Miaz Brothers

Miaz

Biography

Roberto (1965) and Renato (1968), born in Monza, Milan. When we tell people we’re two brothers who live and work together in harmony, their astonishment reminds us how rare that is. But for us, it’s always been natural — from childhood games and adventures to a shared creative journey. From the start, we chose an unconventional path, avoiding the classic high school-academy-gallery route. Inspired by Renaissance artists, we sought wide-ranging life experiences, technical skills, and philosophical depth to broaden our means of expression. Our first installations took place not in galleries, but in Milan’s trend-setting nightclubs, where we created immersive, multi-sensory environments. These early experiments gave us instant feedback from large, diverse audiences and pushed the limits of traditional art spaces. In 1996, we exhibited “Piercing” at Via Farini Gallery and “Timecode” at Hyperspace, already blending genetics, perception, sound, and light. But as club culture became commercialized, we shifted focus — just as personal computers opened new creative frontiers. Though initially skeptical, we embraced digital tools, discovering new ways to design and present work. This led to collaborations with brands like Adidas, Swatch, Piaggio, and Nike between 1996 and 2000, producing creative, socially aware projects for a global audience. In 2000, we moved to New York to explore photography — a fresh, unexplored medium for us. We developed an experimental technique just before 9/11 changed everything. With plans disrupted, we relocated to Paris, where we lived for five years and worked with brands such as Elite, Diesel, Puma, and Kenzo. Eventually, we returned to painting — our original passion — seeing it as the most challenged and in-need-of-renewal discipline on the international scene. We traveled through South America and Southeast Asia, gathering experiences and ideas before settling for a winter of full-time experimentation in Amsterdam in 2008. Pleased with the results, we established a base in Valencia, Spain, to work intensively. Later, we moved to London, where Steve Lazarides began representing us in 2014. Exhibiting alongside top British artists such as JR, Whils, Antony Micallef, and Conor Harrington, our first two solo shows sold in full to the Damien Hirst collection. After Lazinc Gallery closed, we continued with a residency at Maddox Gallery in Mayfair. In 2022, MUCA (Museum of Urban Art, Munich) acquired two of our large canvases for their permanent collection.

Expositions

L´immagine che aspetta

Miaz Brothers

L´immagine che aspetta

26 Jun - 12 Sep 2025

There are images that speak to us not through what they show, but through what they conceal. The work of the Miaz Brothers is situated precisely on that threshold: a suspended territory where the visible dissolves and the recognizable becomes enigmatic. In their new exhibition, L’immagine che aspetta, the Italian duo continues to deepen a gesture that is both personal and radical: the subtraction of form to make space for experience. For brothers Roberto and Renato Miaz, art holds the potential to revolutionize perception and guide us toward new levels of understanding reality. They begin with the premise that what we usually see is not an image that exists in itself, but one in constant flux—transience is the only possible state. Their work explores the relationship between matter and antimatter. These blurred images are composed of thousands of particles of color applied with an airbrush; the pigment never actually touches the canvas. Not a single line connecting two points is used, as the line—according to the artists—would break the balance and proportion that holds the composition together. Their ethereal appearance captures a fleeting moment of composition or decomposition of the human form, reflecting the transitory nature of evolution. In an era of facial recognition, of constant overexposure, of algorithms assigning identity, the Miaz Brothers propose an aesthetic and ethical inversion. Against the logic of surveillance, they offer their figures a precious anonymity—a visual escape that disarms any attempt at classification. Theirs is not a painting that affirms, but one that dissolves. It doesn’t aim to confirm reality, but rather to fracture its perception, creating a visual field of active uncertainty. Each work becomes a perceptual exercise: it’s not about what is seen, but what one is willing to imagine, remember, or even misinterpret. And in that space of doubt and potential error, the artists locate the most deeply human gesture. L’immagine che aspetta doesn’t impose a reading—it demands our participation as co-authors of meaning. Their proposal arises from a profound understanding of the image as a field of transformation. They begin with a simple but powerful idea: everything is in transit. What we see, what we believe, what we are. Their works are not static representations, but suspended moments within a constant process of appearance and disappearance. In this sense, their portraits do not portray bodies, but states of consciousness. The exhibition also stands as a statement of intent in an era overwhelmed by immediate stimuli. Against the noise of the obvious, these brothers invite us to look slowly, to engage in a form of contemplation that seeks not certainties, but questions. In their images, the human is not a closed form, but the possibility of seeing oneself free from the tyranny of fixed definitions. In this space of symbolic fog, of originless traces, painting becomes an act of resistance—not through shouting, but through whispering. Not by accumulation, but through subtraction. A visual revolution that requires no stage, because it unfolds in the intimate. Because it happens, quietly, within the gaze of the viewer. To do something revolutionary without it seeming so is no easy feat. The work of the Miaz Brothers represents a revolution in the realm of emotion. The chemistry between their artworks and the observer activates responses that may have lain dormant. The moment of material detachment embodied in their pieces fits within the artists’ philosophical stance: the need for a liberating exercise in a world saturated with stimuli tied to the tangible, in a society overly attached to the grasp of objects, in individuals whose idea of happiness has been conditioned by possession—even in the realm of emotion. The works featured in this exhibition embody the lightness of those who have learned to live with little baggage, untethered from the chronic materialism that has defined a global trajectory now revealing some of its darkest consequences. What we commonly call “crisis” is, in fact, a sign of the exhaustion of the foundational principles of an ideology that has dominated recent decades. What takes form is only a representation of our ideas and beliefs; the capacity—and the possibility—to construct a different reality is in our hands, one based on new ideas and unmediated approaches to understanding experience. Positioned within the transitional space of the Miaz Brothers’ works, the individual is offered the opportunity to self-revolutionize—for that, and not some other, is the revolution currently underway—one that radically and peacefully transforms the essence of what we have known.