Giacomo Jaquerio and Castello della Manta: new attributionsby Simone Bonicatto (from Nuovi Studi 26, 2021 anno XXVI)Between the Duchy of Savoy and the Marquisate of Saluzzo: a new proposal for Giacomo Jaquerio in Carmagnola and some reflections on the Manta Castle cycle
An interview with Isabella Ritter of LambdaLambdaLambdaby Conceptual Fine ArtsWe chat with Isabella Ritter, co-founder and co-director with Katharina Schendl of Pristina and Brussels-based gallery LambdaLambdaLambda
Cassidy Toner, gambling as a career planby Paolo BaggiCassidy Toner stages repeated artistic misfires to better diffuse anxiety, pressure to perform, or the legibility of an artwork
Three emerging favourites at Art Brussels 2022by Conceptual Fine ArtsThree picks from the emerging stratum of the art market, found in the first post-pandemic edition of Art Brussels
Vera Palme’s self-operating subjectsby Kristian Vistrup MadsenVera Palme’s work generates a certain gut feeling in the viewer, where gut is the distinct opposite of the German “gut”–good—but not in a distinctly bad way
Julien Carreyn: a malicious pleasure to watch from afarby Oriane DurandA reflection on the art of Julien Carreyn, whose small-scale paintings and photographs seduce you to come close, very close even
Niklas Taleb: staging privacy with no cunningby Piero BiselloSomehow staged and performed, yet down-to-reality, the art of Niklas Taleb presents his private sphere without an annoying sense of cunning
The immaculateness of Andrea Mantegnaby Sofia SilvaOn the youth of Andrea Mantegna, between the page and the stone, in the demystification of the antiquarian obsession
Hélène Fauquet, resolution in spaceby Céline MathieuReflective things absorbing light and soft surroundings: an open-ended reading of the work of Hélène Fauquet
Alix Dionot-Morani, co-owner of Crèvecoeur (an interview)by Conceptual Fine ArtsWe talk to Crèvecoeur's cofounder and director Alix Dionot-Morani, learning how the hip Paris gallery works for its artists and audience
