His creations are the expression of a balance between refined forms and innovative materials

Elegant, sophisticated, eclectic. Refined designer Mario Luca Giusti redesigns the mise en place by investigating the perfect harmony between classic and contemporary. The creations become an expression of an absolute balance between refined shapes, sometimes regal, and innovative materials: glasses, carafes, trays and plates with bright colors, made of synthetic crystal, bring back a romantic grandeur.

Main research theme: cultural identity, colonial heritage, the relationship between man and environment

A complex construction of temporal space sequences is the exhibition “A Seed Under Our Tongue” at Pirelli HangarBicocca, curated by Roberta Tenconi. It is the first anthology, in an Italian institution, of the Uzbek artist and filmmaker, Saodat Ismailova, a young witness of the post-Soviet era.

The large retrospective is hosted at the headquarters of the foundation that bears his name

The Mario Merz Foundation hosts until February 2nd “Something that removes the weight that retains the absurdity and the lightness of the fable”, a title taken from the artist’s writings, awarded in 2003 in Japan by the prestigious Praemium imperiale. A first part of the exhibition, opened last February, was accompanied by the presentation of the “Catalogue raisonné. Mario Merz.

Recurring themes of her work: climate emergency, criticism of consumerism, commercialization of women

Anastasia Samoylova is among the visual artists who have received increasing attention in recent years. Born in Russia, then moved to the US, she jumped to the honors of the art chronicle for the glib and hyper-realistic shots (FloodZone) that portray the devastating effects, in 2017, of hurricane Irma in Florida.

An ambitious exhibition that retraces the history of the movement with 250 artworks

There are artistic movements that mark a fundamental stage in the history of art, and this is the case of arte povera (poor art).

De Stijl, neoplastic, abstract, mystical, theosophical and anthropophous: difficult to return to words his simplicity

De Stijl. Neoplastic. Abstract. Mystical? Theosophical and anthroposophile.

It is almost impossible for words to return the simplicity of Mondrian. They always complicate everything, too much, the words. Adjectives should fall. Nouns should fall. And metaphors should fall, fall like leaves in autumn.

From these paintings, a parade of mysterious and beautiful women who look at us, wink, invite

Unconventional, asymmetrical shots. Views play upon enlarging anatomical details. Not faces, but details of faces, glimpsed upon as if they were landscapes.

Over 100 artworks remind the Norwegian painter, 80 years after his death

Palazzo Reale hosts until January 25th, 2025, on the occasion of the eightieth anniversary of the death, a great anthology (one hundred works including paintings, drawings and prints) by Edvard Munch, entitled “Il grido interiore” curated by Patricia Berman.
Among the major interpreters of the symbolist period of the 80s and 90s of the nineteenth century, the artist is still capable of causing deep dismay.

Contemporary art at the heart of a city’s cultural debate. A community that suddenly wonders about the presence of an outcrop sculpture in its main square, next to the towers of a castle from the ‘200. It happened in these months in Naples, opening new and unexplored pages, sowing doubts and uncertainties.

If you have friends who are art lovers, surely some of them will have, sooner or later, pronounced the term “Bansky”, a misspelling of the name of the famous and mysterious street artist Banksy. It’s one of the most common verbal mistakes in the era of “rather than” misused. But have you ever tried to type “Bansky” on Google? The digital brain will answer you with a familiar riddle: “Maybe you meant Banksy...”.

At this point the question is: how does he know?