Giovanni Carta exhibited at Galleria Gagliardi in 1995.
2007 - Roma, Galleria Arte e pensieri
2006 - Locarno (Svizzera), Galleria Del Salice
2002 - Watou (Belgio), Galleria de Queeste
2000 - Riva del Garda, Galleria La firma
1998 - Roma, Villa Bizzarri
1997 - Verbania, Intra-Studio d'arte Lanza
1996 - Sassari, Palazzo Ducale
1996 - Gand, Galerie Het Wijde Ogenblik
1995 - Montepulciano, Maat studio
2002 - Cagliari, Exma', "Segni del tempo"
2001 - Cagliari, Pinacoteca nazionale, "Grafica sperimentale"
2000 - Madrid, Salon international del grabado
1996 - Watou (Belgio), Gastof de Eendracht
1995 - Alghero, Pou salit, "Lapis"
1995 - Carbonia, Biblioteca comunale, "Arte concreta in Sardegna oggi"
1994 - Sant'Antioco, Palazzo Monte Granatico, "Modi d'arte"
1993 - Carbonia, Villa Sulcis, "Arte astratta moltiplicata"
1993 - Alghero, Forte della Maddalenetta, "Spettacolo multimediale"
1992 - Alghero, Chiostro di San Francesco, "Installazioni"
"Giovanni Carta's work, apparently quiet and elegantly aligned, actually implements a fearsome strategy of seduction: it fixes and holds our eyes on itself, forcing us to look, to look again... and again. And the gaze cannot stand mediation. Technical reproducibility has today created a virtual art history; reproduction has replaced the work in the experience of most users to the point of becoming a simulacrum (when it is not even the artistic operation that incorporates photography as an integral part of its strategies). In much of today's geometric abstraction, however, reproduction does not entail a significant deviation from the original. Uniform layers, artificial colours, clean margins and neutral supports perfectly tolerate the mediation of the lens. Giovanni Carta's painting, on the other hand, rebels against this. Every aspect of painting requires vigilant attention from both the artist and the observer; nothing is indifferent to the desired result. Nothing is indifferent to the result to be obtained, starting with the rough, unfinished canvas support, which influences every subsequent phase of the creative process with its grain - conceived as texture - and continuing with the pigment, tempera or egg tempera, specially prepared by the artist, who lovingly, patiently, with very controlled passages and stratifications spreads it on the surface. In some parts the colour spreads compactly, in others it reveals the porosity of the background, or congeals like a light foam; all this creates and distinguishes different planes, whose reciprocal detachments do not arise from obvious optical-chromatic effects, but from a sort of tactile dimension in which the elementary geometries play out their relationships. Moreover, the quality of the pigment itself (emphasised by the manner in which it is applied) is far removed from the colours neatly catalogued in industrial repertoires, and this is another reason why it resists the mechanical eye, which has difficulty recognising it. Carta's geometry is, in short, a geometry of the sense as well as of the intellect: in which the rigour of formal reduction typical of the abstract-geometric line meets that of analytical research conducted on the primary, physical elements of painting (support, colour, layers). An analytical attitude that starts, however, from a feeling of craftsmanship, an affective tone of working, a manual dedication that goes back to the very sources of modern experience. [...]"