Federico Gismondi was born in Balsorano (AQ) in 1936. He devoted himself to literature since the 1950s, publishing collections of poems, short stories, and essays from 1961 onwards; he also contributed to newspapers and magazines.

He is a sculptor, painter, and printmaker, alongside intense cultural activity, organizing art exhibitions, conferences, and civic events. He initiated aesthetic movements such as "Pan-World Art" and the "World Artists for Peace Movement of the Blue Manifesto," positioning himself as an egocentric figure who cuts across contemporary culture.

He holds solo exhibitions and participates in group exhibitions in many Italian and foreign cities, including: Rome, Milan, Bologna, Venice, Florence, Naples, Bari, Reggio Calabria, Palermo, Catania, Basel, Nuremberg, Dublin, Copenhagen, Barcelona, ​​Mexico City, etc.

He received awards and recognitions, including the Iraqi President's International Sculpture Prize at the Baghdad Biennial in 1986.

In 1993, on the occasion of his sculpture retrospective at the Museum of Modern Art in Mexico City, he was awarded the Diploma of Honor for Special Guests by the Preparatory School of the Free University of the same city.

Federico Gismondi is the author of various public and commemorative works of important events such as “Ciociaria del Giubileo – 2000” 15 bronze medals.

In 1999, together with Tina San (aka Santa Peruzza), also from Balsorano, and her life companion, a painter of great sensitivity and one of the leading exponents of European “Art Brut,” they created the “Eden Group.” In 1988, together, they had already organized the traveling exhibition “Archetypal and Fable-like Images of the Peasant Universe”; in 1989 “Barbarian Imaginary” and in 1990 “Bifronte.” In 1989, in Nuremberg, together, they signed the note “On the Right to Cultural Ethnicity” and in 1993, in Theothiuacan (Mexico), “Manifesto of the Sun of the Moon.”

Federico Gismondi's work has attracted considerable attention from the Italian and international press. He is featured in encyclopedias, yearbooks, and art catalogs.

Various monographs have been dedicated to his work, including: “Self-Portrait” ed. Carte Segrete, Rome 1975; “The Small Sculpture”, ed. Angelus Novus, l'Aquila 1988; “Mirabilia in Urbe (Cannilla-Gismondi-Romano)” ed. Municipality of Chieti 1990; “Imaginary Barbarian (Federico Gismondi - Tina San)”, ed. Angelus Novus, l'Aquila 1990; “The Fantastic Bestiary of Federico Gismondi”, ed. Museum of Modern Art, Mexico City 1993; “Manifesto of the Sun and the Moon – Mexico Speaks of My Art”, ed. Gli Amici di Gismondi, Alatri 1995; “Federico Gismondi- Great Woods”, ed. University of Cassino, Cassino 1997; “Eden (Federico Gismondi- Tina San)” ed. Civic Museum of Boville Ernica (FR), 1999.

Critical – introductory note by the artist

For easier reading, the work should first of all be divided into six fundamental periods:

1) 1950s – 1960s: of realist formation

2) mid-sixties: neo-cubism

3) late 1960s: reflection on the fifteenth century

4) Seventies: mechanomorphism of ecological commitment

5) Eighties: anthropomorphism of reinterpretation of the landscape

6) 1990s: panvisualism, i.e. painting or sculpture strongly influenced by history (of images) and multi-artism.

This argument applies more generally to painting. Sculpture sometimes anticipates the problem, staying in the shadows, but the plastic element always predominates, to the point that a critic like Duilio Morosini wrote in the 1970s in the pages of Il Paese, "Only after seeing his paintings did I realize that Gismondi is first and foremost a sculptor."

I am an experimenter, gifted, I believe, with a particular curiosity, especially for materials, therefore a true “faber”.

Ultimately, it is the materials that largely determine the outcome of the work.

I experiment with stone, bronze, wood, and even the very fragile pumice stone. The practice of "sculpting," that is, removing, is particularly congenial to me. And I love moving from monumental to small formats, all the way to microsculpture.

But, upon closer inspection, a common thread runs through all my work, whether pictorial, sculptural, or even literary: the neo-Cubist plot, that is, the decomposition and personal reconstruction of the universe. I love to proceed by assembly, by recovery. For me, the unity of a work of art is the reconnection of a vast cycle of fragments, the reunification of a dismembered body, of a universe in the process of dissolution.

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