Luca Vitone (Genoa, 1964) began his artistic practice in the 1980s influenced by Joseph Cornell's "shadow boxes", which he immediately declined with attention to the theme of place and its representation: the small boxes in which he assembles objects found are in fact covered with geographical maps. In the eighties Vitone attended the DAMS of Bologna, the city where he contributed to the development of the LINK Project, dealing with programming for the visual arts. His one-man show in 1988 (Galleria Pinta, Galleria Pinta, Genoa) shows how from the beginning his research revolves around the notion of "topological loss", that difficulty in relating to the places we live in and which we cross in our daily lives, accentuated by the current global scenario. The attempt to establish a profound relationship with the place and to reconstruct its meaning, passes for Vitone through a reflection on its means of representation, from cartography to the view, a reflection increasingly focused on the anthropological and cultural density of places, where collective identities and memories and personal experiences intertwine and are also expressed in the form of cultural experiences, such as music and food (Sonorizzare il posto [Grand Tour], 1989-2001; Pratica del posto, 1992; Feuilles, 1999; Hole, 2000; Stundàiu, 2000 ).
In 1990 Vitone moved to Milan and during the 1990s he took part in various national and international group exhibitions including Italia '90. Hypothesis young art (La Fabbrica del Vapore, Milan, 1990), On Taking a Normal Situation and Retranslating it into Overlapping and Multiple Readings of Conditions Past and Present (M HKA, Antwerp, 1993) and Ultime Generazioni, Fuori tema, altri tempi, other myths (XII, XIV, XVI edition of the National Quadrennial of Art in Rome, 1996, 2005, 2016).
The exhibition Der unbestimmte Ort dates back to 1994, conceived as a total work of art aimed at involving the five senses, held at the Christian Nagel Gallery in Cologne. Here the artist constructs situations of encounter and sharing between visitors and members of the city's Roma community, with whose collaboration the exhibition was conceived. The interest in Roma culture, also a tool for a broader reflection on the idea of community, nomadism and the perpetuation of prejudices, can be found in Romanistan (2018), an account of the artist's journey that retraces from Bologna in Chandigarh, the itinerary made by Roma and Sinti towards Italy between the 8th and 14th centuries. In Vitone's artistic research, space inevitably encounters time and history, and is often investigated in the form of implemented, remembered or reconstructed paths and itineraries, whether collective or personal (Ultimo viaggio, 2005). The itinerary is also a means of encouraging a different way of exploring space, a shift of attention to places that are culturally dense but often ignored: with Liberi tutti! (1997) Vitone invites you to rediscover key places of anarchist and libertarian culture in Basel (1996), Rome (1997) and Carrara (Nient'altro che sculpture, XIII International Sculpture Biennale, 2008), while with Wide City (1998) suggests a mapping of the places frequented and managed by foreigners in Milan.
In the 2000s there were numerous one-man shows in prestigious exhibition venues: Hole at the PS1 in New York and Stundaiu at the Palazzo delle Esposizioni in Rome date back to 2000; in 2004 the personal Prêt-à-Porter was held at the Luigi Pecci Contemporary Art Center in Prato and in 2007 Segantini's eyes at the Mart in Rovereto.
The first monochromes date back to these years, intended not as a zeroing of painting, but as landscape portraits in which the place represents itself, according to procedures that require, from case to case, a different type of intervention by the artist. As an anti-pigment Vitone uses dust, ashes, atmospheric agents, but also edible substances such as wine and saffron. In 2006 is the traveling retrospective Luca Vitone. Anywhere at home. Überall zu Hause, presented at the Casino Luxembourg, at the OK Zentrum in Linz (2007) and at the GaMeC in Bergamo (2008). Since 2006 Vitone has also been teaching sculpture at the New Academy of Fine Arts in Milan. His move to Berlin dates back to 2010 and in 2012 the solo shows Monocromo Variationen at the Museion in Bolzano and Still life with landscapes and musical instruments are held at the Brodbeck Foundation in Catania. Ten years after his first participation in the Venice Biennale in 2003, in 2013 he exhibited his work Per l'eternity within the Vice Versa exhibition in the Italian Pavilion. From 2014 is the personal Imperium at the n.bk in Berlin, in which the reflection on power translates into an "olfactory sculpture" which in 2021 will be re-presented in the personal Macht at the Weserburg Museum in Bremen.
In 2017 the Padiglione d'Arte Contemporanea in Milan retraces his articulated artistic research with the vast anthology Io, Luca Vitone. In 2021 he presents the personal exhibition Io, Villa Adriana designed to develop simultaneously in two locations, the Maxxi in Rome and Villa Adriana in Tivoli. In 2022 the Museo Novecento in Florence is dedicating the personal D'après (De Pisis - Paolini) to Vitone, an exhibition that brings together three artists from three different generations.
Luca Vitone currently lives between Milan and Berlin.

Loredana Gintoli (Milan, 1965) graduated in modern harp at the Giuseppe Verdi Conservatory in Milan. He received his doctorate from the Musikhochschule Freiburg in 1991 with Ursula Holliger. In 1994 she graduated, first in Italy, with Mara Galassi, in Baroque harp at the Civic School of Milan. His concert career takes place both as a soloist and in collaboration with the most prestigious early music groups including: Concerto Italiano, Accademia Bizantina, Les Musiciens du Louvre, Basel Symphony Orchestra; Basel Sinfonietta; Teatro alla Scala; Ensemble A. Curtis, Ensemble 415, Les Talens Lyriques, Concerto Vocale, Akademie für Alte Musik, Freiburger Barockorchester and others. She has been repeatedly invited to hold seminars on the Baroque harp at various institutions such as the University of Madison, USA; Ancient Library, Prague; the Conservatory of Italian Switzerland, the Giuseppe Verdi Conservatory, Milan. He wrote and performed a musical show for children, "The Knight and the Harp". He has recorded for: Archiv, K617, Glossa, Harmonia mundi, Sony Classical, Simphonia, Stradivarius, Tactus, Chandos, Naïve, European TV and radio channels. She currently teaches Renaissance and Baroque harp at the A. Scarlatti conservatory in Palermo.