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Artemisia. Héroïne de l'art

Amy O’Neill: costumes for disappearing

by Rita Selvaggio

The practice of Amy O’Neill moves according to a politics of the residual; costumes, masks, reversed parades are what remains...

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Ann Demeester and the Kunsthaus at the Zurich Art Weekend (an interview)

by Stefano Pirovano

On the occasion of the 2025 Zurich Art Weekend, we interviewed Ann Demeester, who brought the Kunstmuseum back into the...

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Concilium

Ashleigh Mclean, co-founder of WHATIFTHEWORLD: an interview

by Stefano Pirovano

We sat down with Ashleigh Mclean to discuss how to get free from the stereotypes about African art and its...

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Young-jun Tak: Twelve, Twelve, Twelve

by Stefano Pirovano

Young-jun Tak responds to six words that clarify the mentality behind his work's noble simplicity and quiet grandeur.

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Arte e Collezionismo a Roma 2025
Jens Froberg

Jens Froberg: space, time, matter, energy 

by Justin Chance*

Viewing Jens Froberg' paintings can be laborious, enjoyable, mediative, arduous, tranquil, strange etc. The more you see: hidden and buried...

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Nandi Loaf: experience, participation, fetishization

by Reilly Davidson

Nandi Loaf lures exhibition goers into an arena of participation, which in itself becomes a charged variable for the artist...

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Gökhun Baltacı: page after page after page…

by Stefano Pirovano

Images by Gökhun Baltacı whisper to one another, creating passages from a story, even though the full narrative remains elusive.

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Suzanne Santoro: Femaleness

by Giada Biaggi

Suzanne Santoro believes that art must infiltrate complex systems, taking over spaces that exploit the female body to subvert them.

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Isabella Stewart Gardner, Katherine Sofie Dreier, Colette Allendy, Hester Diamond

by Carlo Prada

Against the idea that art should be reduced to mere interior decoration, here is a selection of collectors who have...

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Identity, geography and gender in Aziza Kadyri’s practice  

by Denis Maksimov

Aziza Kadyri delves into the fluidity of her origins, transforming memory into a functional emotion.

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Jos Amman von Ravensburg in Chiaravalle

by Federico Cavalieri (from Nuovi Studi 27, 2022-2023 year XXVII-XXVIII)*

Jos Amman von Ravensburg: from the cloister of San Bernardo to a new transmontane presence in Milanese painting of the...

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Magnus Frederik Clausen

Magnus Frederik Clausen, painting as time goes by

by Giulia Pollicita

By painting time Magnus Frederik Clausen suggests a procession of memorable moments, in the course of an ordinary day.

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Federico Cantale, sculptural axonometries

by Valentina Bartalesi

Federico Cantale works with friendly forms, the result of a rigorous vision that sees in all things their deepest norm.

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Conor O’Shea, founder of SydneySyndey: an interview

by Giovanna Manzotti

Conor O'Shea opened SydneySydney in 2016, using the living room to organize exhibitions and encourage exchange and mutual influence.

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Julija Zaharijević: voids of reality

by Katharina Hausladen

Julija Zaharijevic focuses less on what is and more on what could be and thus alienates the perception of the...

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Cecco Bravo and a 17th-century subsoil beauty

by Francesca Baldassarri

Cecco Bravo is dramatic and mysterious, feeding on hallucinatory eccentricity to make the viewer feeling part of the scene. 

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Șerban Savu

Serban Savu (a conversation)

by Georgiana But

We sat down with Serban Savu, the painter who represented Romania at the Venice Biennale with a huge social polyptych.

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Some additions to the catalogue of Bernardo Zenale

by Stefania Buganza (from Nuovi Studi 27, 2022-2023 anno XXVII-XXVIII)

The oeuvre of the Lombard painter Bernardo Zenale is expanded with some new works and others which have remained on...

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Louis Osmosis is staging a social comedy

by Carlo Prada

Louis Osmosis contextualizes each element by what is next to it, so as to make interpretation potentially endless

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Jasmine Gregory: to be, or to seem?

by Stefano Pirovano

Jasmine Gregory asks us what we really mean to be while anticipating that the answer for some will be a...

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Jacopino de Mottis, Avicenna. Milano, Duomo, fin. XXV.

Milan 1487: Bernardo Zenale and Jacopino de Mottis

by Laura Paola Gnaccolini (from Nuovi Studi 27, 2022-2023 anno XXVII-XXVIII)

A new attribution to Bernardo Zenale and Jacopino de’ Mottis, who rented a workshop together for working at the city's...

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Liste 2024: ephemeral and permanence in six galleries

by Carlo Prada

In 2024 Liste is about relationships: between man and environment, time and memory, loss and death. Here is our six...

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Zurich, the Art Weekend’s capital

by Guido Furbesco

You need to know Zurich's background to understand why its Art Weekend is more than just the smartest preface to...

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Andrzej Steinbach, a tautology of the ideal

by Stefano Pirovano

Andrzej Steinbach invites us to relate to our systems of meaning allocation, so that images can vibrate free and open...

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Monika Emmanuelle Kazi: the long game

by Brit Burton

The symbols and systems that Monika Emmanuelle Kazi has created to define her work are a guiding point to the artist’s...

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Maestro della Madonna Cagnola (Zanetto Bugatto): Sant’Orsola. Torino, collezione privata

A Flemish trace for the Madonna Cagnola’s master (Zanetto Bugatto)

by Massimo Medica (from Nuovi Studi 27, 2022-2023 anno XXVII-XXVIII)

A new attribution to the Master of the Cagnola Madonna, identified by the most recent scholarship as the Lombard artist...

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Alexandru Chira and the inhabitable artistic edifice

by Georgiana But

Alexandru Chira used drawing to build an articulated architecture for signification, intended for spiritual habitation

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totalsilver Medium, 2023. Oil on canvas, 30 x 36 in. Courtesy of the artist and Theta, New York.

Kelsey Isaacs: synthesizing the layers of a plastic sun

by Joel Dean

Kelsey Isaacs reverses the banal glow of a simulated world into bright, meticulous paintings to reflect an increasingly paradoxical reality

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Arte Povera: six documentaries (part one)

by Francisca Parrino & Stefano Pirovano

The stars of Arte Povera portrayed in six documentaries, available for streaming thanks to a review curated in collaboration with...

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"Mihrdukht Aims her Arrow at the Ring," Folio from the Hamzanama (The Adventures of Hamza) Basawan (Indian, active ca. 1556–1600) ca. 1570 Country of Origin India Opaque color and gold on cotton cloth 67.8 x 52 cm Howard Hodgkin Collection, Purchase, The Mossavar- Rahmani Fund for Iranian Art, 2022 2022.170

The Howard Hodgkin collection of Indian court paintings

by Marta Galli

Howard Hodgkin approach to collecting had nothing to do with art history. What mattered to him was how each piece...

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Painting genealogy with Gritli Faulhaber

by Dara Jochum

In an attempt to resist the coercion of style, Gritli Faulhaber discusses painting through painting to rethink the medium's history

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