Ryan Foerster and seven pieces shaped by hurricane Sandy, currently at Galerie Bugada & Cargnel in Paris
Alexandru Chira and the inhabitable artistic edificeby Georgiana ButAlexandru Chira used drawing to build an articulated architecture for signification, intended for spiritual habitation
Traveling for the Master of the Corsi Crucifixionby Carlo PradaAn itinerary that starts with the Master of the Corsi Crucifixion and leads to an important series of Giottesque crucifixes
Laura Langer: coordinates, constellations, corporealityby Luzie MeyerBoth in its formal explorations and in its content matter, the work of Laura Langer, like that of a poet, is driven subconsciously
A history of light in Renaissance art through Olafur Eliassonby Arturo GalansinoThe current show of Olafur Eliasson "In Our Time" at Palazzo Strozzi is the ground onto which to build a history of light in the Renaissance
Kyle Thurman: beyond the night’s philosophyby John BelknapA departure from history’s headlines, a lucid dream of armored giants: a comprehensive essay on the art of Kyle Thurman
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
Justine Neuberger: coughing up a strand of angel hairby Céline MathieuPreferring her goofier, odder doodles, Justine Neuberger develops her swirly figures. "And then there is what the paint wants to do."
To the zodiac and backby Silvia TomasiPhaethon changes sex, the gods are sick, the Earth is burned, the seas are drained: the zodiac is all these turns and more
Authentic or not? A brief guide, inspired by Liubov Popova and the Ludwigby Gianluca Poldi*Scientific analysis can spot fakes, but only up to a certain point. It needs a rigorous and transparent process.
A mistaken perspective on the Renaissanceby Antonio CarnevaleWrong, defective, crooked perspectives: they were not painters' mistakes, but ways to represent thoughts and mysteries in the Renaissance.
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.
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.
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.
Peter Saul and the importance of having a salary (an interview)by Paul LasterOn occasion of his retrospective exhibition at the New Museum we met with Peter Saul, who told us how freedom made him the artist that he has become.
Concerning Berenice Olmedo’s brutal idealismby Stefano PirovanoFollowing up Berenice Olmedo's first gallery show (at Jan Kaps) we asked the artist's help to start our inquiry into the increasing role of ethics in art.
Zeitz MOCAA: in the midst of the chaos there is opportunityby Zihan HerrLast month marked one year since the opening of the world’s largest museum of African art. We visited the Zeitz MOCAA’s permanent gallery. Here are our impressions on the art selection, from a Kenyan perspective.
Francesco Joao and humidity (an interview)by Marta GalliA group exhibition opening next Monday at PAC in Milan takes stock of emerging Brazilian art. Francesco Joao is part of it. We sat down with him while he was preparing the works that are going to be exhibited