On show, 60 works which illustrate the Via Crucis coming from the Antioquia Museum in Medellín

Artists have often tied their fame to a label that characterizes their gesture that does not always highlight their qualities with due completeness. The case of Fernando Botero is emblematic. Botero is universally known as the artist of “large forms” and of a contemplative pleasantness capable of leading into an Edenic world. But this style is not completely representative of Botero.

In June 1978, the bond with Franco Palumbo and the friends of La Scaletta as well as with Pietro Consagra (given by the seven sculptures/labyrinth of “Trama” in the Biennale di Venezia in 1972) led me to the City of stones (Matera) for the exhibition curated by Giuseppe Appella. I had met him during my Roman years around galleries and on “La Fiera Letteraria” and I still remember him in the house of Corso Vittorio Emanuele II overflowing with books, volumes, catalogs and documents.

If a few months ago the dominant topic on the web and on social media concerned Botticelli and advertising, today the media seem to have identified a completely different target for the periodic invasion of our virtual bulletin feeds: NFT seem to have no more value. This news is so tragic for those who own them as exciting for all those who had sided against this new art form and now stand proud with their “I had said so”.

An extensive exhibition of 300 artworks retraces the creative process of the master

Maurits Cornelis Escher and Giulietta Umiker were married on June 12th, 1924, in Viareggio. I have always been struck by the choice of the Dutch engraver and lithographer to summon the family to an Italian town - now also the headquarters of the AW ArtMag editorial staff - for the celebrations of the event.

A themed exhibition that underlines the direction taken by contemporary art and society

The exhibition “Siamo foresta” at the Triennale is a real statement, a declaration of intent to indicate the urgency and the direction taken by contemporary art and society.

Agents provocateurs indigenous artists belonging to the so-called primitive arts, a polyphonic expressive chorus of creatives living in the South American rainforest.

Spotlight on one of the most influential American artists of the last decades

Being an artist “at the time was the most detestable thing in American culture. Becoming an artist in those years had absolutely no value. It was like planning your own failure”.

A provocative art, but an end in itself that applies more to the market than to its capacity for innovation

Jason Farago, critic and signature of the New York Times, in an article where the title is already a statement (Ours is the Least Artistically Innovative Century in 500 Years) explores the causes of an event given for granted from the very beginning: the death of innovation in art and, in general, in contemporary culture.

THE CHAMPIONS THROUGH THE EYES OF THE HAWAIIAN

On show 30 pieces, some of which created especially for this event

The Hawaiian artist Paul Pfeiffer (1966) presents at MOCA, on the occasion of his first retrospective exhibition ‘Prologue to the Story of the Birth of Freedom’, 30 works comprising those created so far plus others especially for this occasion.

SINCE 2016 HE HAS JOINED RIGORISM, BUT IN HIS OWN WAY. WITH WORKS THAT BLEND ZEN SUGGESTIONS WITH THE RESULTS OF THE MOST TYPICAL WESTERN CONTEMPORARY

At some point in his life, the architect Marcello Pietrantoni (who, moreover, had never abandoned the visual arts) ideally associated the structural study of a building with a sculpture capable of transferring the sense of myth and ritual to our days. He went to recover the most distant roots of our cultural essence to transplant them into a critical allegory that concerns us closely. But what relationship can exist, for example, between the design of a bank and a figure that seems generated by the night of time to plunge into our accelerated becoming?