Gianfranco Baruchello has studied law in Rome and for ten years he works in the Biomedical Society, a research and chemical-biological production company created by him, only in 1959 he develops a vast artistic production with paintings Other Traces (white canvases crossed from a tangle of black lines) and a series of objects assembled with found materials (among them the Opinion cemeteries , 1962), the beginnings of his research are delineated. From 1962 he paints large canvases: generally white surfaces, crossed by a few traces or uncertain shapes, by signs - lines, words - treated with tampon with the color minio. Fascinated by culture, he met Sebastian Matta, Alain Jouffroy, in 1962 he met Marcel Duchamp, and two years later in New York John Cage. In 1963, the year of his first film, The Zero Degree of the Landscape, was his first solo exhibition at the La Tartaruga Gallery in Rome, presented by Jouffroy: a miniature painting on large white surfaces, consisting of signs, letters and drawings, can be seen. with references to symbols of consumerism and television society. He met Mario Schifano, began his collaboration with the Schwarz gallery in Milan and in 1964 he exhibited his first solo show at the Cordier & Ekstrom gallery in New York. These are the first plexiglass, works made up of various layers of plexiglass superimposed on cardboard or metal bases, and the first wooden objects that can be opened and painted inside. In the early '70s he experimented with electronic images; he creates objects-assemblies as boxes showcase in which different elements are used at the same time, from the objects found to the cut-outs. From 1973 he moved to the countryside and started the operation Agricola Cornelia SpA, a farm and company (in the land purchased in Via di Santa Cornelia, on the outskirts of Rome) in all respects ... "with the social purpose of growing the earth". In these years he engages in work on the themes of home and living, models of houses, plants of rooms begin to populate his alums, drawings and objects. In 1990 he took part in the collective Chiasmus at the Bornholt Gallery in London with Pistoletto, Paolini and Catalano; once again at the Venice Biennale and at the Rome Quadrennial (Rome 1960s, Beyond painting, curated by Maurizio Calvesi). In 1998 the Baruchello Foundation was founded, based in the ex-house-study archive of Baruchello, on the Roman hills in Via di S. Cornelia, with the aim of carrying out activities on contemporary artistic research.
Some of his personal exhibitions to mention are: Galerie Meert Rihoux, Bruxelles (2004); Galleria Civica, Pop Art Italia 1958-1968, Modena, Hasenclever Gallery, Monaco (2005); MACRO, The Collection: selected works, Rome (2006); Moderna Museet, Time & Place - Milan - Turin, Stockholm (2008); Michael Janssen Gallery, Berlin (2009). Between the end of 2011 and the beginning of 2012, curated by Achille Bonito Oliva, the anthological exhibition Certe idee is presented at the National Gallery of Modern Art in Rome.
Gianfranco Baruchello, E credeva che il metadone fosse vitamina b, 1978
cm 20 x 30 x 10