On view over 150 artworks that have as common denominator the versatility of the artist

With “Jean Cocteau - The Juggler’s Rematch,” the Peggy Guggenheim Collection offers over 150 artworks that have as their common denominator the incredible versatility of the artist. An early writer (at the age of twenty, he published his first collection of poems) and skilled caricaturist, he was able to capture on paper, with a few agile pencil strokes, a character, a situation, a personality.

He comes from a family of well-known gallery owners. After years of exclusively web activity, he has now opened a home in Genoa

Daniele Comelli Art was born as an online gallery and, from March 2024, it acquired the physical dimension. We opened a physical space so that customers would appreciate the works to the fullest. Observing a sculpture or a painting in the right light and place is an experience that can trigger intense sensations. You have to design the space and the lighting well.

The entire production from 1984 to today on view

Yoshimoto Nara’s auction record dates back to 2019: about 25 million dollars beaten by Sotheby’s Hong Kong for *Knife Behind Back* (2000), a few months after the 4.5 million dollars of *Sleepless Night (Cat)* (1999) from Christie’s Hong Kong. In both cases, the subject, recurrent in the artist’s works, is a little boy or a little girl on horseback between candor and evil. 

IN SOME PAINTINGS, CHILDREN HIDE KNIVES AND SAWS, TO REPRESENT AN EVIL INTENT

The exhibition collects more than a hundred works including paintings, sculptures, drawings, photographs and collages

The Louis Vuitton Foundation is hosting an unprecedented retrospective of the Ellsworth Kelly (1923-2015) work, author of minimalist and reflective works with pure shades applied in large monochrome backgrounds.

Her neon writing follows the upward motion of the spiral staircase of the museum designed by Frank Lloyd Wright

With *Light Line*, Jenny Holzer returns to the Guggenheim after the 1989 installation, which in turn took up *Truism* (1978-1987), the first series of artworks that made her famous, that is a series of writings, that become artworks to see, but above all to read: maxima, brief sentences, quotes, neon writings that flow.

Art inevitably draws inscrutable horizons. After all, even those who participate in minor auctions, even those who compete for works for a few hundred euros look with a complacent eye to major international awards. Convinced that, perhaps, sooner or later, it might also be up to them to witness a marked rise in the trade of some work in the collection and, perhaps, realize the blow of life.

Since the beginnings in the 80s her stylistic style is marked by glass plates with an evanescent presence

Can we tell the light that is transformed into an impalpable substance through refractions multiplied by the glass that welcomes it and modifies its path to lead it in the heart and spirit of the observer? Can be if to do so is an artist of poetry, extraordinary sensitivity as ōki Izumi able to translate a visual shock or an ecstatic thought in an artwork that overrides any fragility linked to the material chosen for her creative commitment. 

They meet at a party in 1969 and since then they will become inseparable

Let’s start from the beginning, from the first meeting, from the first looks, from the words not spoken. The atmosphere and the context are worthy of a film by Pupi Avati, master in telling the love stories of Bologna.

Summer is here, finally. Where will you go on holiday? The trend is to enjoy shorter times than in the past, when whole families used to spend the months from June to September at the seaside. Moreover, many people will have to be satisfied with cheap tourist destinations, enduring mosquitoes, unruly kids, mothers who yell even more than their children, and fathers in socks and singlets. A few others, the privileged ones, can still afford more chic shores such as Portofino, Porto Cervo, Forte dei Marmi, and Capri.

Una singolare rassegna si focalizza sui volti all’epoca della XXVI dinastia Saite risalenti al 664-526 a.C.

Once again the J. Paul Getty Museum builds its activity on the transversal recovery of the message that art brings with it: this means understanding and processing the language of a past even very far from the contemporary in order to highlight its contingent and congenital relevance.