MILANO DRAWING WEEK
Fourth edition
curated by Collezione Ramo
in collaboration with and under the patronage of
the City of Milan, Department of Culture
November 23rd – December 1st 2024
Nashira Gallery is pleased to announce its participation in the fourth edition of Milano Drawing Week with an exhibition of drawings by Giulia Dall’Olio, organized in collaboration with Galleria Studio G7 in Bologna, in dialogue with a work by Emilio Scanavino from Collezione Ramo.
Collezione Ramo, specializing in 20th and 21st-century Italian drawings, will present a 13-stop journey for Milano Drawing Week 2024, dedicated to works on paper by contemporary artists and masters of the past century.
For nine days, drawings will be exhibited across three civic institutions (Castello Sforzesco, Cittadella degli Archivi of the City of Milan, and Casa degli Artisti) and ten Milanese and other galleries (Ciaccia Levi, kaufmann repetto, Loom Gallery, Monica De Cardenas, Nashira Gallery, Settantaventidue, Spazio Lima, and Vistamare, with special participation from APALAZZOGALLERY from Brescia and Ex Elettrofonica from Rome), aiming to connect the Collezione Ramo’s historical heritage with current artistic practices and to highlight the importance of drawing as a universal expressive medium.
For more information, visit: milanodrawingweek.com
Giulia Dall’Olio
g 19][432 d
2024, charcoal on paper, 65×50 cm
Courtesy the Artist and Galleria Studio G7, Bologna
Emilio Scanavino
Untitled
1969, grease pencil and acetate on cardboard, 51.9x35 cm
Courtesy Collezione Ramo, Milan
Giulia Dall’Olio answers questions from
Irina Zucca Alessandrelli, curator of Collezione Ramo
Give a definition of what drawing means to you.
That’s a great question—one that should probably be answered at the end of a lifetime spent drawing, as practicing it daily leads to a constant evolution of vision and mark-making. At the moment, for me, it’s a journey into the nuances of black, into beauty, simplicity, speed, reflection, instinct, the deconstruction and reconstruction of the mark and the thought that accompanies it. When we talk about drawing, for me, we are talking about graphite or charcoal on paper; we’re talking about something that is always evolving and, unlike painting, can be modified at any time. This discipline still has so much to offer and can always be explored further. In my eyes, a drawing is never finished.
What techniques and creative processes do you use when working on paper?
My creative process begins with observing natural elements and landscapes while I walk, run, or immerse myself in them. I photograph with my eyes and mind what surrounds me, focusing on the whole, on emotions, and on the inevitable traces of human interference. Back in the studio, using charcoal and an eraser, I translate onto paper the traces of what I’ve internalized—marks that evoke fragments of nature. I seek a balance between my actions, which become a metaphor for human presence, and the beauty of what is not artificial—a balance between a line and a leaf.
Why did you choose this work from the Ramo Collection?
The drawing is beautiful, and I have always greatly admired Emilio Scanavino’s work. I find it to have a strength and consistency that is rare. I see myself in the interplay of black and white, full and empty spaces, in his obsessive repetition of a mark that becomes the grammar of his practice. It becomes a part of him, and he becomes a part of that mark.
What significance does dialogue with modern drawing hold for you?
Enormous, because it makes you realize that drawing is timeless. The temporal distances felt in painting disappear. There are modern drawings that feel astonishingly contemporary.
Milano Drawing Week, curated by Collezione Ramo, in collaboration with Galleria Studio G7, installation view, © Giuseppe Miotto / Marco Cappelletti Studio
