The visit to the exhibition starts with a sort of treasure hunt in the Civic Museums of Reggio Emilia. Finding the way within the 19th-Century-display of the Natural History Museum, which also houses the prestigious Lazzaro Spallanzani’s collection, walking among stuffed animals, fossils and botanic models,
The semantic nature of the ruins lies exactly halfway between oblivion and memory: if the former is the cause of their very existence, they remain in the landscape, reassuring the mind that death is not the end of everything.
Candide is a pure spirit which decides to embrace the world, immersing himself in the real, touching, smearing his face with the misery of mud and his hands with the violence of blood. Candide challenges supposed beliefs of a destiny that is not built on happy coincidences, but on an often tragically flawed human arbitrariness.
Whether the room of a gallery or the pavilion of the Biennale, the space that houses an installation by James Beckett is often characterized by its disturbing atmosphere. We had left the artist with the millimetric movements of the robotic arm of Negative Space: A Scenario Generator for Clandestine Building in Africa, for the Belgian […]
The cyborg is a creature in a post-gender world; it has no truck with bisexuality, pre-oedipal symbiosis, unalienated labour, or other seductions to organic wholeness through a final appropriation of all the power of the part into a higher unity […]” (Donna Haraway, ‘A Cyborg Manifesto’, 1985).
It was 1922 when the German artist Kurt Schwitters, after being rejected by the Dada Berlin Club, founded the movement Merz, supporting the concept of total art, free from aesthetic and political references, whose reference work was Merzbau, the Merz architecture, or “Cathedral of erotic misery.”
One of the most important traits of our time is the expansion of the intangible component in all aspects of practical , emotional and relational life: if on one hand the omnipresence of the network shortens times and cancels distances in an incorporeal presence of alternatives and possibilities,
At the beginning of “The Waste Land” Thomas Eliot quotes a fragment of Satyricon by Petronius which says: “Sibilla what you want? I hope to disappear.” The Sibyl is the prophetess of Cuma famous for her enigmatic oracles that Apollo condemned to grow old without dying:
The city’s suburbs are increasingly surrounded by disused factories and buildings that rise like gloomy witnesses of recent upheavals of the globalized economy and the consequent production and social changes:
The launch of the Art + Technology program at Pace Gallery, initiated by President Marc Glimcher at the end of 2015, is the consolidation of an extensive interest in the more contemporary practices that explore the creative potential between visual arts and techno-scientific researches.