De Angelis Marcello
Montesano Gian Marco
The dimension of movement implicit in the paintings of Daniele Galliano (Pinerolo,
near Turin, 1961) is given by the speed of an instantaneous pictorial stroke,
by the sensation of a picture “snapped” or stolen apparently by
chance in a real-time track shot in the forgotten and marginalised suburbs of
Like a sort of crude subjective documentary stripped bare and shot in video, Galliano’s paintings concentrate on the live narrative of the suburban landscape on the outskirts, and of the variegated humanity which inhabits it.
The characters in his works create anthropological landscapes made of people on the borderline, in those multicultural and multiracial, transgeneric and technological laboratories where the transformations of our social and cultural identity are experimented at the edges and on the fringes of our traditional conventions.
This “snapshot painting” implies a time that concentrates on the dimension of the present moment, devoid of past and future. His paintings are not frontal, they often have few colours and offer a perspective with no depth which highlights their totally present-day dimension. This is a present which, in order to remain so, needs to the end continuous movement. It needs to escape and never be caught, like the rapid strokes that are a feature of his painting and create the sensation of a “vision of a world lost in the very moment in which it is perceived”.
Daniele Galliano paints urban scenes and people who live in a fast-moving and
radically changing West, now possibly in decline, compared with an East in which
China is proving to be the new economic superpower of the third millennium.
Ever since he debuted in the 1980s, Galliano’s language of expression has been characterised by the way he intentionally highlights the fact that each painting comes from a photograph, taken by a low-quality snapshot camera, or from a picture in a glossy magazine (sometimes pornographic) or on television.
This explains the fuzzy, out-of-focus effect with night lights leaving long stringy traces of colour, like those of car headlights racing by. Galliano never paints reality live, as he sees it, but only as a target reality. In actual fact, all his paintings are the reflection of his vision of the world, of his spirit, so subtly tormented.
His solo exhibitions include those of 1996 and 1997 at the Annina Nosei Gallery
in New York, at the Galleria In Arco in Turin (1992 and 1993) and at Studio
Cannaviello (1994, 1996, 2001).
He has taken part in group exhibitions put on at the Galleria d’Arte Moderna in Bologna, and the 12th Quadriennale in Rome, at MACI in Isernia and at the Palazzo delle Papesse in Siena.
His works are in the permanent collection of the Galleria Civica d’Arte Moderna e Contemporanea in Turin, and of the Galleria Nazionale d’Arte Moderna in Rome.