Marison Ray studied graphics and design and was hired by Giorgetto Giugiaro in 1978. But another world opened up for her later, that of painting.
The exhibition “Getulio Alviani. Maestro della luce” has recently opened its door at Scuola grande della misericordia. After the Mayor’s introductions and those of the critics Luca Beatrice, Dora Fraglica and Carlo Vanoni, the violinist Olen Cesari played among an audience of collectors. This is one of the largest exhibitions dedicated to the artist from Udine that passed away in 2018.
We are told that the last AW ArtMag Black Number (Nr. 5/2022) edition will go down in history. Who knows? In the meantime, between general astonishment and outrage, it has been passed from person to person. Can that be? Does Siae no longer intend to recognize the right to information and ask for money for reproductions published with newspaper articles? Even RAI (Italian television) is concerned, with close-ups dedicated to those pages of our magazine where gloomy black boxes, with Siae Artist stamp, appear rather than the usual artworks reproductions.
The meeting took place in 1917 in Paris thanks to Jean-Cocteau. She was a model of class and elegance, while he was a committed avant-gardist. She is considered a master of dressing the world, while he was a master at laying it bare. There is almost a whiff of heresy in the juxtaposition of Coco Chanel and Pablo Picasso.
We meet Daniele Basso on the occasion of the exhibition “The Folds of the Soul” at the Sanctuary of Oropa (Biella). A singular initiative that stimulates a dialogue between the sacredness of the place and contemporary art.
So, Daniele, the exhibition opens with Boogyeman at the entrance of the Sanctuary and Ikaros in the square of the Upper Basilica.
A different perspective can reconfigure the way we think. Cornelia Parker acts on the wow effect that her works, featured at Tate Britain through Oct 16, generate in the viewer. The English artist, who had already developed confidence with manual skills as a child by contributing to her father's farming business, performs unusual and original actions on the objects in her work: she explodes, destroys, burns, shoots and crushes.
"To look without fear", Wolfgang Tillmans's current exhibition at New York's MoMA (until January 1st 2023), already seems from its title to be a denial of, or at least a contradiction to, one of his previous solo shows, Fragile.
In the beginning of this millennium, after the creative mare magnum of the 1900s, one might wonder if the new artistic revolution is not to return to a virtuous, lyrical realism, far from the intellectualism that swept away the naturalism of Western art. Sculpture in particular has always represented this link with reality, on a long path interrupted only in the Middle Ages and by the artistic avant-garde.
"Glass has unlimited possibilities. It is a burning fire, but after a while it becomes an icy fire. It is a romantic material, from liquid can take any form, it is colored or transparent". This is how the Chinese artist Ai Weiwei describes his meeting with glass, which took place a few years ago after a visit to the foundry of Adriano Berengo, co-curator of the exhibition "La Commedia Umana - Memento Mori", hosted in the magnificent setting of San Giorgio Maggiore Abbey in Venice.
A ghost is lurking in the art world. It has the gloomy features of the dreaded state monopoly body that goes by the name of SIAE. It bullies its way into publishing houses, museums, and galleries. It sows panic and terror. As if the already unsustainable energy price increases, galloping inflation and serious economic conditions were not enough to cause loss of sleep and imagination.
