Osart Gallery

Casa
Italia
Milan
Osart Gallery

Founded in 2008 in Milan. Contemporary African Art - Sixties and Seventies Conceptual & Minimal Art. Osart Gallery was founded in 2008 by Andrea Sirio Ortolani.

Since its debut, Osart Gallery has focused on the Sixties and Seventies, exploring the most influential and innovative experiences belonging to this period. The gallery focused on the leading figures of Conceptual Art, Body Art, Kinetic Art, and photography, such as Dennis Oppenheim, Vito Acconci, Vincenzo Agnetti, Gina Pane, Emilio Prini, Piero Fogliati, Minor White, Aldo Tagliaferro, Magdalo Mus

sio, and Amelia Etlinger, recently rediscovered by critics. Osart made significant insights on painting in the second half of the XXI century, thanks to the solo show dedicated to Claudio Olivieri (2017-2018) and the group show with Phil Sims, Ruth Ann Fredenthal, and Winston Roeth in 2017. During the years, the gallery has built significant connections with several artists in Italy and abroad. Represented artists include Vincenzo Agnetti, Amelia Etlinger, Piero Fogliati, Ruth Ann Fredenthal, Claudio Olivieri, Winston Roeth, and Phil Sims. The gallery collaborates with public institutions and museums in the promotion of the represented artists. Since the very first years, Osart had an eye on the contemporary art scene: was able to understand ahead of time the quality of artists like Titus Kaphar (to whom the gallery dedicated a solo show in 2009), Lynette Yadom-Boakye, and Hayv Kahraman, whose works were exhibited at Osart in 2010. The Gallery is currently exploring new horizons with a special eye on African emerging artists. The latest group shows include African Textures (2019-2020 with works by Marlene Steyn, Jeanne Gaigher, and Kresiah Mukwazhi), and African Characters (2020, with works by Kate Gottgens, Kudzanai-Violet Hwami, Neo Matloga, Richard Mudariki, and Gareth Nyandoro). During the years the gallery collaborated with many art critics: among all Daniela Palazzoli, Alberto Zanchetta, Nicolas Ballario, Valerio Dehò, Giorgio Verzotti, and Bruno Corà.

27/05/2026

Nei Green Sounds il pentagramma si trasforma in segno, accogliendo quella scrittura asemantica e non verbale che Betty Danon elaborava con estrema spontaneità e che definiva “il linguaggio degli angeli”. A questa trama sottile si intrecciano delicate composizioni di piccoli fiori e piante, attraverso cui la natura entra silenziosamente nell’opera. Il segno tende così al suono, evocando una dimensione astratta e immateriale che attraversa profondamente tutta la ricerca di Danon di quegli anni.

In the Green Sounds, the musical staff becomes a sign, welcoming that non-verbal writing which Betty Danon composed with great spontaneity and referred to as “the language of angels,” enriched by delicate compositions of small plants and flowers. Nature slips into the sign, reaching toward sound — an abstract sound, like all of Danon’s work from these years.

📸 Betty Danon, Green sounds (10 elements), 1978-80, Indian ink and dried flowers on paper, 21,5x31,5 cm. Courtesy Galleria Tiziana Di Caro Betty Danon
🔛Cancellare per vedere | Mirella Bentivoglio e Betty Danon, until June 27th, 2026 presso

20/05/2026

Inaugura oggi alla GAM Torino la mostra "Oggi è un secolo", dedicata a Vincenzo Agnetti in occasione del centenario della nascita dell’artista.
A partire dall’opera Photo-graffia (1980), appartenente alla Collezione e acquisita nel 2024, la mostra presenta opere legate alla ricerca sperimentale che l’artista ha rivolto alla fotografia, realizzate tra gli anni Settanta e Ottanta.
Siamo orgogliosi che una delle opere provenienti dalla nostra galleria sia stata selezionata per questo importante progetto espositivo dedicato alla sua eredità artistica e culturale.

📆 21.5.2026 | 1.11.2026
📸Vincenzo Agnetti, Photo-graffia, 1980
Carta fotografica esposta e graffiata, 35 x 25,5 cm
Fondazione Arte CRT, in comodato presso GAM, Torino

15/05/2026

.. Il mondo è nato da una vibrazione: da un suono gradualmente pietrificato. Perciò il linguaggio, che prima di tutto è suono, si apparenta alla pietra. Materia che non nasce e non muore: che è continuità non proliferante e non degradabile. -- Mirella Bentivoglio, Pietra filosofale (dal cat. exh. Galleria e Libreria 'Il Segno', Torino 1983)

… The world was born from a vibration: from a sound gradually petrified. Therefore language, which is first and foremost sound, is akin to stone. A material that is neither born nor dies: a continuity that neither proliferates nor deteriorates. -- Mirella Bentivoglio, Pietra filosofale (from the exh. cat. Galleria e Libreria “Il Segno”, Turin, 1983)

📸 Mirella Bentivoglio, L'ottavo giorno si separò il Creato dalla Creazione e nacque il libro, 1982, collage on stone | photo by Bruno Bani | Cancellare per vedere. Mirella Bentivoglio e Betty Danon until June 27th 2026

Mirella Bentivoglio Betty Danon Galleria Tiziana Di Caro

09/05/2026

We are very proud to see the wonderful works of Franklyn Dzingai for the Zimbabwe pavilion here at the 61st La Biennale di Venezia. Thank you Frank Rima👏🏻

🔛 Second Nature | Manyonga
9 May – 22 November at Santa Maria della Pietà (Riva degli Schiavoni 4150).
Curated by Fadzai Veronica Muchemwa, Second Nature explores neuroplasticity as both metaphor and method, an entry point into thinking about how identities, stories, and societies are continuously reshaped.

04/05/2026

“They were simulacra of writings traced on the pentagram, presenting themselves with a certain fluidity and apparent coherence. I considered them a manifestation of an inner dynamic, spontaneous and absolutely inimitable.” - - Betty Danon

During the 1970s, Betty Danon devoted herself to research on the sign and the word, generating analogies and works increasingly close to the boundary between abstraction and rarefaction. This was the moment of the Partiture Asemantiche (asemantic scores). At a certain point, she transformed the line into a musical staff and the dot into a note, beginning to work using the pentagram as a base.
She superimposed tracing paper onto the staff paper, then worked with a nib and white ink, making manual interventions; the superimpositions created an impression of depth, producing shadows that seemed at once like echoes.
These were the Partiture Astratte (Abstract Scores) through which Betty Danon established herself on the international scene—mysterious works in which art is not only seen, but also heard.
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“Erano simulacri di scritture tracciate sul pentagramma, che si presentavano con una certa fluidità e apparente coerenza. Le consideravo come una manifestazione di una dinamica interiore, spontanea e assolutamente inimitabile” - - Betty Danon

Nel corso degli anni '70 Betty Danon si dedica alla ricerca sul segno e sulla parola generando analogie e lavori sempre più vicini al confine tra l’astrazione e la rarefazione. Questo è il momento delle partiture asemantiche. Ad un tratto trasforma la linea in rigo musicale e il punto in nota, iniziando a lavorare utilizzando come base il pentagramma. Sovrappone la carta da lucido al foglio pentagrammato, per poi lavorare col pennino e l’inchiostro bianco eseguendo interventi manuali; le sovrapposizioni davano l’impressione di profondità, creando delle ombre che sembrano al contempo echi. Erano le Partiture Astratte con cui Betty Danon si è imposta sul panorama internazionale. Opere misteriose in cui l’arte non solo si guarda, ma si ascolta.

📸 1. 2. Betty Danon, Partitura Asemantica, 1973, ink on trace paper, ink on paper, courtesy Galleria Tiziana di Caro, photo by Danilo Donzelli
3. 4. Betty Danon, Tema δ con variazioni (2), Partiture astratte, 1975, white Indian ink on tracing paper, black Indian ink on staff paper, courtesy Galleria Tiziana di Caro/ photo by Amedeo Benestante

Betty Danon Mirella Bentivoglio

21/04/2026

Dan Halter, The Past is Never Dead. It’s Not Even Past, 2021

“We cannot seem to shake off the past, perhaps because it has never been properly addressed and dealt with accordingly. The legacy of colonialism and lack of appropriate reparations has left a deeply divided and highly unequal society. Wealth is concentrated in the hands of a small minority and poverty is widespread. Land stolen during the years of colonial conquest is to a large extent still being inherited by the privileged descendants of those colonial masters.” - Dan Halter

19/04/2026

The last hour

📸 Jan Dibbets, The Sperone Gallery Photographed From Wall A to Wall B, 1971, photography and pencil on paper, 70 x 70 cm.

18/04/2026

Some shots from booth D19 at miart, Fiera Internazionale d'Arte Moderna e Contemporanea

📸 Lucio Fontana, Untitled (Cornice), 1955-56, glazed, painted terracotta with third firing: white, turquoise and gold, 75 x 55 x 14 cm.| ph. Bruno Bani

•David Simpson, Odd Orange, 1993, acrylic on canvas, 182,8 x 182,8 x 6,5 cm. | ph. Alessandro Zambianchi

•Raymond Hains, Untitled, 1960, paper on zinc plate, 34,7 x 42,8 x 3,8 cm. | ph. Alessandro Zambianchi

16/04/2026

Welcome back to miart, Fiera Internazionale d'Arte Moderna e Contemporanea
Find us at booth D19 - Established Level 0 - until April 19th | Allianz MiCo South Wing.

📸 Vincenzo Agnetti, Ritratto di missionario, 1971, felt, engraved letters painted in red, cm. 80 x 120

Vincenzo Agnetti

08/04/2026

Osart Gallery announces its participation in miart, Fiera Internazionale d'Arte Moderna e Contemporanea with a project aimed at exploring the tension between language, image, and form as a boundary territory between thought and perception. What brings together the practices of the works on view is the use of the sign - alphabetic, visual, or conceptual - as a tool to question the very meaning of communication and artistic perception.

📸 Stephen Dean, Untitled (Vogue, The New York Times, Sunday, March 19, 1995), 1995, 27,8 x 35 cm. (edited image) | Courtesy Osart Gallery and panzacollection.org
📆 April 17 - 19, 2026 at Allianz MiCo South Wing Milano

Indirizzo

Corso Plebisciti 12
Milan
20129

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http://www.osartgallery.com/

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