Since 1988, I have never missed a visit to the Biennale of Venice. I have literally seen every type of edition, each one reflecting the vision of its curator. I have gone from Achille Bonito Oliva’s vitalistic and highly erotic vision to the somewhat gloomy and pessimistic vision of Jean Claus. I witnessed the discovery of contemporary Chinese art in the one by Harald Szeemann and the boring, good-guy who studied anthroposophy, of Massimiliano Gioni, husband of the current curator, Cecilia Alemani.

The floor to Vincenzo Trione

The academic always deployed for breaking down the barriers of the various artistic genres

Even the encounters with Vincenzo Trione belong to my personal memory. He was a printed words buddy who used to paraphrase Charlie Brown and I know him and his writings since the time he wrote for “Il Mattino” in the 90s, for then moving to “Il Corriere Della Sera” (and its related magazines “Io Donna” and “Sette”) and “La Lettura”, the cultural appendix which has recently celebrated ten years of activity.

Venice: Cecilia Alemani presents her Biennale

The title "The Milk of Dreams" is borrowed from a children's book by Leonora Carrington

Cecilia Alemani: she graduated in Philosophy and she completed a master's degree in Curatorial Studies in New York, where she still lives. She collaborated with the greatest museums of the world and in 2017 she curated the Italian Pavilion at La Biennale. This year she will curate the 59th International Art Exhibition in Venice (23 April-27 November).

Vercelli: a tribute to Francesco Messina 120 years after his birth.

There is no systematic definition or possible affinity with a school that fit to the work of Francesco Messina (1900 – 1995). His extraordinary talent merges into a genius that goes beyond any corrosion produced by time and fashion; it’s a unicum and it has to be valued as such. If we really want to find a distinctive feature we would have to focus the attention on the movement: “What matters to Messina is the idea itself of the movement, its essence. His idea is we don’t stop seeing.

The work of the two masters is connected through chromatic, aesthetic and lighting affinities

There is always an appeal when contemporary art occupies ancient places, not by simply inhabiting the space but by dialoguing with it. This is the case, with the exhibition Le Vibrazioni del Colore (The Vibrations of Colour), hosted in the medieval Castello dei Paleologi in Casale Monferrato (Alessandria). Curated by Giovanni Granzotto and Anselmo Villalta a tribute to the artistic career of two masters Claudio Rotta Loria (Turin, 1949) and Jorrit Tornquist (Graz, 1938).

Russia - Ukraine: fifteenth day of war. More roars, fires, flames. It’s time for air-raid sirens, shelters, terror. There are threats of chemical and nuclear weapons. It would bring total destruction. The West trembles, tries to raise its voice, but seems to stutter instead. It supplies the invaded country with armaments and applies to the invader economic sanctions that cause misery to the nations that inflict them as well as to those that suffer them. Information and misinformation chase each other and deny each other.

Mondrian: an exhibition ranging from the years of figuration to neo-plasticism

In 1965 French fashion designer Yves Saint Laurent presented, in his autumn-winter collection, a dress exceptionally conceived to amaze the public once again. It is the Mondrian Dress, famous for becoming an emblem of the combination of art and fashion and their natural complementarity. We are in the middle of the 60s: the artistic movement founded by Mondrian together with Theo Van Doesburg in 1917 is now part of history.

On display 40 works created by the two masters between 1974 and 1978

The compositions of Elio Marchegiani and Enzo Cacciola, started around the middle of the ‘70s, refer to the “analytical painting” of which they are considered initial exponents, notably for the attention they paid to the pictorial-material aspect of materials. The exhibition “Marchegiani-Cacciola.

A word with Ida Panicelli: she directed Artforum from 1988 to 1992, bringing a more international audience to the magazine.

Corpus domini: the stimulating exhibition at Palazzo Reale.
Gavin Turk's waxwork of Ludwig Wittgenstein welcomes the visitor with an egg in his hand

Bodies: wax or ceramic; paper bodies, fiberglass bodies, marble and cement bodies;