Paolo Brambilla (Lecco, 1990) studied at Accademia di Belle Arti di Brera, Milan, and Koninklijke Academie voor Schone Kunsten in Gent, Belgium. 

His multidisciplinary artistic practice makes use of speculative processes and formal permutations, assuming or distorting different formats of production and reproduction that could be natural, artificial, actual or virtual; in order to address the infinite cycles of assimilation, dispersion and transformation of the cultural product. His work is marked by speeches, perhaps even haunted by the ghosts of previous states. By taking forms and shapes, following different pathways, mimicking movements, by shadowing and repeating gestures, he has established a rich and dense vocabulary of materials, symbols and references, associatively moving between a variety of historical registers. An art object as a mold of multiple approaches. Or, in other words still, the artistic process as an amalgamation, a synthesis of radically diverging scales, rhythms and sources into a (seemingly) congruent whole that is an art object. 

Among his recent solo exhibition: Parata, Las Palmas Project, Lisbon, Portugal (2019); Mandragola, Galleria Massimodeluca, Mestre, Venice (2019); Fiordiluna, Dimora Artica, Milan (2019); I wanna be where the people are, GAFFdabasso, Milano (2018); Capriccio, Museo Ettore Fico, Turin (2017); SUPERHYPHENATION, Poppositions 2017 – Don’t agonize, organize!, ING Art Center, Bruxelles (2017). 

He participated to several group exhibitions, the most recent are: Placido, Dimora Artica, Milan (2019); The Useless Land, Castello di Lajone, Italy (2018);Capitolo I: Estate, Residenza La Fornace, Italy (2018); La seconda notte di quiete, DepositoA, Verona (2017); 70° Premio Lissone, MAC – Museo d’Arte Contemporanea, Lissone (2016); Open Call Club, Galeria Cavalo, Rio de Janeiro (2016).