Gloria Maria Cappelletti
Works in Milano Italy

Gloria Maria Cappelletti, art dealer, founded Gloria Maria Gallery in December, 2009 with a solo exhibition of works by Miltos Manetas. This exhibition would set the pace and agenda for the program of the gallery, which foresees a dialogue between things digital and primitive, fully questioning of the role that art plays in the contemporary social-political, and cultural online arena.
The gallery ethos is to promote great and innovative art works and to nurture the best talent from the new generation of artists working on the internet.
Discussions (0) Opportunities (0) Events (7) Jobs (0)

Paul Flannery, Fun Autobahn

Fri Jan 24, 2014 00:00 - Fri Apr 04, 2014

Paul Flannery, Fun Autobahn
24/01/2014 - 03/04/2014

Gloria Maria Gallery is pleased to announce its first online exhibition, featuring Fun Autobahn a deconstructive experiment in time, vision and texture by UK based artist Paul Flannery.

Fun Autobahn is fashioned from some jerky, lo-light, lo-fi mobile phone footage found on Youtube of a group of boys throwing a pair of trainers over a telegraph wire. The video is pulled apart frame by frame, reordered successively in a grid, one grid-section for each frame of footage.

On view at until April 3rd, 2014, with an essay by Attilia Fattori Franchini.


AD BOOK: Express Visual Edition by BFFA3AE

Fri Feb 08, 2013 19:00 - Mon Mar 04, 2013

Milan, Italy

Gloria Maria Gallery is pleased to present BFFA3AE's AD BOOK published by Badlands Unlimited. 

AD BOOK consists entirely of art advertisements: for artists, galleries, publications, businesses, and anything arts related. For the book, BFFA3AE created a system of value to determine the cost of each ad. The fee was based on a set of variables mimicking advertising standards, while offering a new approach to the traditional advertising system. With an introduction by Knight Landesman, publisher of Artforum. 

In addition to the book, the exhibition will include a new four-channel video installation the artists have envisioned as an advertisement for the book itself.

BFFA3AE was formed in 2007 and consists of Daniel Chew, Micaela Durand, and Matthew Gaffney. They work in a variety of mediums including film, performance, laptops, and sculpture. BFFA3AE are best friends forever and ev3r and ev3r. They reside in New York. 


Priscilla Tea

Mon Jun 04, 2012 19:00 - Fri Jul 20, 2012

Milan, Italy

Opening reception: 4 June 2012 | 7-9PM

Gloria Maria Gallery
Via Watt 32
20143 Milan

Gloria Maria Gallery is pleased to announce the first solo exhibition of Priscilla Tea with a critical text by Andreas Angelidakis.


Remember the future: The insistent painting of Priscilla Tea
by Andreas Angelidakis

It is a curious moment for painting which seems to be going through renewed interest, part of the cycle through the art world every 15 years or so. In trying to understand the current moment, I think of a recent painting show I visited, a well known american in berlin artist, and I could not help thinking: This show would look better on an iPad. It seemed that the paintings didn’t really need to exist in the space of the gallery, they could just as well be photos flipped through on a touch screen, their every detail perfectly captured on pixel.

The paintings of Priscilla Tea exist quietly in a space beyond this screen, in a space that is just so much further away. They are paintings that understand this condition, and somehow manage to speak about it without even a mention of hardware or software. They often depict landscapes, sometimes on the edge of towns, though you are not always sure what you are looking at. If you stared long at a screen image without blinking and then closed your eyes, what you would see for an instant, the memory of the image you were looking at, is somehow close to the subject matter of what Priscilla Tea seems to be capturing. Paintings that embed half-erased memories of images on canvas with thick layer upon thick layer of paint. Abstract landscapes of thoughts and negation, skate parks and palm trees in white and blue, these paintings appear a s traffic signs from our subconscious image stream.

Studying these radically minimized landscapes of memory, suddenly I have the urge to imagine that they were made on a computer, I almost can recognize the software that made them, almost but never completely, this software exists just one level below my consciousness, if that was ever possible. Could we sketch in our subconscious? Could we even have subconscious computers? This is what their images would look like.

Through this invisible software, we almost recognize places we have seen before, we almost visualize skate parks and suburban swimming pools, we almost have a sense of the continuous feeling of being on the edge of town, in a softly abandoned suburbia. Yet maybe we are just imagining these, maybe these paintings are just lines and blocks of color and some shapes. Maybe these are abstract paintings after all. Even if we doubt what is really shown here, somehow the images linger, like retinal residue from screens and landscapes.

When you look at Priscilla Tea’s paintings in real life, the surface of the canvas manifests an almost absurd insistence in the shape of these places, because these horizon lines and suburban landscapes are painted over and over so many times that the paint finally acquires a physical depth, the paint itself becomes a place.

This sharp contradiction on how one perceives the paintings online and how one experiences them physically is per- haps one of the few ways we can enjoy painting today. The physical object is allowed to be more than it’s representa- tion. The painting is no longer just an image, it is a physical object, a place even, and perhaps Priscilla Tea already is just preparing the ground for places for which to feel this nostalgia. The work understands the contemporary condition of looking at too many images on screens all day long, of continuously mistaking the real work for it’s mechanical re- production.

The question of painting in the age of the screen persists.

Even in Art fairs, where you walk around to see art, often times the place where you’ll see the most paintings is on the screens of the myriad ipads that art dealers have adopted in their quest to sell more. Browsing paintings on an ipad is easier and sometimes more pleasurable that walking about. Everything is crisp and looks good on the ipad screen, better than the pages of art magazines. So what can a painting offer that it’s photograph doesn’t offer better? And what will happen to paintings when our walls become touchscreens?

In Tea’s most recent paintings, the memories of the places she paints seem to have drowned, burned out, cancelled by aggressive diagonal lines over them. This cancellation is a place in itself, built up by slow, sure, endlessly, almost maniacally repeated brushstrokes that complete a solid yet ephemeral image. This is painting at the moment when our culture has completely digested it’s digital revolution, screen and reality are one, online friends are offline ghosts, and we survive every day in an endless torrent of images, all gone by the time that we close our eyes, except perhaps those insistent landscapes by Priscilla Tea.

Athens - January, 2012

Image: Priscilla Tea, "curved-horizontal-space", 2012, acrylic and paste on canvas, 200x300cm

For further information please contact:
Gloria Maria Gallery
Via Watt 32, 20143 Milan


Andreas Angelidakis, "Domesticated Mountain"

Wed Apr 18, 2012 19:00 - Mon May 28, 2012

Milan, Italy

curated by Maria Cristina Didero

18 April - 28 May 2012

Opening: Wednesday 18 April, 7-9pm

Gloria Maria Gallery is pleased to announce "Domesticated Mountain", a new project by Andreas Angelidakis, curated by Maria Cristina Didero.

Andreas Angelidakis is an architect who maintains an experimental practice in Athens, Greece, a studio involved in building, designing and speculating the contemporary ecosystem of screens and landscapes at the intersection of two systems: Art and Architecture, Virtual and Real, Building and Nature, Ruin and Construction. The medium Angelidakis uses is always some type of inhabitation, of buildings and spaces. These take the form of videos, computer animation, 3D prints and actual functional space. In recent years he has designed online communities, exhibition spaces (Athens Biennal, MUSAC, Fargfabriken), while writing, blogging and teaching.

"Domesticated Mountain" is a new project by Andreas Angelidakis narrating the story of citizens grewing up in an undefined suburbia. Their parents came there to avoid the noise and the pollution, chasing a post-fordist dream of life with a back yard and a double driveway, their home closer to nature. They had visions of mountains but now suburbia was just bundle of credit-card ruins, the post-fordist dream turned into neo-liberal nightmare. People never stopped buying, some of them forgot to throw away, or to pay. Now they could buy in their sleep, on a trip to Egypt, riding a camel, browsing the latest bargains on Uniqlo, lets get another cashmere blend sweater honey, even in the sweltering heat.

The internet changed the way they consumed, their palaces of shopping lay empty. Shopping malls were the Campo Marzio of the standard delivery generation. Nobody went there anymore, nobody knew what to do there. The suburbs became endless scrolls on our google earth, areas of continuous texture mapping, delivery addresses that matched the billing address, you only needed to remember your three digit security code.

Sometimes they forgot what they ordered within the hour of buying it, and sometimes bought it again. By the time it arrived nobody knew what it was or who had wanted it, so they put it in the pile of the other boxes waiting to be opened. The pile grew larger, soon they used the boxes to sit on, at first it was strange but the view was great. They fell asleep on their iPad screens, and things kept arriving. Before they knew it they were living on a mountain of purchases. This was the architecture of logistics, the post capitalist crisis of over consumption, the continuous flow of unnecessary acquisitions. They liked it here, so they decided to make their home, on the pile of impulse shopping and forgotten returns. Their home was a "Domesticated Mountain" of consumer logistics and desire.

For further information please contact:
Gloria Maria Gallery
T +39 02 8708 854


Brenna Murphy ~hieromesh~trance`scribr~~>

Thu Mar 01, 2012 19:00 - Sun Apr 15, 2012

Milan, Italy

Brenna Murphy

Opening reception, Thursday, March 1st, 7 - 9 pm
Exhibition: March 2 – April 15, 2011

Gloria Maria Gallery is excited to present new works by Portland artist Brenna Murphy. Her first solo show in Italy revolves around the presence of nature and digital imagery, a cross-disciplinary installation with video, sound, sculpture and performance.

For the occasion, Brenna Murphy invited singer and poet Nour Mobarak to perform together an improvised Memory Theater.

In both her physical work and vibrating Web page pieces, Murphy organizes collected everyday detritus into grids of repeating patterns.
In the large, undulating, web-based grids, the assembled images vary in depth and perspective.
Some frames vibrate while others contain short looped gif animations. Rendered shadows and contours add texture and dimension to these compositions, which could not exist outside of the confines of the computer screen.
Each element retains an incredible level of detail while also blurring, even literally, real source imagery with digital alterations and truncated environments.

In Brenna’s works we can perceive somehow the metaphysics of Leibniz, where the universe is thought to be composed of fundamental units, which he called “monads” and each one reflects back the entire universe.
We can think of Brenna’s works as having within them code detailing not only their own characteristics and their personal past and future, but also their relationship with all the other works in the artist’s universe of creation and physical perception.

*Brenna Murphy (b. 1986) works with physical and digital materials to map labyrinthian spirit shapes. She also performs and crafts interactive electronic installations as a member of the five-person art collective Oregon Painting Society and duo MSHR along with partner Birch Cooper.
Murphy holds a BFA from the Pacific Northwest College of Art. She currently lives and works in Portland, OR.
Recent exhibitions of her work include at The Future Gallery, Berlin; MSHR at Le Dictateur, Milan; Oregon Painting Society at “No Soul for Sale”, Tate Modern, London UK; "VPAP FOR PIFA" at Ben Franklin Sculpture Parkway, Philadelphia Art Museum; "Info-Bomb" at Festival Nrmal, Monterrey, Mexico; "Video Village" at Index Art Center, Newark, NJ; "The New Psychedelica", curated by Francesca Gavin at MU Eindhoven, Netherlands. Upcoming exhibitions at Klaus von Nichtssagend gallery, curated by Duncan Malashock, in New York; "Big Reality" group show, curated by Brian Droitcour, at 319 Scholes in New York and MSHR at Appendix Gallery, Portland OR.

The opening of ~hieromesh~trance`scribr~~> will be streaming live from the gallery on thursday, March 1st, 7 - 9 pm CET

For further informations please contact:
Gloria Maria Gallery
Via Watt 32 | Milan 20143
T +39 02 8708 854