Carmelo Zotti (Trieste 1933 - Treviso 2007) already at the beginning of his artistic career immediately and incredibly comes to the fore. Just over twenty, he exhibited at two editions of the La Biennale in Venice in 1956 and 1958.
A simple plasterboard robe folded on itself. Domestic, almost poor. Forms a little clumsy, yet powerful, evocative, abstract, avant-garde. The Rodin Museum celebrates a little-known artwork of its collections: the Study of the Robe for Balzac by Auguste Rodin.
Elegant, sophisticated, eclectic. Refined designer Mario Luca Giusti redesigns the mise en place by investigating the perfect harmony between classic and contemporary. The creations become an expression of an absolute balance between refined shapes, sometimes regal, and innovative materials: glasses, carafes, trays and plates with bright colors, made of synthetic crystal, bring back a romantic grandeur.
A complex construction of temporal space sequences is the exhibition “A Seed Under Our Tongue” at Pirelli HangarBicocca, curated by Roberta Tenconi. It is the first anthology, in an Italian institution, of the Uzbek artist and filmmaker, Saodat Ismailova, a young witness of the post-Soviet era.
The Mario Merz Foundation hosts until February 2nd “Something that removes the weight that retains the absurdity and the lightness of the fable”, a title taken from the artist’s writings, awarded in 2003 in Japan by the prestigious Praemium imperiale. A first part of the exhibition, opened last February, was accompanied by the presentation of the “Catalogue raisonné. Mario Merz.
Anastasia Samoylova is among the visual artists who have received increasing attention in recent years. Born in Russia, then moved to the US, she jumped to the honors of the art chronicle for the glib and hyper-realistic shots (FloodZone) that portray the devastating effects, in 2017, of hurricane Irma in Florida.
There are artistic movements that mark a fundamental stage in the history of art, and this is the case of arte povera (poor art).
De Stijl. Neoplastic. Abstract. Mystical? Theosophical and anthroposophile.
It is almost impossible for words to return the simplicity of Mondrian. They always complicate everything, too much, the words. Adjectives should fall. Nouns should fall. And metaphors should fall, fall like leaves in autumn.
Unconventional, asymmetrical shots. Views play upon enlarging anatomical details. Not faces, but details of faces, glimpsed upon as if they were landscapes.
Palazzo Reale hosts until January 25th, 2025, on the occasion of the eightieth anniversary of the death, a great anthology (one hundred works including paintings, drawings and prints) by Edvard Munch, entitled “Il grido interiore” curated by Patricia Berman.
Among the major interpreters of the symbolist period of the 80s and 90s of the nineteenth century, the artist is still capable of causing deep dismay.
