The Gallery was established in 1972 by Uber Calori, now supervisor, and from 1998 is managed by his sons Cristiano and Massimiliano. The gallery has organized many solo exhibitions of the european art masters of the second half of the Nineteenth Century: Enrico Castellani in 1987, Piero Dorazio 1989 and 1994, Toti Scialoja 1989 and 1994, Georges Mathieu 1990 and 2004, Daniel Spoerri 1990 and 2004, Nam June Paik and Angelo Savelli 1991, Sebastian Matta 1993, Fabio Mauri 1995, Gianni Bertini 1991 and 2005, Nobuyoshi Araki 2004 and 2008, Aldo Tagliaferro 2006, Rodolfo Arico’ 2007, Mario Cresci 2009. All the exhibitions include editions curated by notable art critics and historians.

The gallery comes from a project by Silvia Paola Ubiali who, after graduating in Modern Literature with art specialization at the University of Milan, different marketing and foreign trade business experiences, and later as a collaborator in an important gallery of ancient and modern art, spontaneously orients her interests to the contemporary, particularly to the period that goes from the ’60s until today at international level, ranging from classical aesthetics to experimentation. The gallery opens in March 2009 with an exhibition dedicated to International Madi Movement of which Marelia Gallery is now the contact point for Italy. From historical artists with already consolidated experiences to the work of young artists bringing new languages, the aim of the gallery is to raise awareness of the many forms of artistic expression to the widest possible audience to witness an art that evolves over time, but always remains the ultimate expression of the human being. A strong orientation towards the territory characterize the work of the gallery, materialized in collaboration with local institutions (including Fondazione Creberg, Museo Diocesano Adriano Bernareggi, Accademia Tadini in Lovere, Accademia di Belle Arti G. Carrara and the botanical garden Lorenzo Rota) and private partners (Spazio Arte Hangar Audi and the hotel chain Accorhotels).

Thomas Brambilla gallery follows and supports both emerging artists and best known artists who followed very personal researches, away from the spotlight of the mainstream art world, but of the highest quality, anyway. Union and connection between generations and different types of work are a source of dialectic dialogue.

Traffic Gallery was born in september 2007 opening with a double solo exhibition: “Stranger” by Karin Andersen and Christian Rainer. That certain something so familiar but even so extraneous – stranger – tells in a metaphor the condition of who is unknown and at the same time reveals the gallery fil rouge.
The alien – just as Traffic Gallery – is another from himself, is he or she who, reluctantly, finds himself or herself in the places where everyday human life goes on.
That’s because the fisical space in the gallery should be used as “temporary inter-zone where the artists should be able to realize the temporary transformation of the space in place”.

The venue has been established in 1979 by the current director and till 1996 it was in Piazza Vecchia.
The gallery presents mainly sculptors with exhibitions of Balderi, Benevelli, Capello, Consagra, Giò Pomodoro, graphics by Chillida, and conceptual events, as Beuys exhibition’s in 1981. On this side there has always been an international glance, but on the other side there has always been a great attention to the local background and to the abstract style artists from the young Nico Pievani, Mariella Bettineschi, Enrico Prometti, Marco Fabbri, Letizia Minotti, to the older Rino Carrara and Alfa Pietta. In 1996 the gallery turned to a larger space and focused on the researches of young artists on the issues of installation, video and photography, alternating local and wider experiences.

Viamoronisedici Spazioarte isn’t simply an exhibition space, it comes from the project of investigating the fields of meeting/comparison among the works of long-experienced artists and young emerging artists. The aim of this project is to restore the abundance of dialog among different visions of the world and the astonishment of discovering common paths.
The background question is: who is really the “young artist”?
Viamoronisedici project invites to catch the contemporary art short circuit hidden behind the ambiguity of the expression “young artist”, that sometimes can sound as a slogan, restricted for the work of some artists of the last artistic generations. Otherwise that expression invites you to question how does an artist arrive to conquer the coolness and freedom of being really “young” after a long creative itinerary.