Since the early Seventies Adriano Altamira (Milan, 1947) has established himself as an artist and as a historian and critic of contemporary art, becoming one of the prominent authors of the then rising conceptual generation.
Franz Erhard Walther. Objects, to use. Instruments for processes – is the first comprehensive survey exhibition of Franz Erhard Walther’s work (Fulda, Germania, 1939) presented in Mexico and Latin America.
The exhibition Known Unknowns, at the Saatchi Gallery in London, proposes an intense, deep, violent and furious art. Seventeen artists present works that consult us in clear way on our time, on the spell of an oscillating and unstable contemporaneity.
“The essence of this project is the contact that we started having with the walls of the city, as if we hadn’t stopped looking at the buildings and streets from the window, we touch them with our hands, we evaluate the plaster, the bricks, the relationship is no longer just visual but also physical “.
The suburban streets, with their ranks of popular buildings, often disused sheds and divested urban furniture, offer an emblematic image of the artificial habitat in which man has adapted to live and the intricate system of signs that these objectives emergencies support have inspired writers, artists and film makers the most visionary projections on the […]
Krnajski started his engagement in the institutions of the system in 1998 – he was elected president of ULUS and works on the expansion, systematization and legalization of free-lanced artists rights and improvement of their legal status.
Sculpture is construction, it is the manipulation of materials and objects, it is the creation of new physical and mental spaces that fragment or dilate our perception of reality provoking doubts and unveiling interspaces of meaning otherwise destined to remain hidden.
From serial panel discussion I have been conducting on Urban Art in the bimonthly print edition of “Juliet” art magazine, here below is the part of the interview with the archistar Mario Cucinella – who is an innovative and civilly active professional from Bologna – on the relationship between architecture and contemporary art, and on […]
“Never did eye see the sun unless it had first become sunlike, and never can the soul have vision of the First Beauty unless itself be beautiful.” (Plotinus, The Enneads) Regularity and irregularity. In Sol LeWitt there is a constant dialogue among these two fundamental dimensions: unity of the opposite elements.