Why would the rich showcase the poor: the art of Giacomo Cerutiby Roberta D’Adda & Enrico Valseriati The 18th century depictions of the poor by Giacomo Ceruti was extensively collected and displayed by the nobles in Brescia. Here is why
Kate Mosher Hall: perceptual limbos and moiré-noirsby Leila PeacockA reflection on the not purely painted - but not just printed - canvases of Los Angeles artist Kate Mosher Hall
An interview with Viennese gallerist Sophie Tappeinerby CFAWith her namesake gallery, Sophie Tappeiner is one of the prominent young art dealers to emerge from Vienna in the last five years
Failed sales and bizarre manners: two paintings by Paolo Paganiby Paola Apreda & Odette D’Albo (from Nuovi Studi 26, 2021 anno XXVI)Far from their birthplace and distant from their context, the strange destiny of two Baroque paintings would strike a chord with their maker
It’s dark but just a frame: the drawings of Kyung-Meby John BelknapWho and what exactly appears in the drawings of New York-based artist Kyung-Me, one asks, getting lost in their rich darkness
A picture of a picture: Jonathan Monk on René Daniëlsby Piero BiselloAt the show with the artist: Jonathan Monk includes views from other shows as a scenography, a mise-en-abyme reminiscent of René Daniëls's paintings of exhibition views
The suicide of an ancient politician in a Lorenzo De Ferrari paintingby Piero Boccardo (from Nuovi Studi 26, 2021 anno XXVI)Misunderstood multiple times, a painting in the Royal Palace of Turin is recognized as Lorenzo De Ferrari depicting Themistocles's suicide
Famous questions and the paintings of Sofia Silvaby Kristian Vistrup MadsenThe paintings of Sofia Silva do not want to please. Here, questions are prompted as to what they offer instead
Raffaele Mattioli, a patron of humanist cultureby Barbara CostaAn exhibition at the Gallerie d'Italia explores the collecting of the great bankers, from the Medici to the Rothschilds, via Raffaele Mattioli
Sophie Reinhold: don’t get used to itby Paolo BaggiThe coated, fetishistic superficiality in the art of Sophie Reinhold engages a political agency built on a powerful sense of carnivalesque joy and hope
