Many rejoiced at the pardon of the Egyptian activist Patrick Zaki, a political and diplomatic act sealed by a winged word: “grazia” (“grace”).
The celebration began on May 6th in Todi and will end only on December 2nd. Seven months of events in historic buildings, deconsecrated churches, art galleries, museums. This is how Matteo Boetti wanted to celebrate his thirty years of work in the art world.
It was Mirella Bentivoglio in April 1974, during “Polistirolo, Collage, Plexiglas”, a Tommaso Binga solo exhibition in the Galleria L’Obelisco in Rome (that of Irene Brin and Gaspero del Corso) who told me that Ugo Carrega, of whom I had a triple memory that saw him poet/ artist, writer/publisher and gallerist/ promoter/merchant, had opened in Milan, in an explicit reference to Marcel Duchamp, the Mercato del Sale, a new space/gallery/association dedicated to the concept of “New Writing”.
There is something that has always puzzled me about video art; for example, many works by Bill Viola or Marina Abramovicˇjust to name two of the most famous artists in this field, are sold and collected on specific devices, such as a simple signed and numbered DVD’s, or an installation or composition of screens, which Bill Viola favors. I have always felt that in this way the collector is buying the device, rather than the video itself, this would make sense if it were thought of and designed synergistically with the physical structure that contains it.
The event horizon is a concept related to the physics theory of black holes, a theoretical prediction of general relativity, defined as the boundary surface beyond which no occurrence can affect an external observer.
On the occasion of the 500th anniversary since the death of Pietro Vannucci said Perugino, the Perugia Foundation in collaboration with the Burri Foundation presents “NERO Perugino Burri” (Perugia, Palazzo Baldeschi, until October 2nd), a tribute to the great Renaissance master in dialogue with one of the most important artistic geniuses of the ‘900.
Francisco José de Goya y Lucientes (1746-1827) was born in Fuendetodos, a small village in Sierra Gorda, in Aragon region. He took his education and his first major commission in Zaragoza - the frescoes for the Nuestra Señora del Pilar Church - then, in 1774, after his journey in Italy, he is based in Madrid to realize the cards for the Santa Barbara royal tapestry.
In February 1996, the “Collezionismo a Torino” opening in the Castello di Rivoli, exhibition curated by Ida Gianelli with a selection of works by six private collectors, including Patrizia Sandretto Re Rebaudengo, who I remembered for “English art today” in the Galleria Civica di Modena and “Campo 95” at the Corderie dell’Arsenale in Venice (both in 1995), allowed me to publish the interview on n.42 of “ARTE&CRONACA”. From that conversation the design approach of the young and brilliant collector emerged.
The Argentine artist, Leandro Erlich, debuted in Italy with a solo show that is already recording a record turnout. How he managed to bring one million visitors to the museums in the last two exhibitions in Buenos Aires and Tokyo, is already understood by the first work placed inside the courtyard of the Royal Palace: Bâtiment, an installation born in 2004 in Paris and here revived.
On October 7th, an exhibition dedicated to the Anglo-Indian artist Anish Kapoor (Mumbai, 1954) opens in Palazzo Strozzi; an exhibition created by himself with the curator Arturo Galansino.
