No gods anymore


Every process of creation passes through destruction. Metamorphosis is necessary to the research and the choice to face the growth

In Kaey’s work it is the same destructive gesture that shapes creation.

A difficult path that the artist undertook in this performance that is presented in all respects as a strong and controversial experience, provocative and at the same time suitable to stimulate reflection in the mind of the viewer.

For the artist, getting rid of icons is equivalent to undressing oneself from ambition, abandoning oneself to an extreme gesture, preferring truth and honesty. Destroying the gods that each of us creates to better endure the transience of existence, destroy the demons – dostoevskians – of which you are succubi, embrace a broader vision, more visceral is the right way to reach the truth.

Admit your animal nature, murky, violent and not be afraid to show it to others.
Only in this way can we live free, authentic, in the awareness, in the faith of thought, of the mind and in the Art.


The performance will take place on the 27th of October at 7 pm. in Libreria Todomodo, Via Bellegra 44-46

Marcella Magaletti



ANTROPOLOGIKA – Final editing


As part of the fifth edition of Rome Art Week, the artist Marco Galletti (aka Kaey) invites us to an exhibition that projects the visitor in an unspecified place, in the exasperated vision of the present.

The 11 sculptures installed become allegorical stages of a journey that re-evaluates pop icons and images of current events, in an attempt to stimulate reflection on certain social, political-economic and moral conditions, and to unleash a constructive controversy on the found remains of our contemporaneity.

The exhibition will be open to the public from 18:30 to 22:00, 27 to 31 October 2020.

To encourage full compliance with the anti-contage regulations currently in force, access will be restricted and guided by the staff who will accompany visitors in the spaces of C.S. Brancaleone.

The path begins with the Simbiont, a sculpture buried in the garden of Brancaleone, which reflects on the possibility of a positive cohesion of natural and artificial elements for the purpose of Creation, a will that sets the human being in motion in all his actions and activities. This is opposed to the Zeitgeist, the spirit of time and essence before the emptiness of life, which is galvanized in the anathema “Diezeitfrisstalles”: time devours everything.

The next step leads us to the Carillon (War in a box) whose music attracts the visitor like the song of a siren, welcoming him with his sweet melody in a mysterious environment animated by the terrible shadows of conflicts and wars.

At this point Before/After da revolution intervenes, the mask of humanity that uses pop icons to embody social and political ideologies.

The risk faced by the artist is to confuse a leader with a character who pursues nothing but the realization of a personal project of social revolution.

ComFortZone brings us back to the present and represents a face that explodes and expands outwards, on which faces are projected. The face represents the Virus and comes from an appeal launched by Kaey during the quarantine called by the Italian government: the artist asked anyone who wanted to participate to retract their faces into their home, in the way they preferred, and then project the images collected on the sculpture/virus.

Among the projections there are smiling expressions, suffering, fragmented, afraid.

The goal is to reflect on the sudden realization of never being safe, because now more than ever we are all equal, we are all locked up, we are all healthy, we are all infected. There is no real enemy. The virus takes everyone, it makes no distinctions.

Similarly, the Parasite becomes a metaphor for the technology that invades our lives by appropriating every part of our being and feeds on our energies (and our data) growing and acquiring more and more power, so as to overwhelm the host organism.

Continuing we meet the Cores, whose discovery represents the rebirth and introduces the turning point of our journey: Pneuma, a sensory experience that resumes in an oxymoric parallelism the Zeitgeist and invites the viewer to reclaim his time, to rediscover the pleasure of details, reflection and introspective.

This last part of the journey can be summed up in man’s attempt to give a new form to Nature and its elements, suited to his needs and subjected to his needs. Modern Prometheus vol. II presents a figure of human features, in whose back the artist has stocked 23 knives. The creature, conceptually similar to M. Shelley’s Frankenstein, becomes the victim of the failure of the human-creator, who betrays the fruit of his own intellect and tries to destroy it in an attempt to hide his own error from the sight of the world.

Persephone is presented as a double installation where the vision of the video-performance made in 2017 by Kaey, which tells of the Persephone kidnaping, is flanked by the exhibition of the masks used by performers, reworked in order to emphasize at the extreme the allegory of each character, showing the way in which the same element can be re-read and revalued by its own creator in which different moment of his life, also in the light of a different context and current events.

Our journey ends with Agata: an entity that encloses in itself everything that is the expression of good and right; a new point of reference for men and for the artist who, at the end of this path of destruction, loss and reconstruction, finds in Agatha its own gravitational center and the source to which turn his attention.

This is the press release redacted by Marcella Magaletti on the occasion of the personal exhibition “Anthropologika“, which took place from 27 to 31 October 2020, at C.S. Brancaleone in Rome.

The QR-Codes here allowed participants to deepen through descriptions of the works, also by Dr Magaletti. Click to access it.

The artistic project involves the close collaboration of the artist K. with the director Maurizio Rodio, the scenographer Francesco Paolo Cipullo and the production director Myrlande Nardi, aimed at carrying out a social experiment on the involvement of the social audience through storytelling.

The idea of K. assumes shape in the intense storyline developed by the working group, which saw rodio protagonist in a series of mysterious events that escalated to a fictitious aggression. Rodio looking for answers found himself following “clues”, left behind by a strange figure, that eventually led to him an abandoned building… All this, documented by short videos – or stories – and images posted on social media, culminated in a live Facebook in which Maurizio explored the spaces of Brancaleone together with two friends and then find himself catapulted into a meta-earthly universe, in a timeless history, told by the installations of the series Anthropologika.

The live was a success, thanks to the masterful direction of Rodio and its interpretation more than convincing, together with the valuable participation of Gabriele Wegner, also the protagonist of the live-video and outside, giving further credibility to the story.

The video produced on 26 October and broadcast on Wegner’s social profile collected about 1500 impressions and followers, many of whom then visited the exhibition with interest.

Below, the images of the exhibition and diary written by Basiago Moberli, fictional character created by the group as the engine of the story, as well as the link to live Facebook.

Ph. Roberto Marchesini.

Basiago Moberli‘s diary, made by K.

ComFort Zone

How fear embraces you.

These days the sky has a sick color, an opaque sun, fat clouds.

Those buildings we knew, are now sad, gray and cruel, and their edges scratch your eyesight.

This fear floods you, it drowses you, it’s fog.

This is the virus. Its face can be each one of us. We are exiled into atolls with familiar traits, turned into prisons that resemble us.

We look at each other with suspicion, terrified. The face of infected people is not different from the others.

For this project, I asked friends and relatives to depict themselves, without flaunting or masking.

Whoever wants to contribute can send me in private a picture (a selfie), showing the background he prefers and that more represents his physical and mental state.

My idea is to show us all, once again, same and similar as we are, even at this moment, that we would never imagined to come.

Tomorrow, this work will be a testimony. Today, I hope it will be a mirror.”

cit. Kaey – Rome, March 2020


During the lockdown called by the Italian government, following the sanitary emergency caused by the virus Covid-19, millions of children, women and men felt imprisoned.

The prison is not necessarily the building in which one is forced to live, but also the sudden realization of never being safe.

The threat exists and it’s real, but it doesn’t have a face, there’s no culprit to prosecute. Everyone might be in danger and everyone might be the virus.

On the rare occasions when people are allowed to leave the house, everyone acquires a menacing appearance.

In this work, the virus is represented by a face that explodes and expands outwards. On this surface are projected some faces.

The artist asked participants to portray themselves in their home, in the way they preferred, and then projected the pictures collected on the sculpture/virus.

Among the projections there are smiling, suffering, fragmented, afraid expressions.

The goal is to make people wonder. Now, more than ever, we are all equal, we are all locked up, we are all healthy, we are all infected.

There is no real enemy. The virus takes everyone, it makes no distinctions.


The personal adaptation of the Major Arcana by K is the result of a long reflection on their symbology and what they teach.

In this research, the artist relies on the study of masters like Alejandro Jodorowsy and Aleister Crowley, with the advice of Simone Loi, naturopath and tarologist. Loi contributed to the catalogue of the exhibition with some quotes from his thesis on the subject.

The 22 Triumphs, also called Major Arcana, have always fascinated artists. Some of them ventured into a personal revision of the original model, such as the Tarot of Mantegna, the decks of Salvador Dalì, Enrico Baj and the Tarot of Dario Fo, painted by his son Jacopo.

In The Castle of Crossed Destinies, Italo Calvino uses the Tarot to help his characters, affected by insanable mutism, giving them the opportunity to tell their adventures through the Tarot cards arranged on the table. Kaey seems to accept the invitation of the author, collecting the original deck and inviting us to retrace the way of the Tarot through an intriguing figurative repertoire of strong symbolic value, shaping an evolutionary path of personal, mental and spiritual growth.

Each Arcane is a stage of the journey, and an entity with a precise character. Starting from the classic iconography of the original deck, Kaey transports us into a universe of humanoids, Machines and colors that undoubtedly recall the American New Age school of Ralph Steadman and the experiments of Dave Mckean. Each figure relates to a specific phase of the growth of the human being, giving the Arcana an extremely human reading key. In the cycle, we find indeed a fetus, that becomes later a newborn and then faces paternal and maternal figures, to finally meet the society outside the family nucleus, acquiring an increasing awareness of himself as he enters the journey.

Kaey’s research is topical and modern. At the same time, the choice of the Arcana model crystallizes his work in a timeless era, in which elements of the past are mixed with futuristic suggestions and constructions. This gives rise to an imperishable language that finds its maximum expression in the choice of a universal theme.”

cit. Marcella Magaletti, curator of the exhibition “22”




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Roma Art Week



Persephone originates from the homonymous personal show by K and develops as multimedia work, between visual arts, performative and video.

The project was realized with the collaboration the theatrical/performative company “Niduo” by Francesca Zavattaro and Antonio Cicerone, with the support of the team “The Hieronymus Case” (Luca Gasperoni, Simone Rosati and Marie Angela Tuala Paku as director) and the participation of the performer Manuela Cirfera.

The video performance tells the story of the Rape of Persephone, extrapolating the value of the myth and its message of rebirth, growth and power of balances.

The first two acts show the rapture and the stay in Hades, where Kore, daughter of the goddess Demeter, faces the metamorphosis and acquires the power of awareness, rising as queen of the Underworld: Persephone.

The third act invites to the happy celebration of the daughter who rejoins the Mother Goddess, the awakening of Nature, Sabbath to fulfilment of the balance and cycle of existence.

The perspective adopted by K and his team embodies an ecological message and shows a more visceral level of interaction between the characters of the story. Here the Kore chooses her own destiny, she’s no longer a victim of the events and decisions made by other gods.








Pandemonium (Page #)

Pandemonium is part of a narrative cycle developed in as a graphic novel. The story is unpublished and will be a connection for further stories.

Each board is rendered as a splash page, as a single frame, and represents an example of experimental illustration. The project tries to set a painted canvas in each page, the journey of growth of the main character with the horrific environments of the human subconscious and its defects as background.

The technique includes watercolors, oil, ink, graphite, collage, digital art and more.