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11 smart moves to access the coming contemporary art cycle

by Stefano Pirovano

A new contemporary art season is coming, and hopefully the art writers will have soon better topics to write about...

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Barbara Hepworth Museum, please touch me!

by Geoff Hands

To reference a northern English expression, an anonymous ‘cheeky little monkey’ had attached a cartoon chimpanzee sticker to the figure...

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

by Piero Bisello and Brendan Michal Heshka

We came across the work of Canadian artist Brendan Michal Heshka in Brussels at the independent art fair Poppositions last...

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Georgia O’Keeffe at the new Tate: the unexplored about women that only a woman can explore

by Geoff Hands

It’s a hot summer’s day in London; looking up at the surrounding high rise buildings, including the new £260m extension...

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

by Stefano Pirovano

Tourists visiting Italy are generally well aware of Tuscany, Umbria, or Marche. They are familiar with their beautiful hilly landscape,...

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

by Stefano Pirovano

A few days ago MCH group, the 100-year-old international live marketing company owning Art Basel, officially announced the acquisition of...

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

by Piero Bisello

2016 marks five hundred years since the death of Venetian painter Giovanni Bellini, the seminal artist who embodied the transition...

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To be discovered: Catherine Biocca and her flirtation with violence

by Stefano Pirovano

Most of the many experienced observers who visited the last edition of Liste art fair in Basel may have noticed...

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

by Maria do Carmo de Pontes

A spectre is haunting the world – the spectre of uncertainty. 2016 may enter history not just because of the...

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

by Geoff Hands

Tate Britain, the oldest of the four Tate Galleries, still resonates as a Temple for Art, with a grand porticoed...

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

by Stefano Pirovano

Concerning culture, Milan is no longer the listless city it used to be during the period that went from the beginning...

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Art Basel 2016: a positive reaction to the impossible Brexit

by Stefano Pirovano

It’s raining in Basel, like last year, and British people, the second art market in the world by value, will...

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Restorers rejuvenate Filippo Lippi’s pivotal Martelli Annunciation

by Stefano Pirovano

Florence. The solemn annunciation executed by Filippo Lippi around 1440 for the Martelli Chapel in the Church of Saint Lawrence was...

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

by Piero Bisello

It was two years of scepticism about Berlin Biennale 2016, or at least since the announcement that collective DIS would...

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

by Stefano Pirovano

None of the contemporary art people that we met last week in Rome, where we went to attend an engaging...

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

by Maria do Carmo M. P. de Pontes

Established at first as a biennial exhibition programme and shortly afterwards as an all year-round institution dedicated to fostering contemporary...

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

by Alessandra Marelli

Since April Mantua has officially started its year as the Italian Capital of Culture 2016, a recognition that was appointed...

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

by Geoff Hands

Linda Nochlin, the originator of feminist art history, once asked the thorny question (to men, at least): “Why have there...

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

by Alessandra Marelli

While also some pivotal international players have started to question the many crucial problems affecting the opaque structures of the...

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

by Stefano Pirovano

We met Brazilian lawyer and art collector Luiz Augusto Teixeira de Freitas a few weeks ago in Lisbon, where CFA...

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

by Stefano Pirovano

The paintings stolen from Castelvecchio Museum in Verona last 19 November by three armed men while the museum was closing...

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

by Stefano Pirovano and Gianluigi Ricuperati

As time goes by, people are getting more and more aware of how aggressive poachers in Africa have become and,...

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

by Geoff Hands

ROSALIND: Why then, can one desire too much of a good thing? Come, sister, you shall be the priest and...

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Kampala Contemporary: encroaching a new realm

by Zihan Kassam

Circle, Kenya’s first independent art agency since 2012, continues to guide audiences with an interest in East African art. April 13,...

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

by Stefano Pirovano

We met Peter Sutherland last March, in New York City, in order to collect elements and impressions to write a...

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

The first collaboration between two decisive philanthropic institutions for the Italian artistic heritage such as Save Venice and Friends of...

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

by Elisa Rigoulet

EXO, Exo Exo, XOXO. In over two years EXO’s name shifted. People made it their own.   August 2013 : “-...

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

by Geoff Hands

First impressions can be misleading, as we were left feeling indifferent after our first visit to ‘Conceptual Art in Britain...

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

by Stefano Pirovano

Our entry question for Anna Conway is about the weather. We are talking with her via Skype, in occasion of...

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

by Benjamin Orlow

“Fear as creativity” is the title that Bejamin Orlow, a talented 31-year-old Finnish artist based in London, gave to the writing...

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Nigerian mega-collector Prince Yemisi Shyllon discloses his intentions

by Zihan Kassam

“It is a glorious obsession,” says Prince Yemisi Shyllon about his life as an art collector. “It goes from interest...

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