This site started on December 29, 2020 collects all paintings by Alberto Cellotto from 2011 to present, in a form between diary and catalogue.
You can also follow the Instagram hashtag #10111978catalogue and/or this account.
10111978: a date of birth, typed the way you fill it in a form (ddmmyyyy format), without dots and slashes. Nothing so relevant happened in our lives the day we were born and thus we shouldn't celebrate or pay much attention to a date of birth. Nevertheless I resolve to title this catalogue of artworks from 2011 with the digits of my date of birth. I think that what I look for in painting is spatializing the world that ended the day I was born, namely a prenatal world, eventually a number, and that restless surrender, return and refund (well, you know, even human thinking is often an exaggeration).
Alberto Cellotto was born on November 10, 1978 in Treviso, Italy.
He lives in a village of this province.
Alberto Cellotto has published the poetry books Vicine scadenze (Zona, 2004, foreword by Antonio Turolo, Premio APS di Pordenonelegge 2004), Grave (Zona, 2008, foreword by Fabio Franzin), Pertiche (La Vita Felice, 2012, foreword by Gian Mario Villalta), Traviso (Prufrock spa, 2014, mention Premio Achille Marazza 2015), the plaquette illustrated by Nicolò Pellizzon I piani eterni (La collana Isola, 2014), the self-published book in 40 copies Pechino (2019), Non essere (Vydia, 2019, foreword by Maria Anna Mariani) and La decenza comune (Pordenonelegge/LietoColle, 2020).
He has translated Duluth by Gore Vidal (Fazi, 2007), Songs for the Missing by Stewart O'Nan (Fazi, 2011), A Deal in Wheat by Frank Norris (Amos Edizioni, 2012) and some poems by Matthew Sweeney in "Testo a fronte 53" (Marcos y Marcos, 2016).
His first work of fiction is the epistolary book Abbiamo fatto una gran perdita (Oèdipus, 2018).