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Draft:Enzo Cacciola

Enzo Cacciola (born December 12, 1945, in Arenzano, Italy) is an Italian contemporary painter. He is one of the most prominent representatives of the international movement of Analytical Painting, and since the mid-1970s his work has been associated with the radical use of cement, asbestos, and other industrial materials in artistic practice. In 1977, he took part in documenta 6[1] in Kassel, in the Malerei section curated by Klaus Honnef and Evelyn Weiss. Throughout his career, he has developed cycles of works characterized by processuality and by an exploration of the relationship between painting, matter, and space. Cacciola lives and works in Rocca Grimalda, Piedmont.

Enzo Cacciola
BornDecember 12, 1945
Arenzano, Italy
NationalityItalian
Known forpainting
MovementAnalytical Painting

Early Life and Education

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Enzo Cacciola was born on December 12, 1945, in Arenzano, in the Italian region of Liguria. He currently lives and works in Rocca Grimalda, Piedmont.[2]

He began painting in the late 1960s, gradually developing his own experiments in which he explored the relationship between surface, support, and color. These early works laid the foundation for his later analytical approach to painting.[3]

Artistic Beginnings (1969–1973)

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Enzo Cacciola’s first public appearance took place in 1969, when he participated in the XI Premio Diomira at the Galleria Gian Ferrari in Milan.[4]

In 1971, he opened his first solo exhibition[5] at Galleria La Bertesca in Genoa, a venue that played a key role in the affirmation of contemporary art in Italy.

His early works were focused on exploring the relationship between surface, support, and color, through which the artist gradually shaped his analytical approach to painting. During this period he also created the cycle Integrative Surfaces (1971–1973), in which Cacciola investigated the connection between the canvas and the surrounding space: the Integrated Surfaces of 1974 examined the relationship between the background wall and the pictorial work itself. These works merged the physical space of the canvas with the negative space from which the support emerges.[6]

In 1972, Enzo Cacciola held his first solo international exhibition at the Victor Vasarely Museum in Pécs (Hungary). This made him one of the first Italian artists of his generation to present an individual body of work outside Italy, and his practice was already recognized at that time as part of the new geometric and analytical orientation in painting.

The following year, he participated in the international exhibition The Golden Nightingale[7] in Voghera (1973), curated by Palma Bucarelli, director of the National Gallery of Modern and Contemporary Art in Rome. Alongside Cacciola, the exhibition featured Gianfranco Zappettini, Paolo Cotani, Marco Gastini, and Carmengloria Morales. In later decades, the show came to be regarded as an important moment in the affirmation of a new generation of Italian artists and as one of the historical beginnings of Analytical Painting on the international scene.

“Cements” and “Asbests” (1974–1977)

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In the early 1970s, Cacciola turned to working with unconventional materials such as cement and asbestos, which he treated as pictorial media. These industrial materials, previously associated exclusively with construction, became the focus of his research. Through the series Cements Asbestos (1974–1976), the artist systematically used cement in a pictorial context for the first time, emphasizing the materiality and tactility of the surface instead of the traditional painterly effects of color.[8]

In 1975, Cacciola was invited to the exhibition Analytische Malerei in Düsseldorf, curated by Klaus Honnef. This event represented one of the most important acknowledgments of Analytical Painting in the European context. There, Cacciola presented works from the Cements and Asbests cycles, in which industrial materials became carriers of expression and of the processual dimension of the artwork.[9]

Between 1976 and 1978, he developed the cycle Grey Cements, works in a grey scale where matter itself became the bearer of expression. In these canvases the motif of the crack appears, which later acquired symbolic value in his oeuvre, signifying an inner need for self-analysis and an exploration of the boundaries of reality.[10]

Participation in documenta 6 (1977)

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In 1977, Enzo Cacciola was invited to documenta 6 in Kassel, one of the most important international exhibitions of contemporary art. He exhibited in the Malerei (Painting) section, curated by Klaus Honnef and Evelyn Weiss.

Alongside works executed in cement, on this occasion the artist carried out a conceptual operation that questioned the very role of the artist. As he wrote in his Operative Process (1975–1977):

“In 1975 I used the photographic medium with special intentions within the photographic canvas and within those issues that the medium offered at that time… Documentation as a fact of the event, the program as a technical procedure in terms of unfolding, as documentation of phases and didactic evidence of the work… In the use I make of photography, the subject–object relationship remains: the I-subject as the artist acting upon the object, as the work of art, is documented by photography, and the photograph itself becomes the work, as an element in itself outside the artist as creative subject and the object as artwork.”[11]

To further radicalize this idea, Cacciola delegated to curators Honnef and Weiss the task of selecting a work at least seventy years old that would represent him. Their choice fell on a Renaissance Venus from Titian’s workshop, held in the Wallraf-Richartz Museum in Cologne. The painting was exhibited in Kassel alongside a panel with the text of the Operative Process, in which the artist explained his concept. In this way, the artist “passivized” his own role, leaving the position of creator to the critic.

Critics regarded this procedure as a provocative unmasking of the artistic process and a blow to established aesthetic criteria. His participation in documenta 6 was considered a confirmation of the analytical and conceptual tendency on the international scene, especially as he exhibited alongside artists such as Joan Miró, Francis Bacon, Andy Warhol, Roy Lichtenstein, Robert Rauschenberg, Jasper Johns, Joseph Beuys, and Anselm Kiefer, among others.[12]

International experiences and “Landscapes of Painting” (1979–1980s)

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In early 1979, Cacciola began a period often referred to as his “overseas experiences,” marked by travel and the creation of works directly in contact with local landscapes and materials.

That year he stayed on the island of Taboga in Panama, where he created a cycle of works made with local sand and natural materials. On the island, Cacciola established an operative practice that would mark all his later works: sourcing the necessary material on site, finding a suitable space in which to work, preparing the mixture, manually spreading the paste on entirely free canvases, drying, and producing a photographic record.[13]

In the same period, Cacciola held a solo exhibition at Georgetown University in Washington (1979), where for the first time he presented figurative canvases depicting himself and his daughter in natural surroundings.

In 1980, in Mexico City, at the invitation of Juan Luis Díaz, he presented the cycle 36 horas de pintura en San Giacomo, a performative project during which he painted continuously for 36 hours, recording the passage of time through changes in color linked to natural light and atmospheric conditions. His close friend and colleague Walter Di Giusto also participated in the exhibition, presenting his own works.[14]

Cacciola’s “overseas” explorations marked the beginning of the cycle later called “landscapes of painting,” in which the artist employed materials specific to the local environments in which he worked. This approach linked his analytical practice with nature and the experience of place, emphasizing the relationship between materiality, light, and time.

In June 1981, Cacciola participated in the exhibition Pittura in radice at Galleria Forma in Genoa, curated by Achille Bonito Oliva. The exhibition brought together Cacciola, Gianfranco Zappettini, and Walter Di Giusto, and critics interpreted it as a bridge between Analytical Painting and the Transavanguardia, the movement through which Oliva, since the late 1970s, promoted a return to painting freed from ideological frameworks and conceptual rigidity.[15]

Later work and return to cement (2000–present)

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In the second half of the 1980s, Cacciola gradually withdrew from the art scene and dedicated himself to his place of residence, Rocca Grimalda in Piedmont, where he also served as mayor, a position he has more recently taken up again.[16]

At the beginning of the 2000s, he returned to active exhibiting and the development of new cycles, particularly the Multigum series, named after the synthetic resin that became the medium of his research. The works in this cycle consist of two pictorial surfaces (canvas and frame) seemingly tightened by long screws and metal bolts. In reality, these elements exhaust their function at the moment the artist fastens the screws, allowing the resin, poured between the canvases, to glue the two parts together and to express itself through extrusions that introduce into the work, in its final stage, an element of pure, uncontrolled, and unpredictable chance.[17]

During the 2010s, Cacciola returned once again to cement, this time through the Nanodur cycle, in which he used a new type of material - elastic cement in various tones - on canvases and frames of different sizes. Multiple layers of cement, with drippings along the edges of the surfaces and craquelure effects obtained through the use of water, produced works in which the analytical method of the 1970s continued but at the same time resulted in more varied and expressive effects.[18]

Since 2017, the artist has once again explored natural materials within his overseas cycles. In Cuba (Bay of Pigs), he created works in which cement was used in its pure, monochrome appearance, in contrast to earlier cycles from Panama and Mexico. In works produced during his stays in Latin America, Cacciola transferred the experience of natural elements such as sand, soil, volcanic dust, and thermal mud onto the pictorial surface. It was precisely this need for self-analysis, exploration, and the experience of often distant realities that had first led Cacciola, in 1979, to the island of Taboga in Panama. The last overseas painting cycle before his return with the Argentine experience saw the artist working in 2017 in Cuba, in the famous Bay of Pigs, once again guided by the desire to explore “new horizons”; the tropical environment in which he worked decisively influenced the final appearance of the canvases.[19]

In 2022, Cacciola stayed in Argentina, where he realized the cycle Los colores de la tierra, using natural pigments from the Purmamarca region. This cycle was presented at his solo exhibition at the Museo de Arte Contemporáneo (MAC) in Salta in 2023.[20]The works from the Argentine cycle were created by collecting rocks of fascinating colors from La Candelaria, Rosario de la Frontera, and the Cerro de los Siete Colores massif.[21]

Artistic Oeuvre and Poetics

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From the very beginning, Cacciola’s oeuvre has been marked by an analytical approach to painting, through which he investigated the relationships between support, surface, material, and the very process of painting. His early works, linked to geometric concretism, gradually led toward the reduction of expressive means and the emphasis on process as the fundamental component of the artistic act.

For Cacciola, it was already in the 1970s crucial to shape his own poetics, which he summarized in the formula “the work becomes the artwork.” It was precisely after the period of his Integrative Surfaces (1971–1973) that he formulated within himself the poetic-ideological equation according to which “work becomes the artwork.” Cacciola thus theorized this concept, which would become the foundation of all his subsequent painting.[22]

In the series Cements and Asbests (1974–1976), he systematically used industrial materials such as cement and asbestos as painting matter for the first time in the history of painting. In doing so, he gave a new artistic value to materials that until then had been associated exclusively with construction. Critics emphasized that this procedure was related to the concepts of Arte Povera and Process Art, but remained consistent within the framework of Analytical Painting.[23]

Cacciola also stressed the importance of memory and historical awareness in art. His participation in documenta 6 in Kassel (1977) further confirmed this approach, particularly through the conceptual work in which he entrusted curators Honnef and Weiss with the choice of a work from Titian’s workshop to represent him. With this act, according to critics, he delivered a “punch to the stomach with respect to prevailing aesthetic criteria of the years of its conception (1974–1975).”[24]

From 1979 onward, he developed cycles of so-called “landscapes of painting”, linked to his travels and experiences in different geographic and cultural contexts - Panama (1979), Mexico City (1980), Cuba (2017, Baía de Cochinos), and Argentina (2022, Los colores de la tierra, Museo de Arte Contemporáneo, Salta). In these works he employed sand, earth, volcanic dust, and thermal mud, connecting the artistic act with the immediate natural environment. In the later Nanodur cycle (2010s), he explored a new type of cement in different tones and with elastic properties, thereby continuing a consistent line of experimental work with industrial materials.[25]

His work combines analytical rigor with elements of memory, historical citation, and the experience of place. In cycles inspired by different landscapes (Panama, Mexico, Cuba, Argentina, Ibiza), color, support, and material are not tools of representation but become signs of process and of symbiosis with nature. At the same time, the artist investigates the concept of systematic documentation of the creative process, including photography as an integral part of the artwork.

Critical Reception

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Since the early 1970s, Enzo Cacciola’s work has been systematically followed by Italian and international critics. Among the authors who have analyzed his oeuvre are Klaus Honnef, Evelyn Weiss, Filiberto Menna, Catherine Millet, Alberto Rigoni, Bruno Corà, Marco Meneguzzo, Viana Conti, and Achille Bonito Oliva.

Critic Alberto Rigoni emphasized that Cacciola was one of the most rigorous interpreters of Analytical Painting, particularly in the Asbestos series (1974), in which he employed industrial materials such as asbestos and cement, shaping geometries of limited chromatic values (Pompeian red, antique pink, pale green, sky grey). A year later, in the Grey Cements cycle (1976–1978), the artist gave cement an autonomous role, allowing the material—through stratified application and the appearance of cracks—to become the bearer of the artistic and conceptual value of the work.

Cacciola formulated his own poetics in the phrase “the work becomes the artwork”, stressing the importance of the process itself, in which the act of painting and the physical manipulation of material are transformed into the final result. His conceptual approach, particularly in the context of documenta 6 (1977), was interpreted as a “punch to the stomach in relation to prevailing aesthetic criteria”, since the artist delegated to the curators the choice of the work that would represent him, thereby questioning the roles of artist, critic, and viewer.

List of exhibitions[26]

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Solo exhibitions

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2022

Enzo Cacciola - La leggerezza del cemento, Galleria Massimo Ligreggi, Catania

Enzo Cacciola - Landscapes of paint Paesaggi di pittura, Prisma Studio, Genova

Enzo Cacciola Materia e tempo, Castello Brown, Portofino

Enzo Cacciola. Solo- Show, Armanda Gori Arte, Rome

2018

Cacciola | Zappettini, Processo e metodo della Pittura Analitica, Palazzo Reale, Genova

2017

Enzo Cacciola Nanodur Chromatarm Nuovi cementi, ULTRASPAZIO Coworking, Torino

2016

Enzo Cacciola. Concezioni, processi e contesti nella pittura (1973 – 2016), Progettoarte-em, Milano

2015

Enzo Cacciola Works (1975-2015), Tommasi Arte Contemporanea, Milano

Enzo Cacciola Cemento Amato, Santo Ficara, Florence

2014

Enzo Cacciola 1972-1977, Francesco Clivio Arte Moderna, Parma

2013

Personale, Opere dal 1973 al 2013, Museo d’Arte Moderna e Contemporanea, Senigallia

2010

Enzo Cacciola Continuità e interferenze, Progettoarte-elm, Milano

2009

Enzo Cacciola. La pittura tra concetto e materia, Galleria Artestudio, Milano

Enzo Cacciola Lavori 2008 – 1976, Galleria Varart Florence

2007

Enzo Cacciola, Fusion Art Gallery, Torino

2006

Enzo Cacciola, Fondazione Zappettini, Chiavari

1990

Enzo Cacciola, Studio d’arte contemporanea, Novara

1988

Enzo Cacciola, Galleria Peira Arte Contemporanea, Bra

1985

Enzo Cacciola, Studio Bonifacio, Genova

1984

Enzo Cacciola, Galleria C. Busi, Chiavari

1982

Enzo Cacciola, Castello di Rapallo, Rapallo

1981

Lavori in corso, Galleria d'Arte Moderna, Bologna

1980

Enzo Cacciola, Galleria Pro Arte, Mexico City

Enzo Cacciola, Museo Foro Cultural Contreras, Fonopas, Mexico City

1977

Enzo Cacciola, Galleria Arnesen, Copenhagen

1976

Enzo Cacciola, Galleria La Bertesca, Düsseldorf

1975

Enzo Cacciola, Galleria La Bertesca, Düsseldorf

1974

Enzo Cacciola, Galleria La Bertesca, Milan

1973

Enzo Cacciola Konstruktive Kunst, Galerie Holeczek, Freiburg

1972

Enzo Cacciola - Evoluzione progressiva 1972, Jannus Pannonius Museum, Pecs

Enzo Cacciola, Galleria von Bartha, Basilea

Enzo Cacciola, Galerie Kleber, Berlino

1971

Cacciola, Galerie Von Bartha/Minimax, Basilea

Enzo Cacciola, Galleria La Bertesca, Genova

Group exhibitions

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2021

Tomas Rajlich e l’arte astratta in Italia Make It New!, Museo di Villa Croce, Genova

Arte Jeans. Storia di un mito nelle trame dell’arte contemporanea, Palazzo Metelino,Genova

Marchegiani - Cacciola. Dall’intonaco al cemento, Galleria Kromya, Verona

2018

The Golden Nightingale, da un progetto di Palma Bucarelli del 1975, progettoarte-elm, Milan

Una collezione italiana, Opere dalla Collezione Merlini, Palazzo Fortuny, Venice

100% Italia Cent'anni di capolavori, Mastio della Cittadella, ‘Torino, a cura di Andrea Busto

2017

Pittura analitica, Origini e continuità, Villa Contarini, Padova

Bilè uméni White art, Galerie Zaloudek, Prague

Lucio Fontana e l'annullamento della pittura, dal gruppo zero alla pittura analitica, Palazzo Salmatoris, Cherasco

2016

Pittura analitica 1970, Mazzoleni, London

Gli anni della pittura analitica, Palazzo della Gran Guardia, Verona

2015

Un'idea di Pittura, Astrazione analitica in Italia 1972-1976, Casa Cavazzini, Museo d'arte Moderna e Contemporanea, Udine

Visione Analitica, Percorsi della pittura degli anni 70, Villa Brandolini, Pieve di Soligo

La Pittura Analitica Ieri e Oggi, Primo Marella Gallery, Milan

La Pittura Analitica Ieri e Oggi, Primae Noctis Art Gallery, Lugano

Pittura analitica. Ricerca anni Settanta, Respublica Galleria d’Arte Contemporanea, ‘Torino

2014

Pittura Analitica in Italia, Labs Gallery, Bologna

Tra Pittura Pittura e Pittura Analitica, Vibo Valentia

2013

Novanta artisti per una bandiera, Vittoriano, Rome

Le rotte della pittura. Sessant'anni di astrazione italiana dalla collezione Garau, Museo Piaggio, Pontedera

2012

Paint?!, Lu.C.C.A. Lucca Center of Contemporary Art, Lucca

Superfici sensibili, CAMeC Centro d’Arte Moderna e Contemporanea, La Spezia

2011

La presenza della pittura – gli anni Settanta, Arte Studio, Milan

Analytische Malerei – 4 Protagonisten aus Italien, Forum Kunst, Rottweil

Lo stato dell’arte – Una ricerca senza fine, Biennale di Venezia, Venice

Kunst der Siebziger Jahre-Art of Seventies, Dany Keller Galerie, Munich

Attualità analitiche, Presenze Italo-Francesi degli anni settanta, Cavana Arte contemporanea, La Spezia

2010

Pensando Pittura. Gli anni Settanta, Galleria La Rinascente, Padova

Pensando Pittura. Dagli anni Settanta ad oggi, Galleria Anfiteatro Arte, Padova

Continua la Pittura, Fondazione Zappettini, Chiavari

Pittura e Pittura, Analitica e Support/Surfaces, Otto protagonisti tra Italia e Francia, Palazzo Robellini, Acqui Terme

2009

Le superfici opache della Pittura Analitica, Fondazione Zappettini, Chiavari

Pensare Pittura – Una linea internazionale di ricerca negli anni '70, Museo di Villa Croce, Genova

Coerenza di pensiero e pittura, Galleria Liba, Pontedera

Struttura – Pittura, Museo d’Arte Moderna e Contemporanea, Senigallia

2008

Arte '70: Pittura Analitica Italiana, Arte Fiera Bergamo, Bergamo

Pittura Analitica. Ieri e oggi, Arte Fiera Genova, Genova

Pittura aniconica, Casa del Mantegna, Mantova

Cromatismi Uno, Galleria Arte Studio, Milan

Analytica, Annotazioni d'Arte, Milan

Arte Contemporanea in Giustiniana, Tenuta la Giustiniana, Gavi;

Pittura – Pittura e Astrazione - Arte e linguaggio negli anni ‘70, Fondazione città di Cremona, Cremona

2007

Dalla Pittura Analitica quattro protagonisti – Enzo Cacciola, Paolo Cotani, Pino Pinelli, Gianfranco Zappettini, Galleria 911, La Spezip; Arte Fiera Genova, Genova

Pittura Analitica - I percorsi italiani 1970 – 1980, Museo della Permanente, Milan

2004

OvadaArte. Panorama internazionale 1960-2000, La Loggia di San Sebastiano, Ovada

2003

Il sogno di Aleramo, Castello di Barolo, Barolo

1999

Due opere per artista Genovese 1960 - 2000, Fondazione Katinka Prini, Genova

Artissima 1999, Galleria Andrea Contini, Torino

1996

Collettiva, Galleria von Bartha, Basilea

1990

Accumulazione, Studio d’arte contemporanea, Novara

1986

L’arte redenta, Complesso di S. Stefano, Bologna

I superrealisti e l’arte spirituale, Galleria Peira Arte contemporanea, Bra

Isola d’arte – sculture all’aperto, Comune di Bra

Alta stagione, Doks Ponte Spinola,Genova; Palazzo del Parco, Bordighera e Castello di Portovenere.

1985

Pittura 70-80, Cala Fieschi, Sestri Levante.

1984

Risonanze, Galleria C. Busi, Chiavari

L’occhio sull’immagine, Cala Fieschi, Sestri Levante.

1983

Critica ad arte, Palazzo Lanfranchini, Pisa

Allarme nel sistema: un tilt romantico!, Castello di Portofino

1982

Il grande maquillage, Galleria Balestrini, Albissola

Pittura di corta memoria – Short Memory Painting, Palazzo della Permanente, Milan

Sette grandi tele, Galleria Balestrini, Albissola

Arteder 82, Bilbao

1981

Lavori in corso, Galleria civica, Bologna

Pittura in radice, Galleria Artra, Milano; Galleria Forma, Genova

1980

Non-realized projects , Academia San Carlos de la Universidad National Autonoma de MexicoMexico City

Pro-memoria, Teatro del Falcone – Palazzo Reale, Genova.

1979

Across the sea, Georgetown University, Washington

1978

Collettiva, Galleria Civica di Modena, Modena

L’appartamento del Doge, Palazzo Ducale, Genova

Studio per una mostra, Palazzo Spinola, Genova

1977

documenta 6, Kassel

La contraddizione del segno, Teatro Gobetti, Torino

Collettiva, Galleria Nordenake, Malmö

1976

Cronaca: Percorso didattico attraverso la pittura americana degli anni ‘60 e la pittura europea degli anni ‘70, Galleria Civica, Modena, a cura di Alessandro Magni

Una situazione europea,Galleria Arnesen, Copenhagen

I trend nell’Arte Europea 1976, Galerie Arnesen, Copenhagen

Concernig Painting, Stedelijk Museum, Schiedam; Hedendaagse Kunst, Utrecht

Ein Europäisches Moment, Galleria La Bertesca, Genova

Druckgrafik aus Italien Stadtebund , Düsseldorf

1975

Analytische Malerei, Galleria La Bertesca, Diisseldorf

X Quadriennale, La Nuova generazione 1975, Palazzo delle Esposizioni, Rome

Pittura, Palazzo Ducale, Genova

Empirica: l’arte tra addizione e sottrazione, Museo di Castelvecchio, Verona

A proposito della pittura, Museum Van Bommel-Van Dam, Venlo

Concernig Painting, Museo van Bommel van Dam, Venlo

Collettiva, Galleria De Gestlo, Hamburg

1974

Grado Zero (Berthot, Cacciola, Cotani, Dolla, Erben, Grirke, Griffa, Isnard, Ortelli, Viallat, Zeniuk), Galleria La Bertesca, Genova

Superfici integrative-pittura industriale, Galleria La Bertesca, Milan

1973

The Golden nightingale (Cacciola, Cotani, Gastini, Morales, Zappettini), Platres, Cyprus

1972

Prospettiva 5, Galleria Il Grifo, Rome

Modern Grafika Pècs, Jannus Pannonius Museum, Pècs

VII biennale, Savet Umetnosti Galerije, Čačak

1971

Proposte 71 (Alviani, Cacciola, Colombo, Cruz-Diez, Dadamaino, La Pietra, Macario, Presta), Galleria La Bertesca, Genova

Collettiva, Galleria Minimax von Bartha, Basilea

Collettiva, Galleria Modulo, Milan

Ricerche visive, Galleria La Bertesca, Genova

Alluminio + sintetica, Museo Progressivo di Basilea,Basilea

Esperienze Grafiche, Museo delle Belle Arti, Budapest

1970

Proposte 70, Galleria La Bertesca, Genova

1969

XI Premio Diomira, Galleria Gian Ferrari, Milan

References

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  1. ^ "documenta 12: d12". www.documenta12.de. Retrieved 2025-09-01.
  2. ^ Art International Contemporary Magazine, no. 3, May/June 2022, ed. Salvatore Russo, Milan, 2022. Includes: “Interview with Enzo Cacciola.”
  3. ^ Francesco Mutti, Il racconto della pittura, in: Enzo Cacciola – Structura, Soresina, 2023.
  4. ^ Paola Valenti, “L’incessante sperimentazione e la rigorosa processualità di Enzo Cacciola,” in: Enzo Cacciola. Paesaggi di pittura, De Ferrari Editore, Genoa, 2022.
  5. ^ Art International Contemporary Magazine, no. 3, May/June 2022, ed. Salvatore Russo, Milan, 2022. Includes: “Interview with Enzo Cacciola.”
  6. ^ Paola Vaienti, “L’incessante sperimentazione e la rigorosa processualità di Enzo Cacciola,” in: Enzo Cacciola. Paesaggi di pittura, De Ferrari Editore, Genoa, 2022.
  7. ^ "The Golden Nightingale - Ricostruzione di una mostra - - Progettoarte Elm". www.progettoarte-elm.com. Retrieved 2025-09-01.
  8. ^ Bruno Corà, Cacciola:dinamiche del processo creativo e della superficie, in: Cacciola e Uncini, Armanda Gori Arte:Genoa, 2023.
  9. ^ "Enzo Cacciola". www.pitturaanalitica.it. Retrieved 2025-09-01.
  10. ^ Bruno Corà, Cacciola:dinamiche del processo creativo e della superficie, in: Cacciola e Uncini, Armanda Gori Arte:Genoa, 2023.
  11. ^ Enzo Cacciola, Arte e scuola incontri con gli artisti № 1 la pittura analitica, Cooptip, Modena, 1977.
  12. ^ Bruno Corà, Cacciola:dinamiche del processo creativo e della superficie, in: Cacciola e Uncini, Armanda Gori Arte:Genoa, 2023.
  13. ^ Andrea Daffra, Un punto di vista geografico sull'opera pittorica di Enzo Cacciola, in: Enzo Cacciola. Los colores de la terra, MAC – Museo de Arte Contemporáneo, Salta, 2023.
  14. ^ Andrea Daffra, Un punto di vista geografico sull'opera pittorica di Enzo Cacciola, in: Enzo Cacciola. Los colores de la terra, MAC – Museo de Arte Contemporáneo, Salta, 2023.
  15. ^ Bruno Corà, Cacciola:dinamiche del processo creativo e della superficie, in: Cacciola e Uncini, Armanda Gori Arte:Genoa, 2023.
  16. ^ lancora (2020-09-28). "Rocca Grimalda: Enzo Cacciola sindaco per la terza volta". Settimanale LAncora (in Italian). Retrieved 2025-09-01.
  17. ^ Paola Valenti, “L’incessante sperimentazione e la rigorosa processualità di Enzo Cacciola,” in: Enzo Cacciola. Paesaggi di pittura, De Ferrari Editore, Genoa, 2022.
  18. ^ Paola Valenti, “L’incessante sperimentazione e la rigorosa processualità di Enzo Cacciola,” in: Enzo Cacciola. Paesaggi di pittura, De Ferrari Editore, Genoa, 2022.
  19. ^ Andrea Daffra, "Il segno della materia. L'opera come testimonianza storica," in: Enzo Cacciola. Paesaggi di pittura, De Ferrari Editore, Genoa, 2022.
  20. ^ Andrea Daffra, Un punto di vista geografico sull'opera pittorica di Enzo Cacciola, in: Enzo Cacciola. Los colores de la terra, MAC – Museo de Arte Contemporáneo, Salta, 2023.
  21. ^ Andrea Daffra, Un punto di vista geografico sull'opera pittorica di Enzo Cacciola, in: Enzo Cacciola. Los colores de la terra, MAC – Museo de Arte Contemporáneo, Salta, 2023.
  22. ^ Bruno Corà, Cacciola:dinamiche del processo creativo e della superficie, in: Cacciola e Uncini, Armanda Gori Arte:Genoa, 2023.
  23. ^ Bruno Corà, Cacciola:dinamiche del processo creativo e della superficie, in: Cacciola e Uncini, Armanda Gori Arte:Genoa, 2023.
  24. ^ Bruno Corà, Cacciola:dinamiche del processo creativo e della superficie, in: Cacciola e Uncini, Armanda Gori Arte:Genoa, 2023.
  25. ^ Andrea Daffra, Un punto di vista geografico sull'opera pittorica di Enzo Cacciola, in: Enzo Cacciola. Los colores de la terra, MAC – Museo de Arte Contemporáneo, Salta, 2023.
  26. ^ Cacciola e Uncini, Armanda Gori Arte:Genoa, 2023.
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