An artist working across painting, photography, and cinema takes center stage in the first event of a project dedicated to unexplored art histories.

From October 16 to 24, 2026, Studio Celestino presents *Immagini ritrovate #1. Giorgio Pelloni*, the inaugural event of a project curated by Francesca Longo and Ottavio Celestino, featuring an exhibition text by Lucilla Meloni. The collaboration between Chiaroscuro Arte Contemporanea and Studio Celestino was born from the aim of bringing artists, stories, and places that have remained on the fringes of mainstream art narratives back to public attention.

The project centers on Giorgio Pelloni, an artist whose unique body of work has evolved over more than thirty years across the fields of painting, photography, cinema, television, and documentary filmmaking. These diverse mediums serve as complementary tools for observing, documenting, and interpreting reality.

At the heart of the exhibition lies the relationship between photography and painting: photography as a record, a repository of memory, and a means of understanding, yet also as raw material for reinterpretation; painting as a space capable of absorbing images, fragments, and impressions of reality and transforming them into a new form. Alongside the artworks, the project presents photographs, documents, archival materials, and personal accounts, reconstructing the stories and contexts that shaped the artist’s creative journey.

Pelloni studied at the Academy of Fine Arts, initially dedicating himself to painting and fine-art photography. In 1963, he entered the film industry, working as an assistant, assistant director, photographer, and camera operator. He produced documentaries and investigative films across Europe, the Middle East, Africa, and Latin America, collaborating with figures such as Gianni Amico, Bernardo Bertolucci, and Pier Paolo Pasolini. In 1969, he served as director of photography for Pasolini’s *Notes for an African Orestes* (*Appunti per un’Orestiade africana*). He later worked for RAI, creating documentaries, cultural programs, and television films. In the 1980s, he returned definitively to painting—a practice he had never truly abandoned.

The exhibition presents a selection of his paintings to the public for the first time, featuring works created primarily from the 1980s to the present day. His painting stems from an intimate, almost diaristic realm, unfolding a universe in which the human figure serves as the central narrative element. It is an art that reflects on the human condition—on solitude, violence, and the memory of the twentieth century—while also contemplating the possibility of a different outcome. It is this tension between disintegration and possibility, memory and transformation, that defines the exhibition’s trajectory: the story of a humanity marked by suffering, yet still capable of recognizing—even amidst crisis—what might give rise to a form of future.

*Immagini ritrovate #1* (Rediscovered Images #1). With this, Giorgio Pelloni launches a journey dedicated to artists ripe for rediscovery, driven by the conviction that broadening one’s perspective on art history also means recovering experiences, places, and memories capable of engaging with the present.