Luciano Caggianello

Luciano Caggianello is an installation, assemblage, and digital artist who has exhibited throughout Europe and the United States. Recent exhibitions include Fusion Art Gallery in Santa Fe, Space-Millepiani in Rome, The Holy Art Gallery in Athens and San Francisco, Azalea Arts in Boston, Exhibit A Gallery in Los Angeles, Streeters Gallery in Paris, Domio Gallery in London, Lumen Art Gallery in Aydin, Part Crowd Gallery in Toronto, Whitelock Art Center in New York, Impreint Space in London, V-Art Union Gallery in Bruxelles, and Art Seen Gallery in New York. Luciano’s works remain in numerous museum collections in Italy and around the world including Museo delle Arti in Palazzo Bandera, Museo d`Arte Contemporanea in Piscina, Museu De Arte Moderna and Museu Murillo La Greca in Brazil, Museo Internazionale Italia Arte in Torino, and Museo dei Fossili in Quagliuzzo.

With an artistic philosophy believing art should be like a ‘pseudo-simulator’ which avoids replicating true form, Luciano Caggianello expresses himself through installation, assemblages, and digital works based in concepts and abstraction. His work can be described as anti-commercial with inclinations to present puristic concepts and presentations which deviate from design principles. Luciano’s installations portray objects conjoined together in order to communicate clear concepts, such as luggage bag handles attached onto a brick or razor blades inserted into a bar of soap. Some of these concepts indicate aggression or cynicism while other pieces reveal humorous irony, such as Andy Warhol’s name written in marker on a dented, open can of Cambell’s soup.

The paper assemblages—which incorporate other elements such as fabric, cardboard, string, and nails—differentiate from the installations as these web-like constructs seem to be studies in unfamiliar structures and form. These assemblage pieces are typically constructed in a crude manner with haunting implications with the spider-web as well as angular forms similar to the shape of knife blades. Luciano’s digital works seem to be reflected in a manner similar to music sheets without music notes—as the structure of the texts or text-like forms are sometimes assembled in a way much like a personal letter or blurred together to communicate overwhelming stimulating symbols of rapid communication.

His Majesty Consumerism (pictured above) exceptionally portrays the anti-commercial convictions in Luciano’s portfolio. The piece is a crown made out of loose galvanized wire assembled in a manner similar to barbed wire. With sharp edges and the implications of pain if one were to wear the piece, His Majesty Consumerism presents a concept based on cynicism upon contemporary forms of capitalism, as well as a mockery of the system. The crown may be of prestige, but the object also becomes stated as an entity of pain and crude application.

With a dynamic portfolio and impressive career, Luciano Caggianello expresses his conceptual-based philosophies through poignant structures and constructs which evoke stimulation as well as thought-provoking irony. He doesn’t pull any punches as an artist and fully challenges the viewer to not only question what they see—but also to judge and contemplate on the very manufactured as well as genuine belief systems which define civilization as well as our traditional and contemporary ways of life. 

https://lucianocaggianello.it