Collezione Giuseppe Iannaccone

It’s wonderful to look at art history and see how artists have always explored the feelings, emotions, pleasures and torments of human beings. Era follows era, artists adapt to the social and economic factors of the changing scene, inventing new forms of poetry; but the human heart stays the same, and I can see a common essence, a shared poetic component, in every period of art. These were the thoughts that led me to begin collecting: works from the interwar period at first, then gradually moving toward the artistic languages of the present. I like to think of my collection not as two separate groupings of art, but as a single vast vessel of timeless stories to be explored, where the clearly visible guiding thread that links it all together is the ability to describe the deepest meaning of humanity, its nature and weaknesses.

Giuseppe Iannaccone

Filippo de Pisis
Il suonatore di flauto, 1940

Luigi Ontani
L'elefantino del marchesino, 2000-2007

In the 30s and 40s, Filippo de Pisis used images of young men to describe his own homosexuality in a quiet, reserved, very intimate way. For the time it was a sign of great artistic courage, which is part of what I admire about him. And then in our own era, Luigi Ontani is openly homosexual and his work deals with gay sex without embarrassment. I think both of them may express the same discontent with a society that's not yet ready to fully accept them. So it's no coincidence that they meet up on my Elefantino del Marchesino.

Alberto Ziveri
Il postribolo, 1945

Nobuyoshi Araki
Tokyo Comedy , 1997/2008

The concept of woman as object, sadly enough, is still a part of the public imagination. Ziveri described it in his bordellos, and many, many years later, the photographer Araki did as well, in a seemingly different way.

Fausto Pirandello
La spiaggia, 1940

Imran Qureshi
Midnight Garden, 2014

War and human suffering weighed on Fausto Pirandello's mind as he painted beaches where human flesh is crowded together and pointlessly tormented with absurd violence. Today, in the works of Imran Qureshi, I see the same torment, the same pointless violence against the spirit and body of man.

Renato Guttuso
Ritratto di Mario Alicata, 1940

Victor Man
Untitled, 2011

Portraiture can be a study of character which delves into the soul, describing the nature of its subject and, at times, the profound goodness of man.

Ottone Rosai
L'intagliatore, 1922

Elizabeth Peyton
Fred Huges in Paris, 1994

And so Ottone Rosai's Intagliatore, Renato Guttoso's Antonino Sant'Angelo, and Scipione's self-portrait respectively portray love, integrity, and the knowledge of impending death.

Renato Guttuso
Ritratto di Antonino Santangelo, 1942

Andro Wekua
Woman, 2003

Today, the portraits of Victor Man and Andro Wekua speak of suffering for a history that has become a part of you and can never be erased, Elizabeth Peyton tells us about love and admiration, while Michael Borremans and Roberto Cuoghi depict the mysteries of the human soul. And I could go on citing many other artists in my two collections, which are actually just one.

Giuseppe Migneco
Amanti al parco, 1940

Michaël Borremans
The Veils, 2001

Stories of lovers, in the 30s and in contemporary art: caught up in the problems of life, like the couple shown by Giuseppe Migneco who find no pleasure in their love due to the sufferings of society and the ugliness of war, or, like Michael Borremans's couple with the veil, united but divided by an invisible pain they must try to fathom.  

Ottone Rosai
I fidanzati, 1934

Laura Owens
Untitled, 2000

Lovers united by a boundless love, like Ottone Rosai's Fidanzati or the couple shown by Laura Owens.

Renato Birolli
I poeti, 1935

Michaël Borremans
The Resemblance, 2006

Renato Birolli's I Poeti is about conceptual painting, about the realism that comes after the filter of poetry, about a kind of poetry that is inside the artist, just as Michael Borremans's diptych is about conceptual realism. Realist painting grows out of reality, but takes poetic shape in the artist's mind.

Natura morta con piuma, 1929

Hernan Bas
The Overthinker in a Ticket, 2006

I like artists who have no qualms about describing whatever moves the human soul, without filters or censorship, like the sex described by Scipione in Natura morta con piuma, or the artist’s discomfort with his own homosexuality in Hernan Bas’s self-portrait from 2006, or Luigi Ontani’s San Sebastiano.

Renato Birolli
L'Arlecchino, 1931

Bronze Rat, 2006

Freedom in art can be like Renato Birolli, who uses color to destroy the chiaroscuro of the Italian twentieth century, looking toward Europe for a kind of painting without pre-established rules, or freedom in art can be like Banksy, who in our own time uses a rebellious rat with a paintbrush to express himself outside the usual canons, celebrating art without frontiers, or it can be like Barbad Golshiri, who will accept no prizes from representatives of the official art world.

Arnaldo Badodi
Donna al Caffè, 1940

Wangechi Mutu
Untitled, 2004

Not everything has stayed the same. There are things that belong to each era, like the violence against women depicted by Regina José Galindo and Wangechi Mutu, which has always existed but never used to be shown.

Arnaldo Badodi
Ragazza, 1941

Josè Regina Galindo
?Quién puede borrar las huellas?, 2003

Arnaldo Badodi did let us glimpse the subjugation of woman in the solitude of his girls and the sad faces of his dancers and prostitutes; faces that tell of psychological violence.

Progetto In pratica

Years ago, in his law offices where part of his contemporary art collection is housed, Giuseppe Iannaccone exhibited a number of works by a young artist who at the time was almost unknown. This encounter led to such a lasting rapport that Giuseppe Iannaccone is now the only collector to own the whole series of self-portraits by that artist: Francesco Gennari. It was this wonderful experience that gave Iannaccone the idea of presenting small exhibitions on the premises of his law firm, side by side with the works of well-established artists from the international scene. Solo shows by talented young artists still unfamiliar to the general public are alternated with thematic exhibitions on the Expressionists of the 30s, to make the Giuseppe Iannaccone Collection part of an ongoing dialogue and an increasingly one-of-a-kind experience, moving past the idea of mechanically classifying and cataloguing artists and works by place and period. The collector's aim is to group together kindred forms of expression to help us gain a better understanding of them, weaving unexpected connections that offer fresh new insight.



Saturday 14 April 2018, on occasion of the twenty- third edition of miart – the Milan international exhibition of modern and contemporary art, the fifth event of the project IN PRATICA, is to be inaugurated. This cycle of exhibitions is hosted by lawyer Giuseppe Iannaccone, featured among a part of his personal collection of contemporary art, and set within a dedicated area of his legal firm. Following the introduction of artists Davide Monaldi, Luca De Leva, Andrea Romano e Beatrice Marchi, IN PRATICA will present, a continuous comparison between the works of established international artists and those of talented, yet still unknown, emerging artists invited to the event to create site-specific projects.

Saturday 14 April, a collective exhibition of TEN YOUNG ALBANIAN ARTISTS in COLLABORATION WITH ART HOUSE SCHOOL is open to the public for a special visit EX GRATIA.  The event is an idea developed by Giuseppe Iannaccone, curated by Adrian Pacia and Rischa Paterlini, with the special collaboration of Prof. Zef Paci.

For the Miart 2018 event, Mr Giuseppe Iannaccone has chosen to dedicate  IN PRATICA #5 to a special project which introduces Italy to works generously created, by Adrian and Melisa Paci in Scutari, Albania: or rather a school for artists.  “What inspired me – writes Mr Iannaccone – was that act of generosity that you, Adrian, have shown towards your home city of Scutari and towards Albanian artists: thanks to Art House School you have provided ten artists with the opportunity to meet, share and discuss their work and experiences, while asking for nothing in return. You have given them the occasion to have hands on experiences with curators and international critics”.

Art House is “A place” – says Adrian Paci – “that allows the movement of ideas, where a private home opens up to the local community and where the community of a small city exchange intellectual and cultural contributions of the great world of art, whilst also maintaining the intimacy and closeness of the relationship”.

The works of the ten featured artists of the Art House School 2017, are positioned within the dedicated areas of the legal firm, and set among the works of the Collezione Iannaccone, which have been rearranged for the occasion.

“Never before” – writes Giuseppe Iannaccone – “had I imagined that one day I would have invited ten artists to expose their work, contemporarily. However, now that I look at them together, I notice once again that when artists are able to reach within and touch the depths of man, a miracle occurs. Marc Quinn’s moving beauty of disability seems to speak the same language of love as Alketa Ramaj’s video. The images of young Brazilians portrayed by Jetmir Idrizi recall the same search for sexual identity illustrated in the photographic shots of Nan Goldin; Stefano Romano’s photographs of fleeting actions communicate with the solid figures of Massimo Bartolini; the gaze on the face captured by Silva Agostini recalls the gaze trapped within the works of Dana Schutz. The neon red in Remijon Pronja’s photographs seems to contradict the sense of intimate domesticity found also within the works of Paola Pivi; the delicacy of Bora Baboçi’s drawings reappears in those created by Andrea Romano; the representations of pagan or Christian Gods by Alket Frashëri are in agreeance with the pantheon of deities. The mythological heroes of Luigi Ontani; the landscapes of Lek M Gjeloshi are reminiscent of those of Hernan Bas; Iva Lulashi’s painting is confronted  with that of Borremans; the introspective drawings of Fatlum Doçi are similar to the dreamlike landscapes  of Indian artists, such as Atul Dodiya.”

The idea of this project is thoroughly explained in the precious volume, which accompanies the exhibition, edited by Mousse Publishing, in Italian, English and Albanian. The edition contains images of the works of the artists that have resided at the Art House, as well as a collection of conversations between Adrian, Zef Paci and the ten artists at the centre of the exhibition. There is also a special story about the journey undertaken by the curator of the collection at the Paci residence.

The exhibition was created with the patronage of the Albanian Ministry of Culture and thanks to the contribution of Kooness for the audio and video material,  Massimo Romanò for the frames and Open Care – art services, FARE and ARKA for the hospitality given to the artists , all of whom will be present on the day of the inauguration.

Opening Saturday 14 April. By invitation and booking only. Bookings are obligatory and may be made at the following address:

List of contributing artists IN PRATICA #5

Silva Agostini, Bora Baboçi, Fatlum Doçi, Lek M Gjeloshi, Jetmir Idrizi, Iva Lulashi, Alket Frashëri, Remijon Pronja, Alketa  Ramaj e Stefano Romano


Art House is a project created by Adrian and Melisa Paci that aims to bring the presence, the ideas and contributions of international figures of the world of contemporary art to Scutari, their native city in Albania. The initiative came to life and developed, within the walls of Adrian’s family home, situated in the historical quarters of the city. This nonconventional choice of setting was conceived to create the ideal setting for meetings and debates between artists, scholars, writers and art lovers, where issues and problems regarding art can be discussed in an intimate and informal ambient, conducive to communication. Through this initiative, Art House aspires to increase the accessibility of the artistic experience, offering an alternative to the widespread convictions of the market and the institutional rhetoric. The project also aims to decentralise Albanian cultural life, which for many years has seen the capital city of Tirana as the sole location of artistic activity.