on paper on canvas in neoprene case

220 x 124 cm250 x 154 cm

THE GRINDER, 2015 olio su carta intelata in teca di neoprene oil on paper on canvas in neoprene case

124 x 220 cm154 x 250 cm

THE GRINDER, 2015 olio su carta intelata in teca di neoprene oil on paper on canvas in neoprene case

124 x 220 cm154 x 250 cm

THE GRINDER, 2014 olio su carta intelata in teca di silicone oil on paper on canvas in silicone case

45 x 90 cm105 x 160 cm

SEXUAL CLUMSINESS OF AMPHIBIOUS MACHINE, 2007 – 2008 olio su carta lubrificata in teca di nylon oil on lubricated paper in nylon case

50 x 40 cm62 x 52 cm

serie di 7 — series of 7

Oscar GiaconiaMilano,1978 – Lives and works in Bergamo

SELECTED SOLO SHOWS

2017 Wunderkammer n.1 | OVERMAN Thomas Brambilla Gallery, Bergamo.

2016 Green Room curated by Stefano Raimondi and Mauro Zanchi BACO Arte Contemporanea – Palazzo della Misericordia, Bergamo.

2013 Aye-Aye National Museum of Natural History, Mdina - Malta.

2012 Alea curated by Stefano Raimondi Thomas Brambilla Gallery, Bergamo.

SELECTED GROUP SHOWS

2017 Esposizione in tempo reale N.45 (with Franco Vaccari, Davide Allieri, Cinzia Benigni,

Filippo Berta, DZT Collective, Daniele Mafferis, Andrea Mastrovito, Giovanni Oberti, Franceco Pedrini, Maria Francesca Tassi)

Sala alla Porta Sant’Agostino, Bergamo.

2016 happy ending (with Francesco Arena, Sylvie Auvray, Dara Birnbaum,

Rossella Biscotti, Tom Burr, Antoine Catala, Guy de Cointet, Ann Craven, Dexter Dalwood, Hassan Darsi, Plamen Dejanoff, Marcelline Delbecq, Julien Discrit, Jimmie Durham, Ruth Ewan, Michel François, Linda Fregni Nagler, Aurélien Froment, General Idea, Jean-Michel Hannecart, Sharon Hayes, Charline von Heyl, Barbara Kasten, Nick Mauss, Mathieu Mercier, Ciprian Muresan, Lisa Oppenheim, Silke Otto-Knapp, Christodoulos Panayiotou, Amalia Pica, Falke Pisano, Émilie Pitoiset, Loïc Raguénès, Lili Reynaud Dewar, Wilhelm Sasnal, Peter Saville & Anna Blessmann, Valerie Snobeck, Catherine Sullivan, Lilli Thiessen, Niels Trannois, Jean-Luc Verna, Danh Vo)

curated by Florence Derieux Frac Champagne-Ardenne, Reims.

2015 Lo Specchio Attraversato (with Giovanni De Lazzari, Francesco Pedrini) curated by Claudia Santeroni Ex Oratorio di S. Lupo, Bergamo.

Open MIA (with Marco Basta, Filippo Berta, Thomas Braida, Fabrizio Cotognini, Giovanni De Lazzari, Massimiliano e Gianluca De Serio, Giulio Frigo, Corinna Gosmaro, Massimo Grimaldi) curated by Stefano Raimondi and Mauro Zanchi BACO Arte Contemporanea – Palazzo della Misericordia, Bergamo.

2014 Peintures (with Sylvie Auvray, Bruno Carbonnet, Ann Craven, Robert Filiou, Dexter Dalwood, Kirsten Everberg, Nicolas Floc’h, Jean-Michel Hannecart, Christian Jaccard, Alain Jacquet, Michel Majerus, Nick Mauss, Philippe Mayaux, Silke Otto-Knapp, Clément Rodzielski, Glen Rubsamen, Ger Van Elk)

Musèe Saint-Loup, Troyes. 2013 Fuori quadro. Follia e cratività fra arte, cinema e archivio

(with Raffaele Andreassi, Atelier dell’errore, Roger Ballen, John Bock, Maurizio Buscarino, Jonathan Caouette, Éric Duvivier, Pietro Ghizzardi, Alberto Grifi, Roni Horn, Asger Jorn, Uliano Lucas, Paul McCarthy, Tarcisio Merati, Vincenzo Neri, Valère Novarina, Michael Paysden, Arnulf Rainer, António Reis, Ferdinando Scianna, Studio Azzurro, Renaud Victor, Tim Webb, Wurmkos) curated by Elio Grazioli Sala alla Porta Sant’Agostino, Bergamo.

2013 Ogni cosa a suo Tempo, capitolo VI (Resume and Rebirth) (with David Adamo, Davide Allieri, Alis/Filliol, Meris Angioletti, Francesco Arena, Riccardo Beretta, Filippo Berta, Emma Ciceri, Giovanni De Lazzari, Dyzerotre Collective, Ettore Favini, Ferrario Frères, Marco Grimaldi, Andrea Kvas, Clara Luiselli, Andrea Mastrovito, Navid Nuur, Giovanni Oberti, Francesco Pedrini, Alessandro Verdi) curated by Stefano Raimondi and Mauro Zanchi BACO Arte Contemporanea - Palazzo della Misericordia, Bergamo.

Too big or not too big (with William Anastasi, Dario Beatovic, Dove Bradshaw, Marco Cingolani,Tom Friedman, Thomas Helbig, Anatoly Osmolovsky, Erik Saglia, Alessia Xausa)

Thomas Brambilla Gallery, Bergamo.

OPEN STUDIO

2015 The Blank PLAY ArtDate ILINX | vertigine Gioco – Pittura – Suono * sound installation by Steve Piccolo

2012 The Blank ArtDate

PUBLIC COLLECTIONS

Frac Champagne-Ardenne, Reims.BACO Arte Contemporanea, Bergamo. UBI Banca Popolare di Bergamo.

SELECTED BIBLIOGRAPHY

GREEN ROOMcurated by Claudia Santeroni Lubrina Editore, Bergamo – 2016

Lo Specchio Attraversato curated by Claudia Santeroni Lubrina Editore, Bergamo – 2015 (pp.18 – 23) Oscar Giaconia, Meister opere 2007 | 2014 Lubrina Editore, Bergamo – 2015 Contemporanea Misericordia curated by Stefano Raimondi and Mauro Zanchi Lubrina Editore, Bergamo – 2015 (pp.54 - 55) Impor-traits edited by Giancarlo Norese and Luca Scarabelli a certain number of books, Italy – 2014

Fuori quadro. Follia e creatività fra arte, cinema e archivio curated by Elio Grazioli, Barbara Grespi, Sara Damiani ARACNE editrice, Roma – 2013 (p.125)

Ogni cosa a suo tempo - All in Good Time Capitolo VI Resume and Rebirth curated by Stefano Raimondi and Mauro Zanchi Mousse Publishing, Milano – 2013 (p.41)

Using mainly the painting technique, meant as a digestive practice of other languages, Oscar Giaconia’s work orbits around multiple constellations: the concepts of monster, stunt, trap and autopsy are just some of the keywords, (reversible at the transformative qualities of the painting medium), which have always accompanied the diversified research of the artist, characterized by the use of synthetic devices like silicone cases, vulcanite, nylon, para rubber, neoprene rubber.

Avvalendosi prevalentemente della pittura, intesa come pratica digestiva di altri linguaggi, il lavoro di Oscar Giaconia si satellizza intorno a molteplici aree di ricerca: i concetti di mostro, controfigura, autopsia e parassita sono solo alcune delle parole chiave, (reversibili alle qualità trasformative del media pittorico), che accompagnano da sempre la ricerca stratificata dell’artista, caratterizzata anche dall’utilizzo di dispositivi in-organici e sintetici quali teche di silicone, vulcanite, nylon, gomma para e neoprene.

OG STUDIOOSCAR GIACONIA

+39 328 4179207

Via E. Berlinguer, 1524020 Villa di Serio (BG) Italy

studio@oscargiaconia.it

p.19COLON, 2011

p.50 – 55WSEXUAL CLUMSINESS OFAMPHIBIOUS MACHINE, 2007-2008

p.12GINNUNGAGAP, 2010

p.15GINNUNGAGAP (The Paintoker), 2011

p.22COLON, 2011

p.26COLON, 2011

p.27COLON, 2014

p.37 – 38GINNUNGAGAP, 2011

p.39THE GRINDER, 2012

p.24COLON, 2012

p.40COLON, 2013

p.20THE GRINDER, 2013

p.47THE GRINDER, 2014

p.35THE GRINDER, 2015

p.11GINNUNGAGAP (The Machinist), 2014

p.36GINNUNGAGAP (Camouflage Lesson), 2012

p.34COLON, 2013

p.41GINNUNGAGAP 2011

p.31COLON, 2011

p.6COLON, 2011

p.32COLON (fondale per tassidermie, esche e vecchie trappole),2015

p.29CALABIYAU,2015

p.42 - 45GINNUNGAGAP (The Paintoker), 2011

p.9COLON (Motherboard 1), 2016

p.15AYE-AYE, 2016

p.5COLON (The Exquisitor), 2016

p.7SEXUAL CLUMSINESS OFAMPHIBIOUS MACHINE, 2017

p.8SEXUAL CLUMSINESS OFAMPHIBIOUS MACHINE, 2017