Affiliati is a creation by Matteo Peducci.
A philosopher would call Affiliati "a device": an artwork that produces other artworks, reflections, relationships and dialogues between people. Between all people, not only artists.
Affiliati is an open box, a space of freedom, in which ideas and attitudes can emerge and become different art forms.

We are a group of innovators who love classicism, aware that one can only be truly contemporary if he/she is not afraid of tradition.
And we, indeed, are not afraid.
We are not afraid of tradition, nor of the past, because art is timeless.
Antiquity can be found everywhere, alive and active, as if grafted onto the newness of which, if it were a tree, it would represent its roots.

Many are inclined to believe that time crystallises and settles into history, which, in our case is more a Art History, but anyone who makes this banal association is wrong.
Art has little to do with Art History. Classicism is not something that constrains and limits, but a model to be respected and distorted; something that changes and is fed by the new and gives birth to new classicism in a continuum. It is a treasure with ever new coins to spend in the present but also in the future. Precious for those who look forward, but also for those who, for various reasons, turn backwards.

We think that art is timeless, and our works partly are too. Anyway, we don't like to think about the passage of time and its unstoppable, ever-changing flow.
Our works are authentic milestones but also stumbling blocks.
The art system with its accidents teaches us that, even as artists, we are above all more or less active spectators: actors and extras, directors and spectators.
We are in search of novelty and its wonder makes our being in the world a privilege.
As we said: we are very interested in ancient techniques with an ancestral bearing and, at the same time, we willingly allow ourselves to be seduced by the most modern technologies.

We work in such a way as to develop real skills, in the various fields of our interest, so that technical mastery nourishes our know-how; nevertheless we do not disdain the mischievous flicker of playful experimentation and the lightness of self-irony.
New technologies are our passion, as well as ancient ones, in this we resemble new humanists, not scientists, nor physicists, but rather skilled manipulators of matter and ideas.
We are aware of how pointless it is to make specious divisions between old and new, superimposing new preconceptions on old beliefs.
For us, ancient techniques are younger than contemporary ones, which in meeting often clash. But this is a good thing because new possibilities and new visions, of the world and of art, understood as something that was not there before, always spring from the miraculous wreckage produced by the impact.


Curriculum vitae Matteo Peducci


Born in Castiglione del Lago, Perugia (IT), in 1980
High School Diploma at Liceo Classico Annibale Mariotti, Perugia (IT)
Master Degree in Arti Plastiche from Accademia di Belle Arti di Carrara (IT)
Since 2013 collaborations with Universities centers of research and development of new materials

Works on commission:

2002 - realization of ornaments for a mosque for “Carrara Midwest Industries", Dubai (UAE)
2002/2006 - realization of works for the following artists: Matthew Spender, Alfredo Pirri, Pietro Cascella, Giuseppe Penone, Jan Fabre, Gianni Caravaggio, Italo Zuffi, Raba Rama
2003 - realization of a monumental work for Eli Lilly and Company SpA, Firenze (IT)
2006/2022 - collaboration with art studies Tor Art, Carara (IT)
2006 - marble monument for a private residence inspired by a work by Henry Moore, West Kensington, London (UK)
2007/2008 - two marble monuments for the sculpture park of Mahidol University, university of music and home of the Philharmonic of Thailand, Salaya, Bangkok (TH)
2010 - realization of a monument for the Princess of Thailand, Maihidol University, Salaya, Bangkok (TH)
2014 - historical restitution of Donatello's Madonna del Perdono for Opera della Metropolitana (OPA), Siena (IT)
2015 - restoration and renovation of the four seasons for the municipality of Sessa Aurunca, Caserta (IT)
2016 - architectural sculptural work for the Cathedral of San Rufino in Assisi (IT)
2016 - realization of the sacred furnishings for the church of Sterpeto, Perugia (IT)
2017 - realization of five commissioned works for “Diva International” SpA, Spello (IT)
2017 - construction of masonry for the Sacred Convent in Assisi (IT)
2018 - collaboration for the development of "Paper Factor" with the architect Riccardo Cavaciocchi
2019 - collaboration with the fashion designer Serena Cancellier
2019 - realization of a commemorative bust depicting Guglielmo Miliocchi for "Assocazione Miliocchi" and municipality of Perugia (IT)
2019 - realization of three monuments for the city of Trevi based on a project by the sculptor Robin Kennedy, Trevi (IT)
2019/2022 - collaboration with Design studio Barberini & Gunnel, Ancona (IT)
2020 - realization of a monument dedicated to farmers for the municipality of Spello (IT)
2020 - realization of a commemorative bust depicting Gerardo Dottori for the Dottori Foundation and municipality of Perugia (IT)
2020/2021 - restoration and renewal of architectural elements for the Oddi chapel located inside the Basilica of San Francesco al Prato, Perugia (IT) (operation that involves the relocation of the altarpiece of the Oddi, coronation of the Virgin by Raffaello Sanzio through graphic projection)
2022 - Quote in the work “il Sistema Periodico. Primo Levi Chimico e Scrittore”, edited by Vincenzo Aquilanti, Anna Dolfi, Maria Luisa Meneghetti, Accademia Nazionale dei Lincei, Bardi Ed.2022, pag. 174.

Solo exhibitions (a selection):

2017 - “Effetto Casimir”, Eduardo Secci Contemporary, Firenze (IT)
2014 - “Hortus Artis” Ass Tangram, Perugia (IT)
2010 - “Il Marmo Vuole Lavorato” Rubin Gallery, Milano (IT)
2010 - “Plastic Medici” galleria VV8artecontemporanea, Reggio Emilia (IT)

Group exhibitions (a selection):

2022 - Cosmoscow, WHO AM Gallery, Moscow (Russia)
2021 - Cosmoscow, WHO AM Gallery, Moscow (Russia)
2021 - “Isola Prossima”, Isola Polvese , Castiglione del Lago (IT)
2020 - “Untitiled. Art”, WHO AM Gallery, Miami (US)
2019 - “Arte Padova”, Vecchiato arte, Padova (IT)
2019 - “Art Verona”, Rubin Gallery-Verona (IT)
2018 - “ART Monsters”, Palazzo della Penna, Perugia (IT)
2018 - “Matter Matters”, Breed art Studio, Amsterdam (NL)
2017 - “Chicago art fair”,Eduardo Secci Contemporary, Chicago (USA)
2017 - “ART Monsters”, Palazzo della Penna, Perugia (IT)
2016 - Rocca Albornoziana di Spoleto, Perugia (IT)
2012 - “+50”, Palazzo Collicola, Spoleto (IT)
2012 - “Cranioscopia”, Rubin Gallery Milano (IT)
2011 - “54° Biennale d’arte di Venezia”, invitation declined
2011 - “La costante cosmologica”, Fondazione Rocco Guglielmo, monument of S. Giovanni, Catanzaro (IT)
2010 - “Preview Berlin”, Rubin Gallery – Berlino (DE)
2010 - “Art First” artefiera Bologna con Galleria Il Segno, Bologna (IT)
2009 - “Art Verona”,Rubin Gallery, Verona (IT)
2009 - “Scope Basel art show”, Rubin Gallery, Basilea (CH)
2009 - “Rolli Days- Rolli Contemporanei” Palazzo Francesco Grimaldi, Galleria Nazionale Palazzo Spinola, Genova (IT)
2009 - “MiArt” Rubin Gallery, Milano (IT)
2008 - “Scope New York”, Rubin Gallery, New York (US)
2008 - “Scope Miami”,Rubin Gallery, Miami (US)
2008 - “Kunst Zurich”, Rubin Gallery, Zurich (CH)
2008 - “Small Forms, Great Attitude”, Rubin Gallery, Milano (IT)
2008 - “Summer group show”, Rubin Gallery, Milano (IT)
2008 - “Nothing but sculpture- XIII Biennale di scultura di Carrara”, Carrara (IT)

Affiliati is a creation by Matteo Peducci. A philosopher would call it 'a tool' that is an artwork producing other artworks, reflections, relationships and dialogues between people. Between all the people, not only artists. Affiliati is an open box, a space of freedom, in which ideas and attitudes can emerge and become art.

WE ARE A GROUP of innovators who love classicism, aware that one can only be truly contemporary if he/she is not afraid of TRADITION. And We, indeed, are not afraid. We are not afraid of tradition, nor of the past, because art is timeless. Antiquity for us is everywhere alive and active. New things are growing above it as, if they were a tree, it would represent thier roots.

Many are inclined to believe that time crystallises and settles into history, which in our case is more a Art History, but anyone who makes this banal association is wrong. Art has little to do with Art History. Classicism is not something that constrains and limits, but a model to be respected and distorted; something that changes and is fed by the new and gives birth to new classicism in a continuum. It is a treasure with new coins to spend in the present but also in the future. Precious for those who look forward, but also for those who turn backwards. We think that art is timeless, and the artworks partly are too. Anyway, we don't like to overthink too much about the time and its unstoppable, ever-changing flow. Our works are authentic milestones but also stumbling blocks. The art system with its accidents teaches us that even as artists we are, above all, active spectators and actors and directors. We are in search of novelty and we are privileged human beings. As we said, we are very interested in ancient techniques with an ancestral bearing, at the same time we willingly allow ourselves to be seduced by the most modern technologies.

We work in such a way as to develop real skills in our various fields of interest, so that technical mastery nourishes our know-how; but we do not disdain the mischievous flicker of ironic experimentation and the lightness of self-irony. New technologies are our passion, just like ancient ones. In this we act as new humanists, not scientists or physicists, but rather skilled manipulators of matter and ideas. We are aware of how useless it is to make specious divisions of old and new, superimposing new preconceptions on old beliefs. For us, ancient techniques are younger than contemporary ones, which IN MEETING often clash. This clash is positive because, from the miraculous rubble of the impact, new possibilities and new visions (of the world and of art ss something that was not there before) arise.