From November 9 to December 2025, Galerie DYS in Brussels is hosting Un moment sans rature, Simone Pellegrini ’s (1972) first solo exhibition at the Belgian gallery. The project brings together a body of works on paper that stand out for their visual density and layering of marks, pigments and forms, in a constant dialogue between gesture and memory. Pellegrini’s large compositions evoke parchments of remote eras, nautical charts of legendary explorations or plans of machines belonging to an imaginary future. The artist builds worlds that seem to come from a time in the balance, in which visual writing becomes an archive of archaic knowledge and contemporary insight. Each work retains a sense of mystery and silence, as if the material of the paper holds the traces of a ritual, of a thought that is constantly rewriting itself.
The title of the exhibition, Unmoment sans rature(A moment without erasure), is taken from a 1973 text by Henri Michaux entitled Moments. The quote refers to a state of grace in which writing proceeds without hesitation or correction, in a natural and harmonious flow of signs and visions. In Pellegrini’s poetics, as in Michaux’s writing, gesture becomes an extension of the body and an instrument of knowledge: each sign generates the next, in a continuity that eludes logic but guards a profound internal coherence. The forms that emerge from his works have no unambiguous meaning. They repeat, transform, dissolve, remaining poised between figuration and abstraction. Their meaning is never explicit, but acts through perception and intuition, giving the viewer back the freedom of an open reading. The viewing experience thus becomes a process of inner exploration, an act of rediscovery of the relationship between body, matter and imagination.
In Un moment sans rature, the sign becomes a map and trace, but also an instinctive gesture that opposes oblivion. Pellegrini works on paper using pigments and materials that impart a tactile, almost epidermal texture to the surface. The works offer themselves to the gaze as territories to be traversed, where each fragment refers to a remote, perhaps mythical origin that eludes definition. In his practice, painting is transformed into a ritual act that combines knowledge and intuition. Pellegrini’s papers, with their tension between precision and ambiguity, evoke a universal language that needs no translation. In them coexist the echo of history and the perception of the present, in a fragile but vital balance.
Simone Pellegrini lives and works in Bologna, where he teaches painting at the Academy of Fine Arts. His artistic training began at the Academy of Urbino, where he graduated in 2000. As early as 1996 he had embarked on a path of personal research that, in 2003, took shape with his first solo exhibition, opening a long cycle of exhibitions in Italy and abroad, as well as participation in numerous international fairs.
Pellegrini’s works are part of important public and private collections, including the Collezione Farnesina in Rome, the Museo delle Trame Mediterranee in Gibellina, the MAC - Museo d’Arte Contemporanea in Lissone, the Collezione Maramotti in Reggio Emilia, the permanent collection of Bologna Fiere and the Art Collection UniCredit in Milan. Other collections that host his works are those of Gabriele Mazzotta in Milan, Volker Feierabend in Frankfurt, Wolfgang Hanck at the Museum Kunstpalast in Düsseldorf, MUSA - Civica Raccolta del Disegno in Salò, Palazzo Forti in Verona, the Province of Reggio Emilia and the Musei Civici of Monza at the Casa degli Umiliati.
Parallel to his exhibition activity, the artist has published several volumes that delve into his visual and conceptual research. Recent publications include An Anarchic Geography (MUSEC Lugano, 2023), Return to Tipasa (My Monkey, 2019), Or Not (Arsprima, 2019), Arriaca (Baskerville, 2017), Guadi (Di Felice, 2016), Dans la chambre du silence (Fata Morgana, 2016), Cambrian (Elefantino, 2014), Lacruna (Baskerville, 2014) and Devasti(Fabbrica Arte Rimini, 2012). The Brussels exhibition, represented by Galerie DYS, is part of an established pattern of collaborations with international galleries, including Gugging Gallery in Vienna and Cavin-Morris Gallery in New York. Each exhibition has helped define a recognizable language based on a cartography of thought and memory that is constantly renewed.
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| Simone Pellegrini at Galerie DYS in Brussels with Un moment sans rature |
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