Loris Cecchini was born in 1969 in Milan, Italy, where he lives and works. He was educated at the Academy of Fine Arts in Florence and the Academy of Fine Arts Brera, Milan. He is one of the most prominent contemporary Italian artists. During his extensive career he has exhibited his works throughout the world with solo exhibitions in prestigious museums and institutions such as Palais de Tokyo in Paris, Musée d’Art Moderne de Saint-Étienne Métropole in Saint-Priest-en-Jarez, MoMA PS1 in New York, Shanghai Duolun MoMA of Shanghai, Museo Casal Solleric in Palma de Mallorca, Centro Galego de Arte Contemporánea in Santiago de Compostela, Kunstverein of Heidelberg, Centro per lʼArte Contemporanea Luigi Pecci in Prato and Fondazione Arnaldo Pomodoro in Milan. His work has also been exhibited as part of collective shows at the Ludwig Museum in Cologne, PAC in Milan, Palazzo Fortuny in Venice, Macro Future in Rome, MART in Rovereto, Londonʼs Hayward Gallery, The Garage Centre for Contemporary Culture in Moscow, Palazzo delle Esposizioni in Rome, Musée dʼArt Contemporain of Lyon, Shanghaiʼs MOCA, the Deutsche Bank Kunsthalle in Berlin among others.

He has also participated in many biennials, including the 56th, 51st, and 49th Venice Biennale, the 6th and the 9th Shanghai Biennale, the 15th and 13th Rome Quadrennial, the Taiwan Biennale in Taipei, the Valencia Biennale in Spain and the Biennale of Urbanism/Architecture (UABB) in Shenzhen, China.

He is known for his permanent and site-specific installations, particularly at Villa Celle in Pistoia and in the courtyard of Palazzo Strozzi in Florence, at the Boghossian Foundation in Brussels, and for the Cleveland Clinicʼs Arts & Medicine Institute in the United States, at Les Terrasses Du Port in Marseille, and recently at the Shinsegae Hanam Starfield in Seoul and the Cornell Tech Building in New York.

Cecchini said about the complexity of his work: I look at the relationship between aesthetics and science: I stay on the boundary between the natural and the artificial, I draw from nature which I then work with using other forms of knowledge and, in the end, I try to create a shift, a poetic suspension.”