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"Luciano Caggianello, born in Siena in 1959, is an artist and designer who began his career in the 80s interacting with different professional fields (advertising, illustration, graphics, design). At the same time he embarked on a solid path of artistic research that, after the initial and assiduous attendance at the studios and studios of Turin artists, led him to evolve different visual themes and also allow him to consolidate a structured itinerary national and international exhibition. At the same time, along this path, it is also accompanied by the publication of some books (“Intermediario Immateriale” 2003, “Parole altrove” 2014, “Aporia e Metamorfosi dell’Arte” 2019, “Fenomenologia del Quotidiano 2020, “Pubblicità  .jPIG 2021) which serve as an aid to reflection. and deepening about one's conceptual and philosophical research.

In recent years his artistic recognition has become substantially a work of prevailing perceptual synthesis that re-elaborates all the didactic, cultural and intellectual interactions coming also from the synthesis of its multiple training fields (from applied industrial physics, to architecture, to graphics, to design, to visual). This approach identifies the artistic objective of a basic conceptual thematic project and of experimentation inserted between concrete "poverty" and digital work, revealing much more relevant to parameters and concepts of presentation than of representation. 

He lives and works in Turin."

Instagram: lucianocaggianello

VANITY NEVER DIES, 90x90 cm, digital work, print on Dibond Aluminum, 2017

" Although physical death is a biological process of affirmed naturalness, we have however managed to make it a cultural artefact as it has become the conceptual transmutation of a metamorphosis. Beyond this aspect we managed to make death mercilessly scenographic because from phenomenal intuition it has transformed into a festival of appearances and choreographies and many think it is a dream. It is on this ground that the concept of the proposed work operates because death being an "intellectual transition" of the individual means that it also fully expresses the approach and cultural thought that the individual himself has consolidated with his path existential. We cyclically witness the consolidation of a widespread social behavior that belongs more to a varied externalization of vanity rather than to an intimate personal and family experience capable of providing value and insight into the phenomenology of consciousness."

WIMBLEDON DAILY, 70 X 50 cm circa, installation, 2020

"In the incessant repetition of everyday life, including carelessness and mockery, the reassuring habit of multiple repetitiveness is refined. In the constant search for what is always the same, people rediscover the identity of themselves as well as of "things", since with them, and through them, a specific, strong and profound relationship is established. Analyzing the phenomenon means understanding that our ways of interrelation become deficient and drag with them shreds of our own identity.

Faced with this concept, I thought that the work would be positioned in an orthogonal manner with respect to the parallelism of everyday life because it would argue for a subsistence, even pedagogical, to address what is commonly considered the reasoning of the obvious banal and is therefore dismissed in a superficial manner. and asymptomatic.

Everyday life, and sometimes the daily life of many people, is considered boring, unimportant, disheartening, in short, not suitable to be told. I therefore wanted, out of challenge but also out of conviction, to redeem this absurd conception and legislate a sort of moral and ethical attribution towards these phantom gestures never told, never shared, never even seen. A prize for that intense, routine, and daily match (therefore a daily Wimbledon) to all those who are constantly ousted, forgotten, undermined by the belief that there are gestures that have value and gestures that have no value.

The moment of BEING is a complex identity in its own way. It is a path of knowledge that undertakes a reflection of experience and which seems to find comfort even in habitual gestures and thoughts. We are what we do, we are the product of our habits, and since they are the gestures that will allow us a return to the moral concept, we must reevaluate them and adapt to an internal revolution precisely because what will be saved will not be what we have protected but what we will have changed.

Therefore, obtaining a sort of intellectual discontinuity towards clichés, prejudices or some banal and indifferent beliefs could prove to be the research and philosophical formula for creating social contents of elaborate ethical significance as well as stratified human competence."

GIOTTO PRET-A-PORTER, 90 x 90 cm,  digital work, print on Dibond Aluminum, 2017

"In that round that refers to Giotto there is more than one curved linear stroke.

In fact, the latter, even in an ironic way, presents itself as a parameter of everyday substance that can be present in every situation as if it were a hanger to hang and carry everywhere, almost as indispensable as a dream."

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