The British artist has made repetition the most distinctive feature of his art

“I’m repeating myself”. It is difficult for an artist to admit as the repetitiveness is part of the practice. Especially nowadays, when the recognizability of a style is so crucial to the fortunes of an artwork and a career. This scenario is central to contemporary artistic production and accelerated by the internet, where the visual offer is so high that standing out from the crowd becomes even more important.

“The solid material is, first of all, the thought that directs us towards a goal, a meaning”. With this expression Bruno Ceccobelli intends to address to a “material” that emerges from a past of symbols, rituals, memories that are linked to a culture that belongs to him as a precious gift, sometimes as a relic to be flaunted through allegories that can lead to an esotericism, a religio that measures, perhaps unconsciously, the steps of existence. It is no coincidence that the term “solid material” indicates a Neoplatonic spiritual thought close to Theosophy. 

Unforgettable are the Omaggio a Shakespeare at the XLI Biennale di Venezia and the powerful Anubi realized in 1988-89

Novello Finotti (Verona, 1939) is among the last great artists that Italy can boast. In love with sculpture in a physical way, almost carnal, for him the stone is full joy, morbid and gentle desire, tactile lust that survives in “another” dimension in which the idea is no longer only impalpable “because it is made of the same nature of dreams’’ but so real as to leave dismay even the most navigated observer.

Open to meraviglia: Yes, just a wonder to be able to agree with all, journalists and intellectuals from usually antithetical visions. Only that this time sharing is not based on appreciation, but indignation. The thumbs towards is unanimous and categorical for the advertising campaign released by the Ministry for Tourism and the Enit to promote what at the time of Goethe was called Grand Tour, the journey undertaken by the European aristocrats to perfect the culture and which had as its main destination Italy. Times change and, with them, habits and tastes.

On show a wide range of artworks from 1967 to 2022

A personal exhibition of Cesare Berlingeri, curated

With this new pictorial cycle, the artist pays homage to Vittore Carpaccio and Giovanni Mansueti

The past can suddenly come to light to re-knot the thread that binds us to that unconscious memory that nourishes our existence. It can happen to the gaze that in front of a masterpiece out of time can capture certain remote impulses stored in the unconscious. The exhibition “Capricci veneziani” by Marco Petrus, hosted until April 10th in the prestigious spaces of Ca’ Pesaro, in Venice, is a further proof.

An NFT (non-fungible token) is a type of cryptocurrency that represents a unique and non-interchangeable unit of a digital work, such as an image, video, sound, or game. This means that each NFT is unique and cannot be replaced by another unit. In the early days, they represented digital works of art; today they are used for various other digital assets. An NFT with artistic content can be worth as much as hundreds of thousands of euros, which is why it has come to be fractionalized, that is, divided into several parts.

In the exhibit, the Italian editions of the Luigi Bonotto collection

“Fluxus, Arte per Tutti. Edizioni italiane della collezione Luigi Binotto”, the exhibition curated by Martina Corgnati and Patrizio Paterlini and hosted in the space devoted to the archives of the Museum of the Twentieth Century in Milan, has at least three main merits.

On view 50 artworks that represent his different artistic stages

One hundred years have passed since the birth of Lucian Freud, Sigmund’s nephew, and only eleven years after death, but his painting charm continues to shake the soul of the contemporary man. The Thyssen- Bornemisza celebrates him with a retrospective including fifty artworks that represent his different artistic stages. From the first artworks to intimate portraits to nudes, the dramatic matrix of the flesh represented in its raw and narrative aspects permeates the subject’s corpus exhibited in their mortality.

The exhibition invites you to reflect on the relationship between the works of art in a collection and a museum

Everyone is talking about it, often off-handedly: artificial intelligence as the saviour of humanity or its doom, hiding complex statistical patterns behind the mask of the Terminator in its apocalyptic version, or some guru (Steve Jobs, Elon Musk, etc.) in its mythicized version.