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.
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.
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.
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.
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.
Between the '800 and '900, everything changed, in visual art as in music: dissonance takes more and more space, the avant-garde disrupts the systems and the very sense of art, by removing the pregnancy of the concept of beautiful or ugly. Kandinsky invites us to listen to the colors.
Portraits like Flemish paintings, objects like still lifes, photographs that look like classic paintings without sacrificing their pop character. The Maillol Museum offers, until October 20, “Portraits of America”, by Tempora agency, a journey into the work of the American artist Andres Serrano, from the first realizations of the 80s to the latest creations.
Our Lady Kyriotissa (“Ruler of the world”) seated on a throne with the Child in his hand. They both look up, slightly to our right, towards eternity, but not directly. It looks like a goddess, probably Isis, first Egyptian, then Roman, finally Christian. Next, in slight prominence, two saints in sacred and military vestments, the only ones from the incarnation of this world, the severe gaze turned to us, as to mark a threshold and prevent a passage.
