Scholar and art collector Sultan Sooud Al Qassemi, an interviewby Paul LasterWhat happens when human studies lead the soul of a natural born art collector? We asked Sultan Sooud Al Qassemi.
COVID-19: art is that window you need to keep openby Stefano PirovanoWhile the Coronavirus is rescheduling 2020 art world's agenda, someone may think it is the time to get smart and experience art and content online.
Renata Boero by Paolo Fossati (anno 1977)by Piero BiselloWe propose a translation and contextualization of a 1977 text by seminal art historian Paolo Fossati about Renata Boero's painting.
Do I still have to call it art magazine?by Stefano PirovanoDigital media has been rapidly changing the way the art world is communicating. Here is how art agencies step in the realm of the art magazines.
Simone Peterzano: master of Caravaggio and censorship’s survivorby Antonio CarnevaleSimone Peterzano was a pupil of Tiziano, and the master of Caravaggio. But he had to compromise with the Church. Discover all his public works.
Closer to Van Eyck with Bart Fransen & VERONA projectby Piero BiselloContemporary technology and restoration have revealed a new Van Eyck. We discuss these topics with the director of the VERONA project Bart Fransen.
Giovanni Morelli, the dark connoisseurby Antonio CarnevaleArt critic and politician Giovanni Morelli played a key role in the history of art. Here is an honest portrait of him shading some light on his dark side.
A chat with Michael Callies, founder of dépendanceby Piero Bisellodépendance in Brussels is a true artist's gallery. We had a chat with its founder Michael Callies, asking a few questions on how he built this reputation.
Hanna-Maria Hammari: when nature leads elsewhereby Stefano PirovanoThrough expressive materials and traditional techniques Hanna-Maria Hammari leads us to tackle the age of surveillance capitalism.
Michael Portnoy, improvesby Piero BiselloWe delve into the career changes and improvements of New York based artist Michael Portnoy through his work as shoemaker and absurdist pornographer.
Michael Dean at Fondazione Converso (with Campi bros)by Stefano PirovanoFondazione Converso brings Michael Dean inside San Paolo Converso, the Campi brothers' milanese masterpiece. The End is actually a new chapter.
James Bradburne and the anthropological revolution of Breraby Antonio CarnevaleWe sat down with director James Bradburne to tell the path that led him to the original didactic approach introduced in the Milanese Pinacoteca di Brera.
Sophie Varin reads Thomas Pynchonby Piero BiselloFor this At The Show With The Artist, Sophie Varin discusses Thomas Pynchon's The Crying of Lot 49 in relation to her own contemporary miniatures.
What to see in Como? The marvel of Romanesque architectureby Stefano Pirovano with the contribution of Maria Letizia CasatiWhat to see in Como? An in depth writing mapping Romanesque architecture and art in the city of Como and its surroundings.
Swallow The Spirit: Michaela Eichwald at dépendanceby Kevin GallagherWe delve into recurring themes in Michaela Eichwald's painting through another artist's reading of her recent exhibition at dépendance in Brussels.
A Portrait of Than Hussein Clarkby Piero BiselloIn this essay we paint a portrait of Than Hussein Clark as a hybrid between the figure of the impersonator and the artist.
Nora Turato: Proustian interview with afterwordby Stefano PirovanoWe have met Nora Turato, an over educated graphic designer who became a performer artist, to question the information she exposes herself to.
Museum Rietberg’s director Albert Lutz on art restitution issuesby Marta GalliWe discussed art restitution issues with Albert Lutz, leaving director of Rietberg Museum, Switzerland’s only museum dedicated to non-European art.
Lorenza Longhi, a turbulence in the realm of perfectionby Stefano PirovanoThe first solo show of Lorenza Longhi at Fanta MLN questions our understanding of perfection by looking into industrial design's weakness.
Isabella d’Este, an exclusive interviewby Stefano PirovanoAs all great art collectors in the Renaissance, also Isabella d'Este was mainly buying contemporary art, but with a deep interest in the old Greek and Roman masters.
