Guillaume Dénervaud: as beautiful as post-apocalyptic can beby Samuel HaitzGuillaume Dénervaud forms a delicate interpretation of a post-apocalyptic scenery, managing the effects of our carelessness towards our environment
A Spanish copper by Bartolomeo Cavarozziby Giuseppe Porzio (from Nuovi Studi 26, 2021 anno XXVI)A hitherto anonymous and unpublished copper painting offers new evidence of Bartolomeo Cavarozzi's stay in Spain
Nevine Mahmoud: the implications of pleasureby Niccolò GravinaThe heart of the practice of Nevine Mahmoud is the expressive recreation of a symbolic process which takes shape in the encounter with her work
Maren Karlson: effects and defectsby Stefano PirovanoMaren Karlson studies continuity between human being and environment, science and spirituality, individual and collective body
Hanne Lippard: “The mouth is always my favourite medium”by Lilou VidalA portrait of Hanne Lippard, an artist whose text- and performance-based work reveals the emotional and political values of semantics
Alexandra Metcalf and the totalities of current lifeby Piero BiselloA take on the recent artworks by New York-based Alexandra Metcalf: the crafts, the themes, the feels, the wonders
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
Doris Guo: traces of people, places, and politicsby Victoria DurnakFrom the relationship between mother and daughter to Sino-American culture, which Doris Guo resolves with the grace of the concept
Rediscovered Belisarius: a work by Legnanino for Prince of Carignanoby Luca Fiorentino (from Nuovi Studi 26, 2021 anno XXVI)A large canvas by Legnanino representing Roman leader Belisarius has recently been discovered in a private collection
Institutional negotiations: on the art of Daniel de Paulaby Jacopo Crivelli ViscontiSocietal commentary permeates the neo-conceptualism of Brazilian artist Daniel de Paula, evoking art's potential in the polis of today
On artist, psychiatrist, and collector Roman Buxbaum (and Miroslav Tichý)by Céline MathieuA portrait of Roman Buxbaum, initiator of the Tichy Ocean Foundation in Zurich and custodian of the Artists for Tichy – Tichy for Artists
Robbie Fitzpatrick (on Basel Social Club)by CFArtsWe sat down with Robbie Fitzpatrick, co-founder of the Fitzpatrick Gallery and initiator of the Basel Social Club
The sleeping enigma of the Arundel Pietà by Cosimo Rosselliby Davide Civettini (from Nuovi Studi 26, 2021 anno XXVI)In the castle of the Dukes of Norfolk, one of the greatest enigmas of the Florentine Quattrocento lives: a Pietà attributed to Cosimo Rosselli
Achraf Touloub: paintings as facts of themselvesby William KherbekBreaking lines and signs, saying the opposite of what it seems: an introduction to the paintings of Achraf Touloub
Why would the rich showcase the poor: the art of Giacomo Cerutiby Roberta D’Adda & Enrico Valseriati The 18th century depictions of the poor by Giacomo Ceruti was extensively collected and displayed by the nobles in Brescia. Here is why
Kate Mosher Hall: perceptual limbos and moiré-noirsby Leila PeacockA reflection on the not purely painted - but not just printed - canvases of Los Angeles artist Kate Mosher Hall
An interview with Viennese gallerist Sophie Tappeinerby CFArtsWith her namesake gallery, Sophie Tappeiner is one of the prominent young art dealers to emerge from Vienna in the last five years
Failed sales and bizarre manners: two paintings by Paolo Paganiby Paola Apreda & Odette D’Albo (from Nuovi Studi 26, 2021 anno XXVI)Far from their birthplace and distant from their context, the strange destiny of two Baroque paintings would strike a chord with their maker
It’s dark but just a frame: the drawings of Kyung-Meby John BelknapWho and what exactly appears in the drawings of New York-based artist Kyung-Me, one asks, getting lost in their rich darkness
A picture of a picture: Jonathan Monk on René Daniëlsby Piero BiselloAt the show with the artist: Jonathan Monk includes views from other shows as a scenography, a mise-en-abyme reminiscent of René Daniëls's paintings of exhibition views
