The Artist

I introduce myself.

Born in Rome but living in Versilia, Emanuele Giannelli is an Italian viscerally provocative artist, where provocative means "provocateur of emotions". Giannelli is a lover of contemporaneity and dual human nature: innovative and potentially capable of doing anything it wants on one hand, deeply self-destructive on the other. His works are a perfect balance between figurative and conceptual arts, thanks to which the artist immortalises all the chaos of the contemporaneity without giving judgment but remaining a spectator, suspended among doubts and possibilities.

New 2023

GIANNELLI GIOIELLI

What if you could wear a work of art?
Emanuele Giannelli's sculptures become jewels to wear.

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Events and news

Here are the most recent news about my art.

February-May 2025

GIANNELLI. THE SKY ABOVE FLORENCE

FLORENCE. It was 2022 when I brought Mr. Arbitrium, my over-five-meter-tall giant, to Florence. A wonderful welcome and great emotions. Three years later, the Tuscan capital will once again host not one but three of my most iconic monumental sculptures: THE WATCHER. Where Mr. Arbitrium once stood, leaning against the Basilica of San Lorenzo, from February 19 you will find The Watcher, a five-meter visionary giant who uses his powerful binoculars to scan the sky, the universe, and beyond. KORF 17. A big novelty will be the two KORF sculptures, each standing five meters tall, positioned in Piazza del Duomo, in front of Palazzo Strozzi Sacrati. I can't hide my immense excitement at the thought that my visionaries, with their arms crossed, will be just a few meters from the Cathedral of Santa Maria del Fiore, gazing toward Brunelleschi's Dome! The inauguration will take place on Wednesday, February 19, at 11:45 am at Regione Toscana, Palazzo Strozzi Sacrati, Piazza del Duomo. Presenting the event will be the President of the Region, Eugenio Giani, and Monsignor Marco Domenico Viola, whom I sincerely thank in advance.


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June-September 2025

CHAOS AND MAN. CONTEMPORARY TENSION

MILAN. I am very pleased to announce my upcoming exhibition, hosted in a space as evocative and fitting as the Fabbrica del Vapore in Milan, a former industrial complex for tram and railway rolling stock, now transformed into a cultural and exhibition hub of the City of Milan. A place capable of welcoming my works, children of the industrial and technological revolutions, on the perfect stage. The exhibition will feature around fifty sculptures, including both individual pieces and sculptural groups. Among them: Kiribati, Korf, Sospesi, Stati di Allerta, Mr. Arbitrium Mirrored, I Monkey Tribù, The Watcher, Dizzy, Cacciatore di Batteri, and many more. Special attention has been given to the exhibition design, developed according to the principles of human-centered design that guide the work of the renowned Milan-based Nava + Arosio Studio. The exhibition path has been conceived to actively engage the viewer, offering an experience that allows one to observe, and at the same time become part of the installation itself. This has been made possible by the lighting design project by WAVE Light Studio, which, in collaboration with PUK Lighting Italia, has created nighttime lighting effects that give the sculptures a dramatic and immersive presence. In the Sala Bianca, lighting fixtures will be provided by Ilmas Lighting, a company renowned for its new range of projectors with optics specially designed for art. I am truly glad to collaborate with such outstanding partners. The exhibition will also be exceptionally accompanied by an original text by writer and friend Fabio Genovesi, whom I warmly thank. My gratitude also goes to Tommaso Sacchi, Milan’s Councillor for Culture, to Maria Fratelli, Director of the Fabbrica del Vapore, and to all those who contributed to making this exhibition possible.


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A unique project

Between virtual reality and the art of Giannelli sculptor.

Critics

What they say about me.

Carlo Pizzichini

I would like to gather all these reflections, interpretations, and thoughts around the large-scale sculpture; they would form a philosophical cross-section of the world - an artistic dimension that I have always perceived in Giannelli’s work. It is this dimension that, paradoxically, renders his figurative sculpture a distinctly conceptual intervention, where motivation and idea prevail over flesh, and the fragility of the body yields to something more ethereal and delicate — yet also more enduring and universal: thought and judgment. Our era - an age of complexity, of expanded and fluid art - invites us to reflect on the blurring and transcendence of boundaries between genres and disciplines. This is precisely where Emanuele Giannelli’s sculpture is situated: at times solitary, at times in groups; sometimes monumental, sometimes minuscule; rendered in resin, but also in bronze, terracotta, and raku ceramic - ancient materials that act as a filter for the overflow of a more explicitly contemporary exploration, from 3D modeling to the inventions of Artificial Intelligence.

On the exhibition Forme nel Verde in Val d’Orcia

Niccolò Bonechi

The name of the exhibition Identità alterate (Altered identities) intends to point out the key aspect of Giannelli’s research, which - unintentionally perhaps - is summarized by the quote “as the face is the image of the soul, the eyes are the interpreters” (De oratore, M. T. Cicero): having established an interest in the human body, which most certainly matured during his years as a student, it is necessary to dwell on the outline of the face.

About the artist

Emanuele Giannelli

Being from Rome and having lived there for nineteen years I was able to visit the classical museums of the city, and observe the paths and evolution of ancient sculpture. At the Academy of Fine Arts with Emilio Greco in Rome first and then with Floriano Bodini in Carrara, we worked on figurative art a lot and I always saw it as a challenge, looking for improvement and fusion. Over the years I thought of figurative art as a conceptual element, bringing together proportions, twists and muscles with theoretical objectives, making figures become ideas and thoughts and human sculptures become mental representations. Finding a balance between figurative art and conceptual art wasn’t easy: the risk of academicism or of trivial search for beauty is always lurking. What’s important is to know when to stop and to let outside energies intervene, attaching a bolt to a back, making lines and cuts into wounds, microchips, mechanical parts and looking for elements that draw the attention to contemporary concepts. The challenge of figurative art remains, and there is a lot of work to do to juxtapose the human figure to modern neurosis and change.

Interview

Emanuele Giannelli

I think social and political involvement should be expected by every artist. Art is a crucial tool for looking into, examining and portraying the contemporary world. Problems connected with bioethics, biodiversity and body manipulation can - and must - start a debate. Lets not forget that the natural essence of art is communication. I have no certain answers, but through my research I plan on asking questions to fuel debate and confrontation.

Interview

Andrea Tenerini

Emanuele Giannelli comes out of the shadows for the first time. His success was inevitable and lately, his work has expanded and grown larger, making it difficult to express his vision in restrictive and contained spaces. Although the exhibition spaces were large in the recent Spoleto and Viareggio shows, they confirmed the urge for a challenge with urban landscapes. While the strong references to figurative art from the past and inclination to identify and interpret the present and the uncertain immediate future, typical of the artist’s values for some time, were in themselves positive factors for the challenge of displaying sculptures in public spaces, his recent, larger work highlights the inevitable need for generous exhibition spaces.

About the artist

Emanuele Giannelli

Art has to encourage communication between people. Society is ever-changing and consequently artistic research must also be in line with the times and look for new drive, advancement and unusual transitions: it must be able to approach innovation. Unfortunately nowadays artists often deal with a tight network of experts and critics excluding prospective consumers. I think creating a language for a restricted group of people is wrong. Art is sharing.

Interview

works

Attrito, 2025 | Aviatori, 2014 | Baraye, 2023 | Battaglia di Babele, 2013 | Bipedi, 2009 | Bronzi, 2020 | Bronzi due, 2020 | Cacciatore di Batteri, 2019 | Capsule Hotel, 2024 | Cervello umano, 2023 | Contemporary thought, 2017 | Dizzy 3. ZERO, 2022 | Dizzy two, 2014 | Dizzy Two - bronzo, 2023 | Dizzy Two big, 2016 | Dominia, 2018 | Double skin, 2015 | Double Skin - marmo, 2021 | Dunlop man, 2017 | El Santo, 2016 | Fabbricanti di cellule staminali, 2013 | For Timothy, 1998 | Fulminati, 2023 | Giostra, 2021 | Grande viaggio, 2019 | Gravity, 2023 | Haida, 2009 | Historia, 2025 | Hovo sapiens, 2014 | Humanoid, 2015 | iMonkey Tribù, 2022 | Korf 17, 2017 | Korf 17 giant, 2017 | Korf 17 small, 2017 | Lady F., 2021 | Lady F. 2/3, 2024 | Lady F. 2/3 (raku), 2024 | Macchina volante, 2022 | Magic mushroom, 2019 | Major Tom, 2017 | Mr. Arbitrium, 2021 | Mr. Arbitrium - bronzo, 2021 | Mr. Arbitrium Mirrored, 2023 | Mr. Kiribati, 2016 | Mr. Kiribati small, 2014 | Nine Inch Nails, 2020 | Obbiettivo comune, 2020 | Pankow, 2018 | Polaroid, 2015 | Radio Tower, 2020 | Raku, 2025 | Rave 1, 2024 | Rave 2, 2024 | Roma, 2025 | Self portrait, 2017 | si men thal, 2020 | Sig. Jeak, 2014 | Sisifo 2.0, 2025 | So wath, 2014 | Soldato Daz, 2015 | Sospesi, 2013 | Sospesi piccoli, 2022 | Stati di allerta, 2017 | Stati di allerta big, 2017 | Studio per Burning man Festival, 2020 | The Dreamer, 2019 | The Watcher, 2020 | Totemthoot, 2022 | Totemthoot - bronzo, 2022 | Uomo Aquilone, 2022 | Visionari, 2012 | Visionari big, 2016 | Waiting for play, 2018 | Xtopia Tribù, 2019 |

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