Timetable

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

The National Gallery goes ‘Beyond Caravaggio’ placing a sexy milestone in master’s career

Data culture or data for culture? What survey metrics in decision-making can and can’t do for the arts

Six comforting steps to cover the London contemporary art week

Interview: Malta Campos, one of the only 3 painters invited at the SP Biennial (out of 87 artists!)

London: Collezione Maramotti, Moretti Fine Art and an opportunity named Atelier dell’Errore

Michael Rey at ZERO… gallery: “The uncanny is not something you can produce at will”

At a crowded Berlin art week Anne Imhof converts Angst into hope

Biennale des Antiquaires’ last edition: for Paris it is a new beginning

A curator is born: a look at Kenya’s first curator’s workshop

At the show with the artist: Claudia Losi visits Pontormo, with some lenses and a sentimental guide

Late Summer’s healthy practices: put these three museums of Stockholm on your art agenda

11 smart moves to access the coming contemporary art cycle

Barbara Hepworth Museum, please touch me!

At the show with the artist: Brendan Michal Heshka’s psycho psychoanalysis of the Fin-De-Siècle Museum

C.Ar.D plus Vigoleno: healthy remedy for the lifeless tourism and white cubes

Is Art Basel planning to invade the online sales’ territories?

How Italians got crazy over Christo’s floating piers and ignored Bellini’s 500 years anniversary

To be discovered: Catherine Biocca and her flirtation with violence

World’s growing “uncertainty” staged soon at the SP Biennial with some visual and sexual doubts

The Tate Britain Commission: Pablo Bronstein and the art of being a viewer

Who of these two men will finally turn Milan into an international art capital?

Art Basel 2016: a positive reaction to the impossible Brexit

Restorers rejuvenate Filippo Lippi’s pivotal Martelli Annunciation

Berlin Biennale 2016: last goodbye to the prematurely dead post-internet label

Rome: does Parmigianino’ Man with a book remind you of any contemporary art dealer?

#SITElines2016: a multi branch curatorial tree is ready to bloom in New Mexico

Mantua Italian capital of culture 2016: even Mantegna would be proud of it

Mona Hatoum at the Tate Modern: are female artists saving the future of contemporary art?

The Isabel of Aragona’s miracle of the roses and the art market’s money dilemma

Collector Luiz Augusto Teixeira de Freitas: “Too much art is produced just to feed the market”

Buried on an Ukrainian island the 17 paintings stolen from the Castelvecchio museum in Verona

Will Sudan, the world’s last male northern white rhinoceros, survive through art?

Giorgione at the Royal Academy of Arts in London is so contemporary, contemporary, contemporary…

Kampala Contemporary: encroaching a new realm

At the show with the artist: Peter Sutherland asks Maia Ruth Lee about energy

Save Venice and Friends of Florence shake hands and look into the future of preservation

Exo is Korean K-pop: the ex post manifesto of the most talented art project in Paris

Visit this show if you think that you hate conceptual art, but take a napkin for the orange

Anna Conway and how to switch on the painting’s inner light

At the show with the artist: Benjamin Orlow visits Botticelli’s Divine Comedy

Nigerian mega-collector Prince Yemisi Shyllon discloses his intentions

A 3D dialogue between host Alfredo Aceto, curator Julie Boukobza and CFA’s lateral thinking

Richard Feigen: a seminal interview

In between language and drugs: Michael Dean + Jac Leirner

Musei Vaticani director attacks Matteo Renzi and the Ministry of Culture’s new set of reforms

”Your work doesn’t look that Scandinavian at all”: an interview with Emanuel Röhss

Bosch in Den Bosch: de-attributions made by the BRCP and Prado’s next move

At the show with the artist: Kasper Bosmans interprets Sol Lewitt’s code by painting

Tefaf 2016: USA, UK and China together hold 87% of the art market

Adriano Pedrosa and the the MASP: an interview

Why is African art at the Armory Show so friendly and welcoming?

The Met bets on modern and contemporary art, is it too late?

Arco 35 Anniversary: Madrid is back, Lisbon to follow

To be discovered: Jack Lavender and Isaac Lythgoe unpublished textual dose

This is my truth about Chinese art: an interview with Zhu Jinshi (with a three-years delay)

Art damaged by calamities or human stupidity: Friends of Florence awards restorers to save it

Art neolocalism, part II: a beneficial alternative to the supermaket

The good art generates new art: a short story about Alexander Calder’s retrospective at the Tate

Neolocalism? the Glasgow effect, the Condo Complex and the zero-kilometres art

Brussels: at Brafa 2016 seeking an art truth (the spectacles of the aggregator)

The Getty pays 30 millions for Gentileschi’s Danae, but the nano Raphael stays in Europe

In Florence for a very close encounter with the only sculpture Giambologna made for himself

Emerging artist Tschabalala Self and the collective fantasies surrounding the black body

First results from Pieter Coecke’s Martyr of St Paul tapestry cartoon’s restoration

Giuseppe Iannaccone: comfortably unaffected by trends (an interview)

I love Aby Warburg’s ideas of re-establishing pathos: an interview with Amie Dicke