“The mind loves the unknown. It loves images whose meaning is unknown, since the meaning of the mind itself is unknown”, says René Magritte. This theory befits Fatemeh Pakdel’s artworks which are currently exhibiting in the Vista Art Gallery in Tehran.
One year after his first solo show, Francesco Candeloro returns to gallery Studio G7 with a project entirely devoted to painting, in which the architectural vocation of his famous plexiglass work is linked to his academic training by hybridizing traditional materials with industrial products not strictly related to art.
From the earliest times, man has attempted to put order in the chaos of life into which he is immersed by attributing its responsibility to the inscrutable decisions and whims of a varied pantheon of deities that artists of every age and place have immortalized through the most different languages.
A new play conceived by one of the protagonists of the contemporary art world has gone on stage in two dates at Teatro Argentina in Rome. It talks about the old Belgium and the new one in a festive, eccentric, aesthetic key. The great supremacy of the image as an ideal object has lost long […]
11 editions, 460 participating artists and 72 represented countries. Here’s just some of the numbers of the XI Edition of the Florence Biennale that will take place from 6th to 15th October 2017 at Fortezza da Basso, in the centre of Florence.
Ann Hirsch‘s irreverent artistic research of (1985, Baltimore, lives and works in Los Angeles) explores the role played by women in online space and the tacit conventions that constrain the expression of female sexuality.
Cos’altro se non saper uscire dalle corde Mario Santiago An hole of circularity on the rim of a linear contour. The effect is expansion, an escape from the supporting soundtrack, an alternation of full and empty that aspires to the fullness of plastic volumes,
For twenty years Christian Boltanski (Paris, 1944) has a privileged relationship with Bologna: in 1997 the city hosted his first great Italian solo show where the artwork Les Regards was presented, inspired by photographs of fugitives partisans that relatives placed In a corner of Piazza Nettuno after Liberation,
The French headquarters of Galleria Continua (Les Moulins) shows up to September 30th an innovative show with a strong didactic value, titled And What, For Example, Am I Now Seeing? (Autodisporsi), which was born by the artistic partnership between the Gallery and the collector of contemporary art Giulio di Gropello.
One of the most significant consequences of the omnipresent multiplication of the image in the media era is the crushing of reality in a myriad of visual testimonies leveled by the net that are increasingly populist and unable to produce reliable hierarchies of meaning.