Daniele Milvio (b. 1988, Genoa) graduated from the Accademia di Belle Arti di Brera, Milano in 2011. Milvio has exhibited internationally with recent solo presentations including: Le Faremo Sapere, Federico Vavassori, Milan (2023); Melodyne, Weiss Falk, Basel (2022); Danno Erariale, curated by Gigiotto del Vecchio, Fondazione Morra Greco, Naples (2022); Terzultimatum, Galleria Federico Vavassori, Milan (2021); New bronzes and Drawings, Weiss Falk Attic, Basel (2019); A Milano non si usa, Federico Vavassori, Milan (2018); Brache, Supportico Lopez, Berlin (2017); Mille Furie, Downs & Ross, New York (2017); Schifanoia, Hester, New York (2015); Digos Boia, Hadrian, Rome (2014). Current and Recent group shows include: Watercolours, Chapter III, curated by Weiss Falk, XYZ, Tokyo (2023); Greetings, curated by Antonio De Martino and Edoardo Marabini, Galerie Hussenot, Paris (2023); Found Refined Refound, Weiss Falk at Eva Presenhuber, New York (2023); Watercolours Chapter II.2, Weiss Falk, Basel; Our Vampires, curated by Attilia Fattori Franchini, Sperling , Munich (2021); Panorama Procida, ITALICS Art, Procida (2021); It might include or avoid feelings, curated by Attilia Fattori Franchini, Hyphen Projects, Milan (2019); Use Your Illusion, Herald St, London (2018); Tra l’inquietudine e il martello, Federico Vavassori, Milan (2018). He lives and works in Milan, Italy.
Daniele has been pushing pre-existing boundaries in figurative painting, using his knowledge to explore the past in search of alternatives for the future. Raised within the beauty of classical music, driven by his passion for the violin, Milvio spent his early years studying the delicacy that lies within symphonies and melodies, before entering the world of painting and never turning back.
Milvio’s sarcasm towards contemporary society pours out on the canvas, creating an eclectic and contradictory setting in which the clever usage of ancient compositional solutions produces an imagery made of mature references and ironical reflections. Fables, myths and archetypical compositions find their way to speak to the viewer through a simplified linguistic scheme, initiating a moment in which the observer is allowed to meditate on the irony and absurdity of our contemporary times.
