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Exhibitions

Codex Insecta
Grosseto, 2025. Polo Culturale Le Clarisse, Museo Luzzetti,
Via Vinzaglio 27, 58100. Grosseto. Italia

Cut up

Following on from the exhibition Codex Eroticus (2022) comes Codex Insecta by Cavaliere Blu alias Adrian Peter. Over a million insect species have winged, beetled, crawled and inhabited our world for 400 million years. “Insectum” is the Latin word for “cut up”. Insects may well outlive us, and while the possibility of humanity one day vanishing like a face in the sand on the beach is the topic of discussion, we want to enjoy the watercolour pictures of Cavaliere Blu. A strange world where all worries are left behind. His drawings and writings oscillate between comics and manga. Between dreams, madness and Surrealism. Between wickedness, heresy and wit. A world where space and time merge, where up and down no longer exist. A bizarre, colourful panopticon of human and animal absurdities. A Codex Insecta, you could say.

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Codex Eroticus
Grosseto, 2022. Polo Culturale Le Clarisse, Museo Luzzetti,
Via Vinzaglio 27, 58100. Grosseto. Italia

Between Gothic crickets and bachelor machines

 

One hundred years after the creation of La Machine Célibataire (The Bachelor Machine) – the name given by Marcel Duchamp to the lower part of his work Le Grand Verre (The Large Glass) also called La mariée mise à nu par ses célibataires, même (The Bride Stripped Bare by Her Bachelors, Even), which is now on display at the Philadelphia Museum of Art – we’re delighted to be presenting at the Museo delle Clarisse another piece featuring dissected bodies and delicately mechanical, outlandish and delirious movements.

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We consider this to be an appropriate and provocative homage – not least because the creative mind behind these large etched, scribbled and colourful productions, Adrian Peter, is, like Duchamp, a sardonic and cosmopolitan artist. Moreover, he is originally from Switzerland, a place that should be famous first and foremost for having given birth to the Dada movement in 1916.​

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News article from La Nazione

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