Paolo Terdich | |
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Born | 1960 Piacenza, Italian |
Known for | Painting |
Notable work | painter |
Paolo Terdich (born 1960) was born in Piacenza is an italian painter. [1] A contemporary, from hyperrealism to dream, far from academic formalisms, he deals with the national civil commemoration, the National Memorial Day of the Exiles and Foibe. [2]
He was born in Piacenza to a family from Fiume, overwhelmed in the post-war period by the Istrian–Dalmatian exodus, a historical event also known as the Istrian exodus. [3] Her highly expressive, landscape-based, intimate and sentimental pictorial path has emerged over time, becoming known especially since the 2000s, through exhibitions at the Italian Cultural Institute in Cairo, in 2002 at the Town Hall of Sauze d'Oulx, in 2004 in Holland at the American Women Cultural Association and from 2008 to 2009 in Piacenza in Atelier d'Arte in 2012. [4] and at the Spazio Rosso Tiziano in 2015 and 2018. [5] [6] Since 2010, Terdich has held several solo exhibitions abroad, from the italian Embassy in Nigeria, to the solo exhibitions in Berlin in 2019 and New York City in 2022, and was subsequently invited to the LIX Venice Biennale 2022 national pavilion of Grenada. [7] The essays were edited by Paolo Levi, Elisa Manzoni, Daniele Radini Tedeschi, Alfredo Pasolino and Alberto Moioli.
Since 2023 he has been presenting a long-considered artistic project, the Ricordo delle Foibe, Julian-Dalmatian exodus, to dialogue through figurative art attentive to the contemporary aesthetics of an allegorical context with the new generations and pursue a tribute to lived memory, with a first exhibition in Palazzo Galli, Sala Panini of Banca di Piacenza in 2024. [8] Exhibits in Rome [9] at the exhibition Exodus, lest we forget, in the Sala del Cenacolo of the Vicolo Valdina Complex of the Chamber of Deputies (Italy) in February 2025, an event desired by Lorenzo Fontana, [10] President of the Chamber of Deputies. The exhibition was curated by the Paolo Salvati Archive, [11] with the presentation of Federico Mollicone [12] and an essay by Alberto Moioli. [13] [14] [15]