Childhood in a still enchanted Medellín. The school for bullfighters where, instead of killing bulls, he paints them. Then in Europe to study the Masters of the Renaissance. Finally, the planetary success

We try to immerse ourselves in the Medellín of the ‘30s-’40s. A small Andean town in Colombia that looks more like a village than a metropolis for which he still feels no vocation.

“I was born on the 21st in spring / but I did not know that being born insane / opening the clumps could unleash a storm” (“Sono nata il 21 a primavera / ma non sapevo che nascere folle,/ aprire le zolle /potesse scatenare tempesta”). And Alda Merini’s life was certainly as stormy as her words - of flame, of light, of violence and pain. She died at the age of 78, “on the 1st on All Saints’ Day”, we could say paraphrasing her famous hendecasyllable. Coherent and prophetic, even in her appointment with afterlife.

Girolamo Ciulla embodies to me one of the masters who taught me the most intimate meaning of artistic creation, an understanding paradoxically impossible to convey in words.

Born in Sicily in 1952, Ciulla's artistic journey led him from Caltanissetta to Bologna and then Pietrasanta, where I had the fortune of meeting him.

On the occasion of the 60th anniversary of Piero Manzoni’s death and the 90th anniversary of his birth, it is impossible not to remember the figure of one of the greatest Italian artists who appeared in the stimulating climate of the 1950s and 1960s. Demis Martinelli and Rosalia Pasqualino di Marineo curated the “Relazioni (im)possibili.

Many rejoiced at the pardon of the Egyptian activist Patrick Zaki, a political and diplomatic act sealed by a winged word: “grazia” (“grace”).

With the title “United Nations of Artists” 11 exhibitions were set up with a total of 88 artists

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.

More than 300 shots tell the armed conflicts in the world between 1995 and 2023

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.

At Palazzo Baldeschi, a unique exhibition compares the Renaissance master with one of the most significant artists of the ‘900

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.