Paolo Bielli is born in 1963 in Rome

In 1987, he took part in the first international group exhibition of engraving in Biella (selected by Guido Strazza). In 2005, at the Galleria Monserratoarte900 (Rome), he proposes “Sapone”, curated by Vincenzo Mazzarella, a performance in which he strips and poisons himself by sprinkling himself with a great quantity of perfume. The artist continues his research with “Dust and Skin (polvere e pelle)”, a video installation with Marco Giuseppe Schifano. He participated in a series of collectives for example the Elettronicartcaffé (Rome) curated by Achille Bonito Oliva and in 2009 in the exhibition “Silenzio” at the Chiostro del Bramante (Rome). In the same year he created cut-out characters for the theatrical performance of Vladimir Luxuria. In 2010 he participated in two group shows entitled “Arciere”, curated by Vittorio Sgarbi; and at “Nuda-Apparenza” at the Onepieceart Gallery (Rome), his performance was about ephemeral fashion. In the same year he was present with Ring at the 54th Venice International Art Biennale, in the Italian Pavilion. In 2015 he proposed “Indiano e la Fata” at Galleria Minima (Rome) and for the Mondrian Suite (Rome), he created and directed a group of performances entitled “Violet-Ring”, an operation in which he realizes a “humanization”, converting paper into leather. At Varco-Gallery (Rome) he creates the performance entitled Fetonte-Pugile-Ring. In 2017, at Arteporto "Incontro" (Rome) he realizes a performance about nature –culture in the Archaeological Park of the harbours of Claudio and Traiano; he works at the MAAC and Torre Civica of Cisternino; “Guilty signs” was the name of his solo show at Palazzo Rospigliosi, Zagarolo; he participated in “100 years of Italian Boxing” at the National Boxing Museum, Assisi; Pagea Arte Contemporanea Angri (SA). In 2018, for the Hungarian Academy in Rome he realized two murals with spray paint, at Torre Caetani close to Todi he performed in front of the medieval walls. In 2018-2019, at the Museum Macro Asilo (Rome), he ventured into two performances: Exit-Ring and Gold-Ring, where the confrontation-clash between the boxer and the artist became his predominant research.


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