Umberto Cavenago was born in Milan in 1959, where he still lives and works.
He's in contact with materials through tools for mechanical carpentry. His works are the result of a qualified workmanship. His technique is the means of transformation of materials in his works. The technique which follows a careful and clever project is his self-expression in the final result as well as in the esthetic aspect. Sensory appeal becomes an element which stimulates at times, even in a violent way the audience's response almost as the need of awakening a sterile communication.
Cavenago's works concern some aspects of urban furniture and buildings, trying to correct, modify or move parts of the urban landscape usually motionless in a utopian and ironic way.

Among Cavenago's most important exhibitions, it's worth mentioning his participation in the exhibition entitled Da zero all’infinito at the Castello di Volpaia, Radda in Chianti (SI), in 1988 and in the Venice Biennial in 1990. Still in 1990, he took part in the group exhibition entitled L’altra scultura presented by the Institut Mathildenhöe in Darmstadt. In 1996, Cavenago's solo exhibition was presented by the Galleria Nazionale d’Arte Moderna in Rome and he also participated in the Sao Paulo Biennial in Brazil with a solo room. In 1998, he took part in the exhibition entitled Due o tre cose che so di loro, at the PAC of Milan and, in 2000, he participated in the Premio Lissone (Lissone award). In 2003, Cavenago's one-man show was exhibited at the Torre di Orlando, in Castiglione della Valle (Perugina), and he also took part in the exhibition entitled Viaggiatori sulla Flaminia at the Palazzo Collicola of Spoleto.

Cavenago's relationship with Galleria Fumagalli began in 2002 and, in 2003, his exhibition entitled Cavenago Milano est 10 minuti was presented by the gallery, showing a unique large site-specific work on the ground floor entitled Superfetazione a camme II. The first floor of the gallery was literally invaded by Cavenago's Parassita funzionale, which covered the entire ceiling, while the oak small trunks of Fremito creativo were placed on the ground. A book on Umberto Cavenago's work will soon be published. The book will document his artistic itinerary from his earliest to his most recent works.