New York - News

Marsèlleria Opened a New Venue in New York with an Inaugural Show by Matteo Nasini

2 hours ago

On March 3rd, Marsèlleria opened a new projects space in New York with an inaugural show by Italian artist Matteo Nasini.

Titled “Sparkling Matter“, the exhibition is the result of Nasini’s research in between sound, technologies and neuroscience to scan and transform into sound and substance the brain waves radiated while dreaming.

The performance lasting a whole night is an experiment on sound shapes and sleep, consisting in the live transformation of a sleeping person’s cerebral activity into sound. The harmonies generated by the sleeper will change depending on the phases of sleep and dreams.

The exhibition will also feature 3d printed porcelain sculptures realized using REM phases recordings’ datas and artist’s custom made blankets.

Marsèlleria – New York
525 West 23rd Street
New York, NY 10011

Carla Ingrasciotta

  • Matteo Nasini, Exhibition view, Marselleria, New York, 2017 Matteo Nasini, Exhibition view, Marselleria, New York, 2017
Milan - Posts

My Art Guide Milan 2017 Editorial Committee

3 hours ago

This edition of My Art Guide Milan, official guide of miart for the second consecutive year,  has been developed thanks to an incredible editorial committee formed by Alessandro Rabottini (Artistic Director of miart), Barbara Casavecchia (writer and independent curator), and Simone Menegoi (critic and curator). The committee has been working to select the best and most interesting art spaces and exhibitions in town while Chiara Alessi (journalist and curator) has developed a design-oriented itinerary around town.

Alessandro Rabottini is a curator and art critic. He was Chief Curator of GAMeC Gallery of Modern and Contemporary Art in Bergamo from 2001 to 2012, and Curator at Large at MADRE Donnaregina Museum of Contemporary Art in Naples from 2012 to 2015, institutions for which he has curated solo shows of international artists like Mircea Cantor, Keren Cytter, Latifa Echakhch, Giuseppe Gabellone, David Maljkovic, Victor Man, Robert Overby, Walid Raad, Pietro Roccasalva, Tim Rollins & K.O.S, Sterling Ruby, Padraig Timoney, Ettore Spalletti, Tris Vonna-Michell and Jordan Wolfson.
As an independent curator he has organized solo shows by John Armleder, Gianfranco Baruchello, Elad Lassry, John Latham, Guillaume Leblon, Adrian Paci and Danh Vo, and has collaborated with public institutions like the Triennale and PAC in Milan, Accademia di Francia – Villa Medici in Rome,  GAM Civic Gallery of Modern and Contemporary Art of Turin, Museum für Gegenwartskunst in Basel, Centre d’Art Contemporain in Geneva, Bergen Kunsthall, Le Consortium in Dijon, FRAC Champagne Ardenne in Reims and kestnergesellschaft in Hannover.
His writings have appeared in magazines like Flash Art, Frieze, Kaleidoscope, MAP Magazine, Modern Painters and Mousse.
He is a member of IKT – International Association of Curators of Contemporary Art.

Simone Menegoi is an Italian critic and curator based in Verona and Milan. He’s a contributor of Artforum and he teaches history of exhibitions at Istituto Europeo del Design (Rome). He’s guest curator at Fondazione Arnaldo Pomodoro (Milan), where he will curate a cycle of three exhibitions in 2017.

Since 2005, he has curated exhibitions in private and public spaces in Italy and abroad, often focusing on the dialogue between sculpture and other media.
He contributed critical essays to the publications of a number of international institutions, among which Ludwig Museum (Budapest), Kunstforum Aachen, Camden Arts Centre (London), Fondazione Prada (Milan and Venice), S.M.A.K. (Ghent), Hangar Bicocca (Milan).

Barbara Casavecchia is a writer and independent curator based in Milan, where she teaches at Brera art academy. Contributing editor for Frieze, her articles and essays have appeared in Art Agenda, Art Review, D/La Repubblica, Flash Art, Mousse, South, Spike, among others, as well as in artist books and catalogues. Since 2008, with Andrea Zegna she curates the public art project All’Aperto (Fondazione Zegna, Trivero, IT), with community projects and permanent site-specific installations by Daniel Buren, Alberto Garutti, Stefano Arienti, Roman Signer, Marcello Maloberti, Dan Graham, Liliana Moro; Alek O., Laura Pugno, Valentina Vetturi (2016/17). She co-curated the retrospective “Maria Lai. Ricucire il mondo at MAN, Nuoro (2014).

My Art Guides Editorial Team

  • Alessandro Rabottini, Photo by: Marco De Scalzi Alessandro Rabottini, Photo by: Marco De Scalzi
  • Barbara Casavecchia. Photo by: Adelaide Corbetta Barbara Casavecchia. Photo by: Adelaide Corbetta
  • Simone Menegoi Simone Menegoi
  • A. Rabottini, B. Casavecchia, S. Menegoi A. Rabottini, B. Casavecchia, S. Menegoi
Venice - Posts

Curator Branka Benčić Talks about the Croatian Pavilion at the Venice Biennale

20 hours ago

The curator of the Croatian Pavilion  Branka Bencic talks about the exhibition at this upcoming 57th Venice Biennale.

” The Horizon of Expectations” at the Croatian Pavilion presents artists Tina Gverović and Marko Tadić. The project is shaped as a double solo exhibition and it’s based on the production of new artworks, developed specifically for the pavilion. Structured as a fragmentary narrative, the exhibition explores the temporary character of the display space bringing together two artistic positions that deal with issues of uncertainty, tension or collapse, and how they relate to different conditions and contexts. In their works Tina Gverović and Marko Tadić engage with conceptual procedures and subjective imagination inscribed in spatial and temporal discontinuities. The space is arranged in order to explore structures of exhibiting and the perception of the observer, articulating its fluid, almost performative character of moving through space. As a self-reflexive gesture it is a form of colonising the space. Avoiding a fixed narrative depicting certain content, the exhibition instead takes part in creating a series of gaps, ruptures and interrelations, pointing to renegotiations and fractures as places of potential transformation and imagination.

Using different media, painting, drawing, installation or text Tina Gverović creates works in the form of disorienting installations that engage with the space, territory and identity, and how these concepts are bound to imagination. Her images are fluid and fragile, oscillating between different conditions. In “Phantom Trades: Sea of People” an installation based on paintings and objects, she continues to explore processes and accumulations, history and materiality, bodies in transit, as moving masses or geopolitical entities.

“Events meant to be forgotten” by Marko Tadić is shaped as an installation including slide projections, film and drawings. It is based on a series of projected images and vintage imagery – found slides as found images intervened on by the artist with drawing and scratching.  Staging a narrative between document and fiction, Marko Tadić unfolds a series of haunting visual sequences of obsolete remains and suspended time, a panorama oscillating between history, memory and future projections.

Borrowing the title from H. R. Jauss’s reception theory the shifting “Horizon of expectations” points to a platform of common experience, knowledge and understanding of things, framed by renegotiations and uncertain possibilities of identification.

Written By Branka Benčić for My Art Guides

Giulia Capaccioli

  • Tina Gverović Tina Gverović
  • Marko Tadić Marko Tadić
  • Branka Benčić, curator of the Croatian Pavilion at the 57th La Biennale di Venezia Branka Benčić, curator of the Croatian Pavilion at the 57th La Biennale di Venezia
United Kingdom - Posts

Jenny Holzer Gets Solo Show at Blenheim Palace

1 day ago

From the end of September until the end of December 2017 Blenheim Palace will host a solo show by American artist Jenny Holzer.

“The exhibition will use augmented reality to explore the potential of the virtual space,” according to the press release. It will feature new and less recent works by the artist who’s well known for her large scale installations made of LED signs. The show follows two other solo shows held in the palace (Michelangelo Pistoletto in 2016 and Lawrence Weiner the year before) and it’s the first one by a woman.

Holzer was the first female artist to represent USA at the Venice Biennale, back in 1990.

Elena Scarpa

  • Jenny Holzer in Siena, 2009 Jenny Holzer in Siena, 2009
New York - News

Institute of Arab and Islamic Art Opens in Manhattan in May

1 day ago

Qatari Sheik Mohammed Al-Thani, based in New York will launch a new cultural space in Manhattan in May.  The 2.500 square meter venue will showcase works from the Arab and Islamic worlds.

“It made absolute sense to build an institute that would not only showcase the breadth of art and culture from the Arab and Islamic worlds, but also challenge certain stereotypes and misconceptions that hinder cross-cultural understanding,” Al-Thani says.

The exhibitions will last for about 3 months and the space will also have artists in residence and a publishing division.
The support for the opening of the space comes from private donors and sponsors and it will be run as a not for profit centre; it will also provide translation services.

Elena Scarpa

  • Mohammed Al-Thani Mohammed Al-Thani
Milan - Interviews

Francesco Vezzoli: Milan from an Artist’s Perspective

1 day ago

On the occasion of our Special Issue dedicated to miart and Milan Art and Design weeks, we interviewed artist Francesco Vezzoli. Living and working in Milan, the artist shares with us his perspective on the contemporary art scene of the city and guide us through its main cultural attractions. The artist has just presented his new exhibition with Fondazione Prada “TV70: Francesco Vezzoli guarda la Rai“, on view from May 9 until 9 June 2017.

Francesco Vezzoli’s work explores power of contemporary popular culture. By closely emulating formats of various media, such as advertising and film, he addresses ongoing preoccupations with the fundamental ambiguity of truth, the seductive power of language, and the instability of the human persona. These include a trailer for a remake of Gore Vidal’s “Caligula” (2005), starring Vidal himself, Helen Mirren, and Courtney Love; an advertising campaign directed by Roman Polanski for “Greed”, a fictitious perfume; and elaborate, site–specific performances inspired by Pier Paolo Pasolini, Luigi Pirandello, and Salvador Dalí that have featured superstars like Catherine Deneuve, Cate Blanchett, and Lady Gaga. Though Vezzoli employs a diverse and varying array of media, needlepoint as remained a signature technique from the outset of his career. Initially emulating famous actors who practiced needlepoint on and off–screen—from Vicente Minelli to Joan Crawford, Cary Grant, and Greta Garbo—as time went on, it became a more profound and contemplative activity which he referred to as a world of feelings, crises, obsessions and depressions historically unified with the craft.

Mara Sartore: During the presentation of TV70 exhibition, one of the questions you were posed was “what does your artwork consist of” and your reply was: “it is the dialectic between the Prada Foundation and the Rai.” Could you explain what this means exactly?

Francesco Vezzoli: Behind this answer lies an ambitious attempt to get involved in some real politics, by comparing two realities that are structurally different and trying to ensure that one enriches the other. It’s obvious that the Prada Foundation and the Rai are two different entities. To get them to start talking has been and still is an ambitious undertaking. In addition, I find this matter more interesting than discussing the meaning of a work by a specific artist, as art historians do: I don’t make that my focus because I am neither a curator nor an art historian; rather, I define myself as a crazy visionary who wants to try to do new things.

M.S: I find it quite common now that many artists curate shows, do you think there is a crisis of the role of the curator or that it’s important to show a different, more personal point of view?

F.V: I believe that, in reality, it is the contrary, or rather, that the curator retains a lot of power, just like the art market does, to the disadvantage of the artist, who is crushed between these two entities.

M.S: Cinema has played a fundamental role in your artistic career. What does the relationship between cinema and art mean to you? Recently you said that you don’t feel like dealing with film divas anymore, but that you would rather deal with the ones in the art world like Yoko Ono or Marina Abramovic. A new star system has been created in the realm of contemporary art…

F.V: Yes, by now it is clear that a lot of artists, from a commercial point of view, are very successful and they often earn almost more than actors. There is an enormous financial system around art. Sadly, art and cinema tend to resemble each other in their reliance on this “never ending red carpet” atmosphere.

M.S: In a recent interview you declared that one of the greatest challenges for an artist is comparing oneself to history and here I return to the “TV70” show, for which I imagine you will have watched hours and hours of old archival material. What is the most radical change that you have seen between the Italy of the 1970s and the Italy of today?

F.V: I find that rather than being poor, our nation is depressed, a condition that isn’t always necessarily to economics. A strong feeling of discouragement is in the air, while in years that were objectively worse, there was optimism, a greater power of ideas. We certainly can’t say that this is the worst moment in Italy’s history, despite the media declaring this very idea almost every day. I don’t think that anybody can argue with me that 2017 is not the worst historical moment that Italy has seen. Without needing to return to the era of fascism, all it takes is to think about the civil war of the 1970s… there is no comparison, we had a separated nation, made up of violence, abductions, conflicting ideologies. But there was courage, there was energy. Today I find that, at times, this energy is somehow missing, without obviously meaning to disrespect anybody who is facing real financial hardship.

M.S: Do you think that the country’s situation is also reflected in Milan?

F.V: I’ll talk to you about Milan in my own way: I believe that Milan is one of the most interesting cities in the world, first of all because it is a metaphoric city. I mean to say that the best Italy that we have to offer is the Italy of fashion, of design, of creativeness and Milan is the city where Italy shows off her absolute values and where the industry of these values is forged. Young professionals come to study, to work and to show off their work in Milan. Milan is the only city that becomes a central hub in two specific times of the year: this happens during fashion week and during design week, when the creative industries attract professionals from all sectors to the city from all over the world. A city that lives solely on creative industries is really special, almost miraculous. In the last 20 years I have lived in a lot of cities, among them London, where I studied, Paris, New York, Los Angeles because I thought that these places could enrich me. In the past 3 or 4 years I have re-established myself here, because today I believe that Milan serves this purpose for me. I want to enrich myself by also studying my roots.

M.S: A personal note: are there some places in Milan where you like to go and that you would want to recommend?

F.V: I would recommend art spaces because in Milan, with a quick ride with uber, in a taxi, on a streetcar or by bike, you can see Museo del Novecento, Fondazione Prada, Hangar Bicocca, Osservatorio Prada, Villa Necchi, Casa Boschi… Milan is still a livable city, it’s not just how many museums a city has that makes it special but also the distance between them. Today, with high speed trains, in a few hours it’s possible to visit the artistic treasures of Venice – Milan – Turin that far outnumber the museums in America.

M.S: A last personal suggestion to people visiting Milan, what should they absolutely not miss?

F.V: A visit to the roof of the Duomo.

Mara Sartore

  • Francesco Vezzoli. Photo credits: Matthias Vriens Francesco Vezzoli. Photo credits: Matthias Vriens
  • Artwork on show at TV70. Gianni Pettena, Applausi, 1968. Courtesy of the artist Artwork on show at TV70. Gianni Pettena, Applausi, 1968. Courtesy of the artist
  • Artwork on show at TV70. Libera MazzoleniLuca, 2-49, 1977, Photo: Claudia Cataldi, Prato. Courtesy Frittelli Arte Contemporanea, Firenze Artwork on show at TV70. Libera MazzoleniLuca, 2-49, 1977, Photo: Claudia Cataldi, Prato. Courtesy Frittelli Arte Contemporanea, Firenze
  • Raffaella Carrà, Canzonissima, 1970. Courtesy Rai Teche Raffaella Carrà, Canzonissima, 1970. Courtesy Rai Teche
  • Francesco Vezzoli, Museo Museion, Bolzano, 2016 Francesco Vezzoli, Museo Museion, Bolzano, 2016
Venice - Posts

Shezad Dawood to Present his New Projects at the Upcoming Venice Biennale

4 days ago

The renowned UK based artist Shezad Dawood is going to present a new solo exhibition and a ten part film cycle, entitled “Leviathan” in concomitance to the 57th Edition of La Biennale di Venezia. The show will be held at the Palazzina Canonica, a just restored Venetian Palazzo right next to Riva dei Sette Martiri. It will feature a new body of textiles works, site specific sculptures, comprehending the first two parts of his new film “Leviathan”, directed by the artist himself.

“Leviathan” is set in a fantastic future, whose citizens are lucky survivors of a cataclysmic solar phenomena; each part of the film is narrated by different characters and shifts all across the World, from Europe to Asia, including the Institute of Marine Science platform in the Adriatic sea and an  abandoned island in the Venetian lagoon, and the London Natural History Museum.
“This project was already under- way before climate discourse went from the mainstream to the marginal. But the key question then, as now, was how to make the science and the possible future awaiting us more accessible. I hope the collaborative enterprise that begins in Venice, informed by so many generously lending their time and expertise, goes some way towards doing that”, stated Dawood.

The exhibition in curated by Alfredo Cramarotti, with the support of Querini StampaliaTimothy Taylor, Outset Contemporary Art Fund and the collaboration of the Institute of Marine Science, and Fortuny in Venice.


Giulia Capaccioli

  • Shezad Dawood, still from Leviathan Shezad Dawood, still from Leviathan
Palestine - News

Banksy Launches Hotel in Bethlehem

4 days ago

By launching Walled Off Hotel the artists hopes to bring dialogue to the West Bank.

The hotel was presented to the media on Friday 3rd of March and guests will be able to book a room from the end of the month.  “The worst view in the world” Banksy says of the view from the hotel, which is facing the barrier wall as the Guardian exclusively reports.

The artist and his staff insist that the hotel will actually be functioning and it’s not indeed an art stunt.

Elena Scarpa

  • One of the rooms. From Emma Graham-Harrison Twitter account. One of the rooms. From Emma Graham-Harrison Twitter account.
Venice - Posts

Top Artists To Collaborate with Murano Glass House for the Venice Biennale

4 days ago

Fondazione Berengo launches a new edition of “GLASSTRESS”, an exhibition that will be held in two different Venetian venues: Palazzo Cavalli Franchetti and in a converted Murano fornace Factory on Murano Island.

For this upcoming Biennale, Fondazione Berengo has involved some of the most leading contemporary artists to collaborate with the Murano artisans in a close dialogue to create new works made of Murano glass. The list comprehends 27 artists that come all around the world and includes, amongst others, Ai Wei Wei, Paul McCarthy, Sarah Sze, Ugo Rondinone, Dustin Yellinthey . All of them will collaborate under the curatorial guidance of Dimitry Ozerkof, Herwig Kempinger, and Adriano Berengo.

This year, “Glasstress” will also show up some installations created by the Belgian artist Koen Vanmechelen, as pieces by Brigitte Kowanz and Erwin Wurm, who are representing the Austrian Pavilion, in Giardini, and whose works will be on display outside and in the interiors rooms of Palazzo Cavalli Franchetti. In addition, the Murano Glass Factory will be taken over by the artist Loris Gréaud with his site specific installation “The Unplayed Notes Factory”.



Giulia Capaccioli

  • Ai Weiwei Ai Weiwei
  • Tony Cragg Tony Cragg
  • Ugo Rondinone Ugo Rondinone
USA - News

Desert X 2017

4 days ago

From the end of February until the end of April 2017, the valley of Coachella and the desert is hosting a curated exhibition titled “Desert X”. The works on show are all site-specific and they are both by emerging and established artists.

It started as the Desert Biennial and the organizers decided to rename it to Desert X (short for Desert Exhibition of Art) in order not to feel obliged to repeating the exhibition every two years.

Artists involved this year include Doug Aitken, who produced a work titled Mirage which “presents a continually challenging encounter in which subject and object, inside and outside are in constant flux”.

Elena Scarpa

  • Phillip K. Smith The Circle of Land and Sky (2017). Photo Lance Gerber, courtesy Desert X. Phillip K. Smith The Circle of Land and Sky (2017). Photo Lance Gerber, courtesy Desert X.