Luca Cerizza
Luca Cerizza, born 1969 in Milan, is a curator and art writer currently living in Turin. Since 2006, he has been teaching curatorial studies and museology in the MA program at NABA (Nuova Accademia di Belle Arti).
He is the author of Alighiero e Boetti: Mappa (Afterall, London, 2008 / Electa, Milan, 2009) and of an extensive number of essays on minimal and post-minimalist practices and art from the 1990s onward, including recent texts on Ian Wilson, Kazuko Miyamoto, Pieter Vermeersch, Katharina Grosse, Elodie Seguin, Diego Perrone, Vincenzo Agnetti, Marcello Maloberti, Amol Patil and Jonathan Monk.
Cerizza is the editor of an anthology of texts by art critic Tommaso Trini (Johan & Levi, Milan, 2016) and of the most comprehensive monographs on Gianni Pettena, Diego Perrone (both Mousse, Milan, 2020), Massimo Bartolini (NERO Editions, 2022, with Cristiana Perrella), Kazuko Miyamoto (Silvana Editoriale, 2024, with Zasha Colah and Eva Fabbris) and Jonathan Monk (Bruno, 2026). He has been writing for Artforum.com and Art Agenda, has been a regular contributor to Frieze (2006–13) and Flash Art, and was an editor of Kaleidoscope Magazine (2009–13).
Over the last 30 years, Cerizza has developed an extensive curatorial practice in different institutions in Italy and abroad. Among his recent projects, he curated major solo exhibitions by Tomás Saraceno (Museo di Villa Croce, Genoa, 2014, with Ilaria Bonacossa), Kazuko Miyamoto (The Japan Foundation, Delhi, 2015), Prabhakar Pachpute at NGMA (National Gallery of Modern Art, Mumbai, 2016, with Zasha Colah), Gianfranco Baruchello (Raven Row, London, 2017), Tino Sehgal (OGR, Turin, 2018), and Vincenzo Agnetti. NEG: suonare le pause (Padiglione de L’Esprit Nouveau, Bologna, 2021; Fondazione Antonio Dalle Nogare, Bozen, 2022 and ongoing), as well as Hagoromo (Massimo Bartolini’s survey exhibition, Centro Pecci, Prato, 2022).
He curated the Italian Pavilion at the Venice Biennale in 2024, with a solo presentation by Massimo Bartolini and contributions by musicians Caterina Barbieri, Gavin Bryars and Kali Malone.
Since the late 1990s, Cerizza has developed a particular interest in the relationship between visual arts and experimental music, mainly electronica and avant-rock, through projects such as Goo (Bergamo, 1996, on the relationship between Sonic Youth and visual artists), Perspectives. Sound Architectures (Via Ventura, Milan, 2001, with Ryoji Ikeda, Carsten Nicolai and Mika Vainio), ElectrOrganica (Via Ventura, Milan, 2003, with Fun Club Orchestra, Vert, Qubogas and others), and the multidisciplinary project Vincenzo Agnetti. NEG: suonare le pause (Padiglione de L’Esprit Nouveau, Bologna, 2021 and ongoing), for which he involved musicians including Bellows (Giuseppe Ielasi, Nicola Ratti), Alessandra Novaga, Walter Prati and Starfuckers. He has also published interviews with Blixa Bargeld, Kim Gordon, Robert Lippok/Carsten Nicolai and David Toop, and written essays on the relationship to sound in the artistic practices of Massimo Bartolini, Carsten Nicolai and Susan Philipsz, among others.