Angelo Brescianini was born Palazzolo sull’Oglio in 1948, the youngest of four children. At the age of 12 he participated, with other artists, in his first collective exhibition. He attended mechanical drawing school. At the end of the sixties, he made his first bronze sculpture, currently on display at the "Enrico Fermi" School of Palazzolo. Also in 1968, he did his military service in Verona and continued to paint in his spare time. Those were the years of his first "shots" on rusty metal plates. His participation in the Padua Biennale aroused considerable interest, where he made himself noticed by critics with a painting entitled "Painful waiting" (the title was perhaps referring to waiting for the longed-for leave), with which he obtained his first official recognition. At the end of his military service he was hired as a clerk in an engineering firm, as an employee of cast iron, bronze and aluminum castings.
In the 1970s he interrupted his collaboration with the foundry, deciding to open a workshop equipped for cabinetmakers. Under his father's influence, he undertook the design and production of art objects. During this period, he exhibited his furniture and design prototypes at art fairs and collectives with success. At the end of the seventies he joined the artistic staff of the "Spirale Arte" in Milan. There he began to design and build wooden prototypes with precious metal plates, bas-reliefs, by famous authors such as: Cassinari, Fiume, Munari, Tamburi and Bonalumi. Over time, he devoted himself to interior design projects: tables, chairs, desks, sculptures, which achieved the much hoped-for success and were requested by collectors. But the tunnel of economic precariousness made him feel the thrill of an increasingly confused creative identity. His passion for art and his multifaceted nature involved him more and more and his laboratory became the ideal place to bring together and develop a sort of energetic rebellion against the prevailing culture.
In the eighties he undertook a fruitful research and his productions of applied arts were born: lamps with refined optical effects where the crystals, shattered by bullets, conveyed the LED light; colored glass vases and sculptures were cast in the most established furnaces in Murano too. Many collaborations of Angelo Brescianini with architects and famous masters. The knowledge and friendship of the Argentine kinetic artist Horacio Garcia Rossi allowed him a fruitful and long collaboration that led him to dedicate himself almost exclusively to the development and creation of optical moving sculptures, complex structures full of expressiveness and ingenuity. Many works from this period were advertised in specialized magazines of the sector.
For almost eight years the artist gradually gave up on furnishing work, devoting himself exclusively to structural / chromatic research.
His Optical research continued with the creation of increasingly complex moving wall sculptures, with systems of articulated gears and mechanisms driven by modern technology.
His dynamic visions became progressively polychrome, bright and fluctuating characterized by kinetic patterns that the artist borrowed in the continuous evolution of planes and forms.
At the end of the nineties, the artist discovered, thanks to the shooting experiences with firearms gained during his military service, the potential that a bullet could instantly transfer onto a metal surface. The impact and the imprint that the bullet generated on the surface of the slab opened up new creative stimuli for him. He changed his working tools, it was no longer the brushes or the spatula that made his visions come true but since then they have become revolvers and rifles. The artist sensed, in a brilliant way, the enormous potential of the new expressive medium that was perpetuated in it, thus achieving plastic evidence and sculptural meaning. This new technique was considered by many critics to be a real revolution in the panorama of international art history. Brescianini had gradually established a competition with "time" and with the light he was trying to capture, with increasingly complex plots.
Thus the first creations of shaped and curved surfaces were born in his “polygon laboratory”, where the clews of his shots, chasing each other stubbornly, weaved sparkling effects.
His performances changed according to a carefully organized ritual: firing of the bullet, angle, shooting distance. An expressive modality, that of Brescianini, which sought out the complex relationships between space-light and form.
In the inert slab the artist was able to convey the light which, trapped on a more shiny and smooth surface, better embellished the final effect in its essentiality.
The use of stainless steel made it possible to abandon the spatial laceration by replacing it, as the artist liked to call it, with "ashlar". Her gesture must thus be considered a bold and unprecedented manifestation of beauty where the action of the bullets, which causing the expansion of the metal, came to generate the alteration of the surface, almost showing the supple and refined shape of a female breast.
The overcoming of traditional genres, faith in research, the eagerness to experiment led him to discover the charm of the happening, of the unrepeatable performance. The metal surfaces in use were violated, torn outwards and made plastic. His creative thinking finally allowed him to put himself in a concrete way towards the viewer. But it is thanks to his friendship and collaboration with the art critic Antonio Falbo that Angelo Brescianini was finally able to establish himself in the world of contemporary art.
In 2012, an extensive retrospective of his curated by Antonio and Salvatore Falbo was set up in the exhibition halls of the “Museo Del Presente” in Rende (CS).
In 2014 the Mazzoleni Foundation dedicated a solo show to him presenting and enhancing a collection of almost 50 works. In 2015 he participated, with 10 sculptures, in "Art Basel Miami Beach" and at the "Unix Gallery" in New York. were the exhibitions set up at prestigious Italian and foreign galleries.
In April 2016, the exhibition "A singolar tenzone" was organized at the Castle of Cavernago (BG), curated by Antonio and Salvatore Falbo, with the intervention of the director of Palazzo Reale in Milan, Domenico Piraina. The event, preceded by an exceptional ballistic performance, represented the master's last appearance in public, enjoying great success. It was the "Swan Song" of the artist who died prematurely after a long illness on April 26, 2016.
Works by Angelo Brescianini still appear today in prestigious private and public collections in Italy and abroad.