Luca Cerizza
Luca Cerizza, born in Milan in 1969, is a curator and art writer currently living in Turin. Since 2006, he has been teaching curatorial studies and museology in the MA programme at NABA (Nuova Accademia di Belle Arti).
He is the author of Alighiero e Boetti: Mappa (Afterall, London, 2008 / Electa, Milan, 2009) and of numerous 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 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 written for Artforum.com and Art Agenda, and has been a regular contributor to Frieze (2006–13) and Flash Art.
Over the last 30 years, Cerizza has developed an extensive curatorial practice at different institutions in Italy and abroad. Among his most 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 Massimo Bartolini (Centro Pecci, Prato, 2022).
He curated the Italian Pavilion at the Venice Biennale 2024, with a solo presentation by Massimo Bartolini and contributions by musicians Caterina Barbieri, Gavin Bryars and Kali Malone. In this context, he also co-curated, with Gaia Martino, the public programme If Only We Had Ears, featuring sound performances, lectures, dialogues and workshops, with the participation of more than 30 guests.
Since the late 1990s, Cerizza has developed a particular interest in the relationship between visual arts and experimental music, mainly electronica, minimal 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; Fondazione Antonio Dalle Nogare, Bolzano, 2022 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.