And going round and round……
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May 2023:
A show in Naples: Affreschi rinvenuti. Archivio di Stato di Napoli, April 28 to May 27.
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March 2023:
The show Land paintings at the USPOP, Lasalle (France).
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February 2023:
The completion of a work revisited several times in recent years (2016, 2022), RnS, Rovine nella selva.
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An ongoing exhibition, until May 9: Quatre écrivains dans la garrigue. Ponge, Paulhan, Menard, Feuchtwanger. Maison du département du Gard.
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January 2023:
A almost completed self-assigned task: listing a selection of my solo exhibits from 1992 to 2023, starting with the first recorded show: Museo, Strasbourg 1992.
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A work in progress, Nuovi mostri, which follows the recent series Histoires des monstres (2021).
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December 2022:
The finalization of my remix of the soundtrack from Gianfranco Mingozzi’s documentary film La Taranta (1961): Galatina remix.
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A new work, Feuchtwanger, following my recent series on literary figures and the garrigue landscape of southern France, Quatre écrivains dans la garrigue.
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A (hopefully) completed little series: Con il cuore fermo, my third projet inspired by a documentary by Gianfranco Mingozzi.
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November 2022:
I am pleased to announce that, thanks to my teenage daughter, I have officially entered the social media universe, via the Instagram platform under the nametag Spuglia_ .
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October: the completion of a new series, the second inspired by Gianfranco Mingozzi documentary film La Taranta (1962):
Galatina remix.
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In Search of Lost Red…
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A collection of inks and drawings, 1973-2022.
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Ruins in the Island, a booklet prepared three years ago in collaboration with graphic designer Jean-Luc Thierry but never published.
I recently rediscovered it and found it worth disseminating.
Here you will find the unedited drafts of the last two of the booklet’s five chapters, The call of the ruin and Return to Cythera.
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A recent show in Gerberoy, France, July to September 2022: Fables animalières
(Works remaining available at the Baudelaire gallery).
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Summer 2022: a few new works, mostly older pieces reworked with the very last drops of Lumen 26 acrylic paint. Please see Available small formats.
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Completing a new series: Galatina 1961.
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Polyandrion, the new edition of a print inspired by Francesco Colonna, The Dream of Poliphilus (Venice 1499).
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A recently completed (June 2, 2022) small work: Der Reichstagssturm.
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Quadreria, an installation presented in Nîmes as part of the Ateliers ouverts du Quartier Gambetta (May 28-29 2022).
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An artist’s book, just completed: NEMOZ.
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Return from Italy’s Tuscia region to rework the Rovine nella selva series.
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After a two-year absence, new ceramic plates with original drawings produced in Vietri sul Mare.
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Developing a new series inspired by some literary figures from the South of France: Trois écrivains dans la garrigue:
Paulhan.
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Histoire des monstres: a recently completed series.
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Three series of “zoological illustrations” :
Birds of Lent 2022,
Predators 2021,
and Raubtiere 2020 .
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The rediscovery of a thirty-year-old notebook: Museum, carnet 1992.
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The production of a silk screen print, based on the recent installation Millenovecento (please see the page Limited edition in this website).
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Participation at Art Paris fair 2021 at the Grand Palais Éphémère (here the link to the Catalogue-Salvatore PUGLIA ART PARIS 2021).
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Completion of a new series on the Hopi Industrial School at Keams Canyon (Arizona, USA, 1896) for a private collection in Rome (see also my Hostile Hopi).
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Publication of an essay on my early work, “To Save the Phenomena. For Salvatore Puglia“, along with several other writings by Jacques Derrida in the collection Thinking Out of Sight, Writings on the Arts of the Visible (Chicago University Press).
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The Millenovecento exhibition in Bordeaux, at the Galerie Troisième Oeil , March 11- May 21, 2021.
A show of the installation Millenovecento (October 2020-January 2021), at Galerie Sit Down in Paris.
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The publication of an article in AM. Antropologia museale 43: Images trouvées, images adoptées.
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The culmination of a personal art project: La Buoncostume-Salpêtrière
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A conversation with author Zoran Janic, published in two issues of the Serbian magazine Antidot, Part 1 and Part 2.
The full text is also available on my website.
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