Artist

Edmondo Zanolini (Mondo)

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    Artworks

    Mondo Now

    1992

    Watercolour on Paper, 28 x 20 cm

    Snow White

    2024

    Cyanotype on Canvas, 50 x 76 cm

    Dundun

    1991

    Batik on Cotton, 71 x 92 cm

    Cleopatra

    2024

    Cyanotype on Canvas, 139 x 117 cm

    Cove Tango

    2013

    Acrylic on Canvas, 143 x 144 cm

    Artist Bio

    (b. 1951, Bali, Indonesia)

    Edmondo Zanolini, widely known as Mondo or “EZ da Pontelongo,” is a pioneering multimedia artist whose work encompasses performance, theatre, photography, and painting. Born in 1951 in Piove di Sacco near Padua, Italy, Mondo is the son of Livio Zanolini, an Italian-Romanian doctor. He emerged as a dynamic and rebellious voice in the avant-garde movement of the 1970s, beginning in theatre and swiftly transitioning to performance art, where he explored psychological and social themes through intensely physical expression.

    Mondo’s early career was marked by dynamic and intense performances, He toured Europe for years with his performance troupe, “Maniac”. By the mid-1970s, his interests expanded to film, video, and multimedia installations, leading to exhibitions of his work in renowned venues, including Stedelijk Museum in Amsterdam, Moderna Museet in Stockholm, and the Ludwig Forum in Aachen. His practice evolved through interactions with influential figures like Marina Abramović, yet he sought inspiration beyond Europe, eventually venturing to Asia.

    Mondo’s artistic journey took a profound turn after he visited Bali in the 1980s, where he was captivated by the island’s rich cultural and artistic heritage. Settling there in the 1990s, he apprenticed under Dewa Putu Mokoh, a master of Bali’s Pengosekan painting style. Their creative synergy culminated in a collaborative exhibition at the Venice Biennale in 1993. In Bali, Mondo’s hilltop residency later became a collaborative hub, a creative sanctuary which nurtured him and his fellow artists Mokoh, I Gusti Ayu Kadek Murniasih (Murni) and Oototol.

    Inspired by his partner Murni, Mondo adopted an organic painting technique, allowing dyes to form chaotic patterns around objects from his past performances—symbolic of nature’s unpredictable beauty. Mondo’s
    art practice and activities in Bali helped bridge the gap between the
    European avant-garde and Balinese traditions, and the gathering of MuMoToMo artists encouraged local artists, including himself, to delve deeper into their creativity and follow the intimate, introspective path of artistic exploration. 

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