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,
Born in Bologna in 1928 and moved to Paris in the late 1950s, Salvatore Nocera, an artist who was intellectually restless and reserved, never exhibited in his hometown and left evanescent and confused traces of his artistic production, neglecting titles and dating and sometimes coming to destroying his own works or claiming possession once sold.
For those who are in Venice until July 12, the spaces of Cini Foundation on the Island of San Giorgio Maggiore host the exhibition Alighiero Boetti: Minimum/Maximum curated by Luca Massimo Barbero, director of the Institute of Art History of the Giorgio Cini Foundation, with the collaboration of the Alighiero Boetti Archive and the valuable support […]
Until 24th June, Cabinet hosts the double personal show of Brian Calvin and Wendy White, where are compared two different operative approaches and the current culture of the selfies and the one of skate and surf of the Eighties. The artists develop, through their characteristic modus operandi,
MAXXI, Rome – The Eden by Marcello Lo Giudice (Taormina, 1957) have been on show until June 12, 2017. The large size canvases open like windows on parallel worlds, far-off planets, deserts made of pure pigments and inspired by the invisible sounds of the Universe.
Reality is restless and it takes on a visible form as a fragmentary emanation of our inner motions that break and reflect themselves in the surrounding environment: from the beginnings Wainer Vaccari (Modena, 1949) overturned the presumed objectivity of figurative painting to give body and chromatic substance
Fiction writer Philip Dick (1981) wrote: “The fishes do not carry rifles.” With this phrase, extracted from “The Divine Invasion”, the author imagines a disarmed and fluid society like the open sea in which to dive and re-emerge, giving shape to multiform events.
Ginevra Grigolo’s Studio G7 gallery opens on October 13, 1973 in a receptive and bursting Bologna, not yet aligned, above all at the institutional level, with the most up-to-date contemporary debate that at that time found space only in big cities and in a limited number of magazines difficult to find even for the insiders.
Until June 25, the spaces of the Andito degli Angiolini of Palazzo Pitti in Florence host a small retrospective entitled Maria Lassnig Woman Power curated by Wolfang Drechsler and promoted by the Gallerie degli Uffizi, the Albertina Museum and the Maria Lassnig Foundation.
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.