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In 2022, the Casa d’Arte Spagna Bellora made a major donation to the National Gallery of Modern and Contemporary Art of works from its collection ranging from the 1960s to 2015.

On September 28, 2023, an exhibition entitled Scritture irrequiete was opened by the National Gallery of Modern and Contemporary Art, displaying a selection of these works.

The exhibition will be open to the public until October 29, 2023.

Idoli, Galleria Centro Steccata, 2023

Nel segno di Agostino Ferrari: Terre Segnate – su ArtTalkers un’intervista di Alessandra Alliata Nobili ad Agostino Ferrari (IT)

Sezione due Ing

I draw signs and writings not to represent but to stop myself on a page time.
If it is true that this too will become a story or a diary, it will be only because everything that man has done, including the first imprint left on the sand, has remained in our memory even if many winds have erased the image.

As Janus well wrote: “The sign has in itself the possibility of rebelling even against itself, become indecipherable like ancient tombstones engraved in a remote and unknown language. This is his return to his origins, when nothing yet existed in the minds of men except for a few opaque glimmers of light in the ice or in the heatwave of his early dreams”

Each color is pregnant with multiple meanings closely linked to the natural world and the magical relationship that man has always had with it, a symbol permeated with emotional resonance.

Agostino Ferrari

Sezione 3 en



The Catalogue of Agostino Ferrari’s works has been published by Editrice Electa.

The volume, edited by Martina Corgnati, documents about 2500 works, excluding multiples and projects, and consists of critical texts, cards of the various creative periods and bio-bibliographical apparatus.

His work

Almost a foreword

by Martina Corgnati

In a group of several paintings of his, collectively called Oltre la soglia (Beyond the Threshold) and started after 2002, Agostino Ferrari decided to deceptively break through the canvas’ surface, disclosing “another”, further, dimension, the almost tangible presence of a physical space – heralded by the three-dimensional and almost complacent curls of a painted surface folding and crumpling on itself – and, at the same time, the utter absence of space, the stillness of a space sucked into the dull and impassable blackness of this totally other dimension.

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The pre-expressiveness of writing

by Ugo Volli

For more than four decades, Agostino Ferrari has been working on the thin but decisive border parting signal from sign. As his work is within the boundary of the visual and basically (with the remarkable exception of his intriguing three-dimensional maquettes) of the XXth century expressive painting tradition, the thin border Ferrari’s art is mainly investigating lies in between plastic matrix and writing.

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The undivided space of painting

by Luciano Caramel

“In developing my research, I rather focus my attention on sign, which is life’s trail, the intermediate between my own existence and the surrounding reality.” Written by Agostino Ferrari for the Events series, this is the first remark the reader finds alongside the selection of paintings, dating from 1984 onwards, displayed in this book. An incipit consonant with the artist’s entire work of the last twenty-three years (almost a quarter of a century), which is marked by such an intrinsic coherence, in spite of the variety to be found within its operational hypothesis and their results, on a language level so intimately connected with life and both the cultural and existential context, as to be always lively and stimulating, striving for art to be not just a self-centered purpose, but an increasingly determinant discourse with the public.

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Dal Cenobio ai ProSegni: Agostino Ferrari si racconta

by Nicola Maggi

Intervista comparsa il 27 Novembre 2018 su COLLEZIONE DA TIFFANY

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Agostino Ferrari – Eventi

by Giancarlo Politi

Intervista comparsa sul n. 295 luglio-agosto-settembre 2011 di Flash Art

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