Timetable

Carlo Falciani introduces ‘Il Cinquecento a Firenze’

Mauro Restiffe, picturing the archive

Caravaggio’s fossils: science and unsuspected details

Katja Novitskova: a comprehensive interview

What sold at BIAF 2017 in Florence

Rising artists to watch: Issy Wood

Matthew Wood: how to run an art gallery and live happily

Is the urge of clarity Documenta 14’s final legacy?

Will the future of historical art museums look like this?

Top off-site art galleries in Europe

Didier Claes, a classic African art master dealer (an interview)

The painter’s painter theory of solid space

A retrospective meeting with Luiz Zerbini

New Scenario goes beyond art curators

Bianca Baldi on tricksters and fools

Top Italian art collection is looking for a place

Kenya: there’s a new artist community forming in Kitengela

Mark Coetzee: ‘Rather than discovery, I call it a re-correction of ignorance’

Mapping contemporary sculpture parks in Europe

Lorenz Helbling: is this a new wave of Chinese art?

Paris Tableau and BRUNEAF bet against contemporary art

William Pope.L: ‘art can change political circumstances’

Dirk Snauwaert: ‘WIELS aspires to a moment of consciousness’

How does Brexit affect the Elgin marbles issue?

Art Athina 2017: revolution is a substantial change in structure

Is mentioning an art gallery always appropriate? The case of The restless Earth (La terra inquieta)

Six steps into artists’ current fascination with the third dimension

Venice Biennale 2017

Anicka Yi, a political interview

Kristof Kintera and human’s monumental smallness

Troubled Brazil has a new ‘auroras’, and it’s located in a beautiful 1950s Modernist house…

At Open Care with Isabella Villafranca Soissons

Do we really need new museums of contemporary art? The Brussels case

Olafur Eliasson: a quasi political interview

Long overdue revolution in Italian fine art export law is about to happen

The 2017 Whitney Biennial collects critical acclaim, while some works draw flack

MiArt made it, Milan thanks its unique collection of private art institutions

From Motel Lucie to Gasconade: Alessandro Agudio, Beatrice Marchi, Andrea Romano, and Davide Stucchi

‘Color has many amazing abilities, one is that it affects your ability to feel’ Katharina Grosse (an interview)

Tefaf Maastricht 2017: the art market is shifting, not shrinking

Who is Lavinia Calza? (an interview)

Armory Show 2017: are site specific works the remedy against art fairs’ monotony?

Christiane Blattmann on Port House and Magasin Wolfers

Emerging old masters: Guido Cagnacci at the National Gallery

New wave of bright talents stay away from the auction houses

Frank Goddio, the deepest living archaeologist (an interview)

At the show with the artist: Hugo Canoilas on the Triumph of Death fresco in Palazzo Abatellis

On Andrea Crespo and the intergendered element

Walter Padovani, from nails to art (an interview)

Do we have reasons to like a work of art? Philosopher Derek Parfit had an answer

Collezione Iannaccone’s first public show: in the heart of art collecting

To be discovered: the evasive talismans of K.r.m. Mooney

At Christie’s NY Goya’s rare drawing tests art market expectations about Trump

‘I deeply struggle with the idea of art being reduced to self-promotion’: an interview with Debora Delmar

The absent photographer and the behavioural image

Would you exchange a plain holiday for a memorable work of art?

Fondazione Prada: the great call, 20 months and 18 projects after

Should we call it I, he or they? Puppies Puppies

Elizabeth Peyton: ‘help me feel my feelings’ (an interview)

13 times at the Venice Biennale but he is still to be sanctified

Who is the most influential visual artist of the late twentieth century?

Kerry James Marshall: ‘I love art thanks to Leonardo da Vinci’ (an interview)

Rome celebrates first female painter in art history revealing three new original pieces

Mark Leckey: “technology essentially makes you believe in magic” (an interview)

Help Center for Italian Modern Art to bring Depero Futurista back to life!

At the show with the artist: Neil Raitt on Adriaen Van De Velde at the Dulwich

Is the 1930s revival a prophecy of doom?

Jamie Fitzpatrick enchants Artissima with his sinister symbols of power

That’s how they are doing it in Finland (an interview with Leevi Haapala)

Paris: a pivotal exhibition reintroduces 1930’s American masters

An interview with Rashid Johnson: “I was more African before going to Africa”

Aaaahhh!!! Calouste Gulbenkian would be proud of hosting such an art fair