Marina Pinsky: it’s the images that are worth repeatingby Julia MulliéAn encompassing essay on Marina Pinsky's oeuvre, unfolding her critical narrative of images, technology and local histories.
Luigi Zuccheri, the accidental modernistby Sofia SilvaA 20th century, ancient Venetian painter who found himself modern by chance, Luigi Zuccheri pushed localism to the limit.
A suspicious dialogue between artists Francesco João and Sven Sachsalberby Stefano Pirovano, Francesco João, Sven SachsalberArtists talk to each other pretty often, and so do Francesco João and Sven Sachsalber about controversial sports figures, biking, and nineties racing suits.
The figure of the rope between gore, eros and faithby Silvia TomasiGoya, Lady Gaga, Man Ray, Giulio Paolini, Georg Baselitz, Jake and Dinos Chapman, Antonello & co., all tied together to a vibrating rope.
Bathing for gourmets: an interview with Leonard Korenby Piero BiselloWe look into fine bathing and the pleasure of inefficiency through an interview with artist, aesthete, and polemist Leonard Koren.
Why take an artwork from the place it was made for?by Antonio CarnevaleBringing works of art out of museums and back to their places of origin is what we should do: the future may begin in the church of Santa Corona in Vicenza.
Not afraid of craft: the Van der Kelen Logelain school of decorative paintingby Piero BiselloWe feature the Van der Kelen Logelain school of decorative painting in Brussels, a recognized springboard for important contemporary and applied artists.
Francesco Clemente, iconology of “il mio corpo è rosso per formaggio”by Stefano PirovanoFrancesco Clemente painted 'Il mio corpo è rosso per formaggio' around 1980, the year of his first participation in the Venice Biennale and his first exhibitions in New York. Let's discover the work in its details and understand some of its hidden messages.
No leap is ever into the voidby Silvia TomasiA saga of artist jumps through the work of Hsieh, Mureșan, de Dominicis, Perrone, in the wake of Yves Klein's famous leap into the void.
At the show with the artist: Gabriel Kuri on Lucio Fontanaby Piero BiselloAn exchange with Gabriel Kuri on Lucio Fontana's "Ambiente Spaziale," exploring the boundaries of installation and sculpture in both artists' work.
Who says crises foster creativity?by Maria do Carmo M. P. de PontesFor those who still believe that suffering yields good art, we show that plagues, wars, and oppression have never been the engines of creativity.
Jaanus Samma, the many gay histories of Modern Eastern Europeby Agata PyzikEmerging artist Jaanus Samma deals with stories of homosexuality in his home country of Estonia, both under the Communist regime and after its collapse.
An open letter to Italian museums: the web is your vaccineby Conceptual Fine ArtsMedia dilettantism and digital ignorance can harm Italian museums, which should be aware of their cultural role in society and play it with rigour.
Emerging artists to watch: Kaoru Arima and his facial (un)recognitionby Piero BiselloKaoru Arima's pictures of faces are paintings for an alternative, straightforward portraiture: romanticism no more; agendas no more; ego no more.
Emmanuel Nassar: art is the illegal exercise of all the professionsby Maria do Carmo M. P. de PontesWe sat down with Brazilian Pop master Emmanuel Nassar to talk about art, symbols, advertising, and the importance of visiting Europe.
Velázquez and why even masterpieces need titlesby Antonio CarnevaleLa Meninas is Velázquez's most famous masterpiece. However, another of his paintings shows us how words can change our view on artworks.
Daniele Milvio: twenty ink drawingsConceptual Fine Arts and Galleria Federico Vavassori present twenty previously unpublished works by Daniele Milvio, executed between 2012 and 2013 when the artist returns to Italy after a long experience abroad
Emerging artists to watch: Matthieu Haberardby Sonia D'AltoAnything can happen on the threshold, like Matthieu Haberard's practice, an innocent game of fairy tales, an adventurous story of feats and misfortunes.
From Victoria Colmegna to Victoria Colmegnaby Stefano PirovanoA short story of how Victoria Colmegna's lightness, shyness, esotericism and nostalgia remind us that the longest journey is the one within ourselves.
Five self-portraits at the time of surveillance capitalismby Antonio CarnevaleWhat takes you from facial recognition algorithms to a museum of ancient art? The hope of finding an antidote to big data.
