Bernhard Hegglin “Tendini & Articolazioni” al MMXX, Milano


Durante la visita allo studio di un’amica, parliamo di una delle sue sculture. Non è semplice individuare con esattezza con che cosa abbiamo effettivamente a che fare. Ciò che giace ai nostri piedi, privo di qualsiasi tensione, mi ricorda queste figurine di animali snodabili in legno che crollano quando si preme il pulsante alla base del loro supporto. Guardiamo le immagini di queste cosiddette marionette a spinta e questo evoca un mio ricordo d’infanzia piuttosto specifico/concreto e tattile e mi attira dentro; non c’è niente di nostalgico, niente di malinconico, è puramente sensoriale.

Il giocattolo è stato progettato oltre 100 anni fa; la sua funzionalità non è quasi cambiata da allora. La statuina è tenuta in posizione da fili tesi da molle. Il meccanismo indistruttibile con il pulsante è nascosto nel supporto. Se si perde il vero centro premendo con il pollice, la statuetta perde solo l’equilibrio e inizia a contorcersi. Quando viene completamente premuto, il piccolo animale crolla e si rialza solo quando non viene più applicata alcuna pressione.

Con questo pensiero nella parte posteriore della mia mente passo davanti a una farmacia. La farmacia sta pubblicizzando un rimedio per problemi articolari proprio con questi animaletti. Nella vetrina del negozio, i giocattoli diventano un oggetto di scena che deve guidare l’attenzione dei passanti verso i loro prodotti, in combinazione con uno slogan pubblicitario spiritoso. Purtroppo ho dimenticato come è andata.

a MMXX, Milano
fino al 17 dicembre 2022



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mixed media portrait by Siona Benjamin

Dipinti dinamici a tecnica mista di Siona Benjamin I Artsy Shark


L’artista Siona Benjamin presenta una collezione di opere figurative basate sul suo affascinante background transculturale. Visitala sito web per vedere di più dell’arte.

pittura figurativa a tecnica mista di Siona Benjamin

Finding Home #71 (Fereshteh) Gouache “Eda” e foglia d’oro 22K su carta, 17″ x 13″

Sono una donna ebrea di colore che è cresciuta in una società prevalentemente indù e musulmana in India. Ho studiato nelle scuole cattoliche e zoroastriane e ora vivo in America.

pittura figurativa a tecnica mista di Siona Benjamin

Finding Home #74 (Fereshteh) Gouache “Lilith” su pannello di legno, 30″ x 24″

La mia arte parla delle somiglianze che condivido con il mio pubblico, non delle nostre differenze. Miro a dissipare le idee sbagliate che si traducono in razzismo, odio e guerra. Realizzando immagini che mettono in discussione concetti relativi all’identità, all’appartenenza e a chi e cosa è “altro”, sento di poter contribuire alla tanto necessaria riparazione della cultura e della società.

pittura figurativa a tecnica mista di Siona Benjamin

Finding Home #75 (Fereshteh) Gouache “Lilith” su pannello di legno, 30″ x 26″

Il mio lavoro riflette anche il mio background di ebreo Bene Israel dall’India e si concentra sulla mia esperienza esistente nella transizione tra il mondo antico e quello moderno.

pittura figurativa a tecnica mista di Siona Benjamin

Finding Home #87 (Fereshteh) “Lilith” gouache e tecnica mista su cartoncino da museo, 23″ x 18″

Usando i ricchi colori della tempera e della foglia d’oro 22K, applico strati letteralmente con la vernice e metaforicamente con significato. Sono ispirato dagli stili tradizionali della pittura in miniatura indiana/persiana e dai manoscritti miniati. Mescolo queste forme antiche con elementi della cultura pop contemporanea per creare il mio nuovo vocabolario.

trittico di ritratti in tecnica mista di Siona Benjamin

Finding Home #90, 91, 92 (Fereshteh) “Esther” (Hear No Evil) gouache su carta, 6,5″ x 5″ ciascuno

Molto spesso guardo la mia pelle e mi sembra che sia diventata blu. I personaggi dalla pelle blu che creo appartengono ovunque e da nessuna parte allo stesso tempo. Le mie figure blu sono agenti sociali e culturali che sollevano questioni provocatorie sull’identità, l’immigrazione e il ruolo dell’arte in questo mondo transculturale.

pittura figurativa a tecnica mista di Siona Benjamin

Finding Home #99 (Fereshteh) “Lilith” in gouache Pardes su carta, 11″ x 8.5″

Ho tenuto presentazioni di artisti presso varie istituzioni, come la Biennale di Gerusalemme, Indira Gandhi National Center for the Arts, The University of North Texas, Philadelphia Jewish Museum of Art, The Peabody Essex Museum, Arts Council of Princeton – Contemporary Arts Center, Sackler Center for Feminist Art, Brooklyn Museum, Rutgers University, Columbia University, Cornell University e Princeton University. Inoltre, ho partecipato a conferenze tra cui la College Art Association, l’American Studies Association, il Jewish Art Salon e l’American Council for Southern Asian Art (ACSAA).

pittura figurativa a tecnica mista di Siona Benjamin

Finding Home #102 (Fereshteh) Gouache “Lilith” e foglia d’oro 22K su pannello di legno e tecnica mista, 46″ x 57″ x 3″

Le mie mostre passate hanno ottenuto la stampa su The Jerusalem Post, The Times of Israel, The New York Times, The Times of India, The Boston Globe, Art in America, ArtNews, The Chicago Tribune, Art New England, The Philadelphia Inquirer, The Jewish Week, Arte e Antiquariato, Marg Magazine diversi libri e pubblicazioni. Il mio lavoro è stato mostrato anche in programmi TV su PBS. Un film documentario intitolato Blu come me: l’arte di Siona Benjamin è stato realizzato sul mio lavoro.

pittura figurativa a tecnica mista di Siona Benjamin

“Exodus #1″ gouache e tecnica mista su cartoncino museale montato su pannello di legno, 14″ x 10”

Nel 2011 ho ricevuto una borsa di studio Fulbright per viaggiare in India per un progetto—Volti: tessitura di narrazioni ebraiche indiane. Nel 2017, ho ricevuto un secondo Fulbright in Israele per realizzare un progetto intitolato—Dalla madrepatria alla patria: ebrei indiani transculturali in Israele.

pittura figurativa a tecnica mista di Siona Benjamin

“Exodus #3″ gouache e tecnica mista su tavola museale montata su pannello di legno, 19″ x 13”

Ho realizzato commissioni pubbliche e private, dove lavoro con i committenti per realizzare opere d’arte adatte alla loro sede privata o pubblica. Credo che il pezzo commissionato dovrebbe essere soddisfacente per le circostanze e le persone che mi hanno invitato a fare il lavoro.

ritratto in tecnica mista di Siona Benjamin

“Amistad: A Slave Ship for a New Century” acrilico, tecnica mista e foglia d’oro 22K su pannello di legno, 43″ x 48″

La costante fluidità dell’identità degli immigrati è il fulcro della mia ricerca e del mio lavoro. L’identità è solitamente definita attraverso la razza, l’etnia, il genere, la classe e la sessualità. La mia produzione artistica nel corso degli anni affronta queste e altre importanti questioni transculturali che hanno urgente bisogno di consapevolezza e comprensione durante questi tempi critici della globalizzazione.

L’artista Siona Benjamin ti invita a seguirla Instagram, Cinguettioe Facebook.

Vuoi rimanere aggiornato sugli articoli economici all’avanguardia di Artsy Shark, oltre alle caratteristiche degli artisti e un invito alla prossima Call for Artists? Fai clic di seguito per iscriverti alla nostra e-mail semestrale. Avrai tutto questo più opportunità e offerte speciali che non puoi trovare da nessun’altra parte!





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Like a forest, or the bottom of the sea. Russia at the crossroads of Victoria Lomasko – Brescia



Victoria Lomasko at the Santa Giulia Museum, while working on the site-specific work “Five Steps” I Courtesy Fondazione Brescia Musei

Brescia – In recent years he has conquered Western critics and audiences, but his works – a mix of images and words that leave their mark – have never been officially published in the original language. Artist, Russian and dissident, born in 1978, today Victoria Lomasko experiences the sometimes grotesque difficulties of exile. On the run from her country since March 2022, she has landed in Brescia where, for the third year, the Peace Festival gives space to the voices of artists outside the chorus from the most varied realities of the planet. After Zehra Dogan. We will also have better days. Works from Turkish prisons And Badiucao. The China (Not) it’s close. Works by a dissident artistVictoria is the protagonist of the third act of the project “Contemporary art and human rights” curated by Elettra Stamboulis.

In artistic residency at the Santa Giulia Museum he created Five Steps, a vast site-specific installation in five stages, to share the experiences of the last year with the Italian public. But it doesn’t end there. In an exhibition itinerary that is itself an artist’s creation, Lomasko invites us to see with his own eyes the social and political history of Russia from 2011 to today, revealing in captivating and original reports “the hidden geography of the largest country in the world”, from anti-Putin demonstrations to the life of the least, of the forgotten, in the deepest provinces of the empire.
Inaugurated on 11 November in an atmosphere of participation and curiosity, Victoria Lomasko. The Last Soviet Artist will animate the cultural life of Brescia until 8 January 2023.
“Being ‘the last Soviet artist’ – says Victoria – means not fixing one’s gaze on a single point (the Russian war in Ukraine), but recognizing in what is happening an epochal change, a change of generation. Seeing the transformation of the huge space that until recently was described as ‘post-Soviet’, when ‘post-Soviet’ is no longer possible”.


Victoria Lomasko, Showdrop Generation, 2021. Watercolour, acrylic and ink on paper, 41.5 x 118 cm and 41.5 x 59 cm. Private collection

“To describe these changes – continues the artist – it is necessary to understand the era that is waning, to know the Soviet reality not through films, books, other people’s stories, but from direct experience. The Soviet Union collapsed when I was a teenager, but the trauma of life in a closed, totalitarian country is still with me. Three weeks before the start of the war in Ukraine I finished writing a book for which I had started collecting material in 2014. The book has the same title as this exhibition. Only an author of my generation could write such a book: it’s like acting as an intermediary between the old people who were completely educated in the Soviet period and the young people who are unable to perceive or understand that surreal reality”.

How have your life and work changed since the outbreak of war?
“You could say that the war made me an artist in exile. Although in reality already at the end of 2020 I realized that sooner or later I would have had to escape from Russia. At the time, they had amended the law on ‘foreign agents’ so that anyone engaged in activities related to political issues and collaborating with Western organizations (which were the only things I did) could be listed. When this law was passed I immediately started reviewing my huge archive of drawings, with the idea that I should probably send it abroad. On March 5, 2022, I left Russia, and a few days later the French Embassy in Moscow helped me get my archive to Europe. The exhibition The Last Sovier Artist it would never have existed without this help.
Emigration is never easy. Western sanctions still weigh on emigrants with Russian passports. I have to fight for ever new visas. And to this day I have no chance to start building a new life in a European country.

I have no close relatives or Ukrainian friends. The fact that I am against the war in Ukraine and that I already spoke out against the annexation of Crimea in 2014 for most of my acquaintances Ukrainian artists does not matter at all, they stopped talking to me, some even said that with the he beginning of the war in Ukraine my art has lost all meaning. During these months I have meditated on the war, on this tragedy, and also on the role of the artist. The result of my reflections is that art stands above any political event, and that the most important task of the artist is to serve art in any situation”.


Victoria Lomasko I Courtesy of Fondazione Brescia Musei

What meaning does the recently inaugurated exhibition in Brescia have for you?
“An artist arrives at an exhibition like this in several years. It is evident that such a large museum exhibition is very significant for my career, but the fact that I managed to show ‘Lomasko’s World’, my little universe, is much more important.
Curator Elettra Stamboulis and the museum’s collaborators did everything necessary to translate into reality my idea of ​​a perfect exhibition, reminiscent of a theater show. I really like lifting that heavy velvet curtain, going through the dark blue labyrinth and then into the dark forest space.

I have created a new monumental series specifically for the exhibition, Five Steps. These panels, Isolation, Escape, Exile, Shame, Humanity they are located in an oblong hall, somewhat reminiscent of a church. By walking the five passes, the visitors accompany me on the journey I have made. I spent a month and a half drawing in the atelier set up in one of the museum rooms, it was wonderful. I was really happy to donate i Five Steps to the collection of the Brescia Musei Foundation”.


“Victoria Lomasko. The Last Soviet Artist” © Alberto Mancini I Courtesy of the Brescia Museums Foundation

The book Other Russias won the Pushkin House Book Prize, but it has never been published in your country…
“When I started making my first graphic reports in 2008, I didn’t imagine that a book would come of it, and that the book would be published in New York and London. At that time I had never been to Europe yet, much less the United States, and I never thought I would have a Western audience. I wanted to tell the stories of simple people surviving as best they can in Russia, invisible and unheard, to equally simple people. For example to those who live in my Serpukhov and other provincial places. Initially all the reports were published on the internet in Russian, free of charge, on rights activist and opposition sites. They used to be sites with a very limited audience, but now you can’t even think that sites like those exist anymore (they’re all blocked or banned). I also posted on my social media.

After the huge success of Other Russias (in Italy Other Russias, published by Becco Giallo, ed) in the West a Russian publisher has proposed to publish the book in Russian. First, however, we decided to consult a lawyer: the answer was that if the book had come out without any self-censorship there would have been a very high probability that both the publisher and I would have been given a few years in prison. As I am against any kind of self-censorship, we have decided to postpone publication. Now this publisher is also in exile and I have already asked him: now maybe we can publish it?”.


Victoria Lomasko, Diptych #1, 2012. Mixed media on paper, 210 x 300 cm. Cartoon Museum, Basel

Your works are graphic reportages, an explosive cocktail of images and words…
“My work is a synthesis of text and images. It is like the work of the composer who creates a musical work. Let’s suppose that the text is a violin and you draw a flute and my task is to establish when the melody of the violin emerges in the foreground and when that of the flute, how these very different sounds interact and how they intertwine to create something still different.

In the West they consider you the most important Russian graphic social artist. How did your artistic language take shape?
“I’ve never wanted to paint on canvas, but I’ve always been interested in the artist’s book genre. As a child I liked to write poems and short stories that I often illustrated. At 19 I enrolled at the Moscow State University of Printing Arts, Graphic Art and Book Design, where I dreamed of studying since I was a child since they taught the graphic art of books right there. After university I worked as a commercial illustrator while trying to deal with what we call ‘contemporary art’. I felt unfulfilled and unhappy. Instead, I only felt happy when I tried to add phrases I had heard them say to the portraits of the characters. ‘I have to move in this direction!’, I said to myself. I was already thirty then. The more I write, the happier I am.”


Victoria Lomasko, Behind the Forest, 2021. Watercolour, black and colored ink, pencils and colored pastels on paper, 587 x 415 mm I Courtesy Edel Assanti, London

In your works you often use metaphors related to nature, animals and plants. How come?
“Initially, for several years, I studied Russian society; it was work at the intersection of journalism and sociology. Then, when I gathered enough material for a complete picture to form in my head, the reportage sketches began to transform into complex symbolic compositions. Russia appeared to me as a dark forest full of strange and sometimes dangerous beings. The roots of the trees are our grandparents, our parents, the forever traumatized Soviet generation. The branches, the young generation, cannot get rid of the influence of the roots in any way. In this forest is the tree of violence, the trunk of which is made up of the abuser and his victim. Other times, however, I have thought of living in the depths of the sea: on the surface there is only the western world, and from there to us, who are on the seabed, objects fall, dirty plates and empty goblets after the banquet.

When I look at the people in Russia, I picture them as weeds struggling to grow in the ruins of the Soviet empire. No one takes care of them, on the contrary, they are often uprooted. But these weeds have wild life force. When I look at the Europeans, they look to me like show flowers, grown under artificial conditions, in a greenhouse. But I would like us all to be flowers exposed to the sun, in a meadow, where there was care and freedom at the same time”.


“Victoria Lomasko. The Last Soviet Artist” © Alberto Mancini I Courtesy of the Brescia Museums Foundation

Read also:
In Brescia the Russia of the forgotten in the works of the Soviet artist and dissident Victoria Lomasko





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Stile di vita, fotografia surreale ed editoriale di Margeaux Walter » Design You Trust


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Margeaux Walter è un artista americano con sede a New York. Il suo lavoro è fatto di sperimentazioni sulla vita quotidiana a livello sociale o personale. Ogni pezzo è un mix di immagini diverse, spesso giocando con il confine tra realtà e fantasia.

Ha ricevuto il suo MFA dall’Hunter College nel 2014 e il suo BFA dalla Tisch School of the Arts della NYU nel 2006. Ha ricevuto un cubo ADC nel 2022 per la sua serie NYTimes Work Friend e ha ricevuto numerosi riconoscimenti dalla Magenta Foundation Flash Forward, HeadOn Photo Festival, Photolucida, Prix de la Photographie Paris, International Photography Awards, The Julia Margaret Cameron Award e altre organizzazioni. Ha ricevuto programmi di residenza d’artista al Montalvo Arts Center, MacDowell Colony, Yaddo, Marble House Project, VCCA, JTHAR, Red Gate Gallery a Pechino e BigCi a Bilpin, Australia (premio ambientale).

Di più: Margeaux Walter, Instagram

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portrait painting by Alejandro Perez Dominguez

Ritratti dinamici di Alejandro Perez Dominguez I Artsy Shark


L’artista Alejandro Perez Dominguez attinge dalle esperienze di vita per creare ritratti drammatici e dipinti figurativi. Visita il suo sito web per trovare altri suoi lavori.

ritratto dipinto da Alejandro Perez Dominguez

“Tiznao” acrilico su tela, 40″ x 60″

Sono un artista visivo attualmente residente a New York City, nato a L’Avana, Cuba, nel 1984. Sono sempre stato interessato a ciò che mi circonda e ai molti modi diversi in cui percepiamo la realtà che ci circonda.

ritratto dipinto da Alejandro Perez Dominguez

“301” acrilico, carboncino e collage su tela, 40″ x 50″

La pittura è sempre stata la mia forma preferita di espressione visiva, anche se ho lavorato a lungo anche con altri media, tra cui animazione e film.

pittura figurativa di Alejandro Perez Dominguez

“El peso de la Dignidad” olio su tela, 24″ x 30″

Negli ultimi 12 anni ho dipinto più con la vernice acrilica che con l’olio, sfruttando le sue caratteristiche di rapida asciugatura cercando sempre di ottenere la rappresentazione più spontanea possibile.

pittura figurativa di Alejandro Perez Dominguez

“≠7″ acrilico, carboncino e collage su tela, 30″ x 60”

Sperimento spesso con il collage utilizzando documenti legali, fatture o ricevute e altri elementi come texture per il dipinto. Questi materiali rappresentano una persona o un fatto compiuto in una forma più cruda e vera di qualsiasi storia o singolo punto di vista sulla persona o sull’argomento.

pittura figurativa di Alejandro Perez Dominguez

“Juventud Rebelde” acrilico e inchiostro su tela, 40″ x 56″

Ho lasciato Cuba con la mia famiglia quando stavo per iniziare il liceo. Anni dopo, sono diventato un immigrato per la seconda volta quando sono arrivato negli Stati Uniti da adulto.

pittura figurativa di Alejandro Perez Dominguez

“la ciudad de los portales” acrilico, carboncino su tela, 45″ x 60″

L’esperienza del trauma del trasferimento mi ha aiutato a riconnettermi con il mio sé originale; Ho dovuto adattarmi a realtà diverse in cui l’unico elemento costante ero io.

ritratto dipinto da Alejandro Perez Dominguez

“6000” días después olio, acrilico e carboncino su tela, 45″ x 45″

Allo stesso tempo, queste esperienze mi hanno dato una prospettiva diversa sul concetto di verità e sul suo rapporto con il mondo in cui viviamo.

ritratto dipinto digitale di Alejandro Perez Dominguez

Pittura digitale “Il duro”, 4000px x 5000px

Questo mi ha portato a basare il contesto del mio lavoro attorno a due frasi che sono il risultato di un’indagine personale e di un’introspezione su cosa sia la verità e cosa vogliamo farne:

1. Preferirei che le cose fossero come penso che dovrebbero essere piuttosto che come sono.

2. Preferirei che le cose fossero come sono piuttosto che come penso dovrebbero essere.

ritratto dipinto da Alejandro Perez Dominguez

“1995” acrilico, carboncino e collage su tela, 60″ x 40″

Queste affermazioni, anche se opposte, possono lavorare insieme, portandoci a interpretazioni diverse delle nostre esperienze.

ritratto dipinto da Alejandro Perez Dominguez

“Albarán” acrilico, carboncino e collage su tela, 60″ x 80″

Il primo è più egoista del secondo, o il secondo è passivo mentre il primo incita all’azione e al cambiamento. Il primo riguarda più me stesso e il secondo riguarda più tutto il resto.

L’artista Alejandro Perez Dominguez ti invita a seguirlo Instagram e Behance.

Vuoi rimanere aggiornato sugli articoli economici all’avanguardia di Artsy Shark, oltre alle caratteristiche degli artisti e un invito alla prossima Call for Artists? Fai clic di seguito per iscriverti alla nostra e-mail semestrale. Avrai tutto questo più opportunità e offerte speciali che non puoi trovare da nessun’altra parte!





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“Botticelli and Florence. The Birth of Beauty”. The author Francesca Priori speaks



Sandro Botticelli, Allegory of Spring (detail), Gallery of Statues and Paintings of the Uffizi, Inv. 1890 no. 8360

From Andy Warhol to David LaChapelle, from Jeff Koons to Lady Gaga, there are really many contemporary artists sensitive to the charm of Sandro Botticelli, and the public is no different. What is the secret of the Renaissance master? From 28 to 30 November we will find out at the cinema in an unpublished documentary. Written by Francesca Priori, directed by Marco Pianigiani, produced by Sky, Ballandi and Nexo Digital, Botticelli and Florence. The Birth of Beauty brings us face to face with an artist that few really know. With the narrative voice of Jasmine Trinca, we will immerse ourselves in the atmosphere of fifteenth-century Florence, to then return to the present and admire the master’s masterpieces in their respective museums. Leading the dances will be some of the leading experts of the work of Botticelli and the Renaissance, traveling between the court of Lorenzo the Magnificent and the incendiary sermons of Savonarola, between the alternating fortunes of the master and the unstoppable Botticelli-mania that has invested the contemporary collective imagination, influencing fashion, photography, the world of entertainment.

“Botticelli is a character to be discovered”, says the author Francesca Priori: “Everyone knows the Spring and the Venus, unique masterpieces. But beyond these icons there is a multitude of wonderful works that express beauty and intelligence, which are the result of a very interesting research journey that lasted a lifetime and which manage to communicate on a universal level. This is the reason why, back in 2018, I proposed this project to Sky: to make Botticelli’s world known to the public in its entirety. The documentary was ready to hit theaters just when the pandemic broke out. Two years since then, it was exciting to see him again with new eyes. It seems incredible, but a film had never been made about Botticelli: the documentaries made in the past concerned particular aspects of his work, but a complete cinematic portrait was missing”.


Trailer of Botticelli and Florence. The Birth of Beauty I Courtesy Nexo Digital

The fame of Botticelli’s paintings is such as to obscure his person: the general public knows very little about him… What was he like?
“Among the scholars we interviewed there are those who, like Professor Jonathan Nelson of Syracuse University in Florence, have studied every document useful for reconstructing Botticelli’s life. What emerges is a truly anomalous character. The painters of his time were often entrepreneurs at the head of large workshops. Instead, he always worked at his home, with his family, and never left Florence except for a one-year stay in Rome. He has spent his entire existence in the same neighborhood, from which he only left to frequent the Medici villas of Careggi. He was a prankster and paid no attention to money: he hadn’t yet brought home Sixtus IV’s money who had already spent it, it’s no coincidence that he died in poverty. He was someone who lived for art, always following his own taste and ideas. He was a cultured artist, who spoke on an equal footing with the poet Angelo Poliziano, his landlord, and with the philosopher Marsilio Ficino, two prominent figures in Renaissance culture. He was famous for his mouthful jokes, but then he recited the Divine Comedy and translated it into images. In short, he was a rather original type, and also a handsome man judging by his self-portrait”.

What excites you about Botticelli’s character and art?
“What excites me the most is his search for beauty, the attempt – perfectly successful – to create a new ideal of male and female beauty. Botticelli’s is an absolute beauty, capable of going beyond gender distinctions. Maybe that’s why it comes so directly at it. His is a world of freedom. Botticelli was not inspired by ancient art or nature: thanks to a remarkable talent as a designer, he has developed a form of extreme stylization that makes his language universally recognizable. Despite being a court painter, he has always been outside the box, against the tide. I found it exciting to discover how he ranged between the genres of painting while always remaining himself, passing from the sacred to the profane, up to the painful religiosity of his last period. it is incredible that, after the fall of the Medici and the advent of Savonarola, Botticelli was forgotten for over 300 years, until he was rediscovered by the Pre-Raphaelites”.


Botticelli and Florence. The birth of beauty, a film by Francesca Priori and Marco Pianigiani produced by Sky with Ballandi and Nexo Digital

Why is Botticelli so popular with the public and contemporary creatives?
“In his art there is harmony, drawing, colour, experimentation. Botticelli worked all his life to reach a synthesis of the highest level. Like when you write a poem, he tried to get to the root of what he wanted to express, making his work immortal and universal.

Fifteenth-century Florence comes to life again in the film, emerging from the background to take on a co-protagonist role…
“In the fifteenth century Florence was an extremely lively and avant-garde city, like New York in the eighties! In a few meters, around the Basilica of Santa Novella, the workshops of an impressive number of exceptional artists were concentrated, from Verrocchio to Pollaiolo. They produced everything: altarpieces, tapestries, goldsmith objects… Like in a single forge, the artists lived side by side and constantly confronted each other. In Lorenzo de’ Medici’s garden you could meet sixteen-year-old Michelangelo, who was almost a relative to the lords of Florence, an incredible painter like Botticelli and a genius like Leonardo. Just like New York in modern times, Florence was also the heart of world finance: Florentine bankers made and unmade the fortunes of the pope, the kings of France and England… Despite the golden image we have today, the society of Renaissance was extremely violent, bloodied by vicious power struggles. Living there must have been quite difficult, even for an artist.”


Sandro Botticelli, Portrait of Giuliano de’ Medici. Carrara Academy, Bergamo

Botticelli experienced the history of Florence on his own skin. What traces remain in his paintings?
“In Botticelli’s paintings, as in those of many of his contemporary artists, we can recognize the faces of many powerful figures of the Renaissance. It’s impressive to see them so well characterized and described in detail, you can almost touch them. Among the beautiful portraits made by Botticelli, that of Giuliano de’ Medici stands out, who met his death in the Pazzi Conspiracy: a truly interesting character, the protagonist of a masterpiece that has been on show in Milan, in Daniel Libeskind’s Tower in City Life”.

If we looked at the Spring and the Birth of Venus with the eyes of a Renaissance man, we would recognize a rich web of symbols and philosophical references. Today those paintings are decidedly pop images…
“I think Botticelli condensed the culture of the world in which he lived in painting. In his paintings there are a thousand hidden meanings: we could give meaning to every flower, every gesture, every color. There is a close correspondence between philosophy, poetry, literature produced in Renaissance Florence and Botticelli’s paintings. Today, however, his art speaks directly to our emotions and also to our unconscious ”.


Sandro Botticelli, Portrait of Smeralda Bandinelli. 1472. Victoria and Albert Museum, London

Besides the universally known icons, which works should we absolutely rediscover?
“Definitely the portraits. A really interesting painting is the Portrait of Smeralda Bandinelli, now in the Victoria and Albert Museum, London. Before this painting, female portraits were almost always in profile. Botticelli shifts the point of view and places Smeralda in three quarters, so that she looks at the viewer: a revolution, considering that the custom of the time required women to keep their gaze down. Botticelli is an avant-garde man. His Venus she is naked: how many female bodies seen from the front do we have in that period in Italian art?”.

From a cinematographic point of view, what are the characterizing choices of the film?
“The film will be shown in 50 countries around the world. Therefore we have chosen a direct and linear structure, easily usable for different cultures and audiences, for those who already know Botticelli well and for those who don’t know him at all. Alongside the images of the paintings, we find re-enactments that give color and bring back to life the atmospheres and characters of the Florentine Renaissance. I asked Marco Pianigiani to enter Botticelli’s pictorial universe with delicacy, but also with a little suspense. Inside the Uffizi, for example, the works suddenly light up in the dark, like apparitions. In the staging we have avoided in every way the forcing. It’s not easy to turn costume scenes into tableau vivant like Mark did. On the one hand we have the story of the paintings and the contributions of great experts, on the other the marvelous imagination of the director, which supports the narration and stimulates the emotions”.

What challenges did you face in making Botticelli and Florence. The birth of beauty?
“We strongly wanted a team of top-level experts, different from each other yet compatible. We succeeded, but it wasn’t easy. Not everyone has the same opinions and the resulting comparison is decidedly interesting. For example, no one knows whether Botticelli really became a follower of Savonarola…”.


Poster of Botticelli and Florence. The Birth of Beauty I Courtesy Nexo Digital

Read also:
Put a Botticelli on the Libeskind Tower





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Il tatuatore crea tatuaggi che cambiano forma quando ginocchia e gomiti sono piegati »Design You Trust


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Il tatuatore francese Veks Van Hillik è specializzato in opere d’arte intelligenti in bianco e nero che cambiano forma quando la persona piega le braccia o le gambe.

I tatuatori di solito evitano gomiti e ginocchia, a causa del modo in cui i loro disegni si deformano quando il cliente piega le braccia o le gambe, ma Veks Van Hillik accetta la sfida, creando tatuaggi ipnotizzanti che si trasformano in qualcosa di completamente diverso quando le persone piegano e distendono i loro articolazioni.

Di più: Instagram h/t: odditycentral

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Giovanni Boldini, painter of endless beauty, on display in Asti – Asti



John Boldini, Bust of a recumbent young woman1912 ca, Oil on canvas, 80.5 x 65 cm, Bologna, Ca’ la Ghironda ModernArtMuseum

Asti – Silks, organza, soft plumage sway to the sensual and swirling rhythm of the can-can. The rarefied atmospheres of the Belle Époque envelop living rooms and bistros, overwhelming, with the vibrant spirit of this extraordinary era, the “divine” models of Giovanni Boldini, elegant ladies in sumptuous dresses intent on posing for hours, or days, in front of the easel of the artist, who so intensely scrutinizes the spirit to the point of tearing out the soul with the brush.
Getting intoxicated with the fragrance of their perfume, different each time, this little man with a hypnotic gaze and very fine blond hair metabolized the essence of their controversial personalities and then launched his blow with the brush, reducing to nothing that respectability that his guests had wanted to demonstrate by entering his studio for the first time.
From tomorrow, November 26, until April 10Palazzo Mazzetti in Asti is transformed into one of the many salons that welcomed the extraordinary social rebirth of those years through an exhibition entitled Boldini and the myth of the Belle Époque which celebrates one of the artists who has best managed to capture everything that mattered in the capital in a modern and countercurrent key, giving back to dandies, heiresses, writers and noblewomen who offered their gazes to the Ferrarese painter, a moment of eternal spring and the face of an era and a metropolis in full evolution.


Giovanni Boldini, The Countess de Rasty in bed, about 1880, pastels on paper, 28 x 42.5 cm, private collection | Courtesy Museoarchives Giovanni Boldini Macchiaioli

The project, curated by Tiziano Panconi, will welcome visitors to Palazzo Mazzetti with over 80 masterpieces. Sinking his gaze into the very rapid brushstrokes that outline drapes and hairstyles, the visitor winks at the Blond lady in evening dress, almost perceiving the perfume that emanates from the eccentric fan with ostrich feathers of this woman with a diaphanous complexion. The portrait of the Infanta Eulalia of Spain, another of the works in the exhibition, made by Boldini at the end of the 19th century, at the height of her career and notoriety, portrays the princess in a conventional pose with the richness of the dress, the transparencies and the embroideries described with brushstrokes and measured touches which make the overall representation more controlled and responsive to the character and protocol of the portrayed woman.

A parade at Palazzo Mazzetti will then be the Bust of a recumbent young woman (1912 ca.) and again The voile blouse (1906 ca.), protagonists of a chronological and at the same time thematic narration, which emphasizes Boldini’s manner, his ability to exalt female beauty with uniqueness, revealing the most intimate and mysterious soul of the noble protagonists of the time.
Along the way, the visitor will grasp the artist’s extraordinary ability to psychoanalyse his subjects, his “divines”, making them pose for hours, conversing with his models without tiring of asking them the most inconvenient questions, until he understands them deeply and imprints on the canvas the fleeting moment, that unique moment in which the most sincere glance revealed the state of mind and the mimicry of the body became more expressive.


Giovanni Boldini, Portrait of M.me Seligman, 1883, Oil on canvas, 80 x 100 cm, Private collection | Courtesy Museoarchives Giovanni Boldini Macchiaioli

On the other hand, being portrayed by the master, one of the most capable and imaginative in capturing the electrifying charm of the Belle Époque, meant for every great lady to take off the clothes of aristocratic pride to play along, accepting their provocations, responding in kind to the insolences, breaking down the ideological wall of arrogance that sometimes hid deep weaknesses.

The six thematic sections of the itinerary therefore invite you to join Boldini’s physical and artistic journey. We follow the painter from Ferrara to Florence, to Paris, thanks to the sum of 29,260 lire, part of the inheritance left years earlier by his paternal great-uncle, which would have allowed him to leave his city forever and reach Florence, entering into close contact with the Macchiaioli and with Telemaco Signorini. In October 1871 the definitive transfer to Paris, the collaboration with the powerful merchant Goupil, the dazzling charm of Marià Fortuny i Marsal, the glitter of the sumptuous patrician palaces.


Giovanni Boldini, The voile blouse, 1906 c. Oil on canvas, 72×63.5cm. Ferrari Priests Collection

We reach the right bank of the Seine, between the Montmartre hill and the Place Pigalle, where the Italian painter lived at number 1 until 1886 and where the scandalous curtain of the demi-monde opened in the evening, awash with booze and crowded with prostitutes. But the cosmopolitan Ville Lumière of the café-chantants and the Impressionists is also the casket in which the aspirations of female painters such as Berthe Morisot and Mary Cassatt or the sculptor Camille Claudel flourish. If the fourth section of the exhibition – The “breath of life” in the set portrait – leads us into the study of grand master painter, the sorcerer guardian of the arcane secrets of female beauty and charm, among his models with whom he tried to break the label through pungent jokes and sparkling banter, the penultimate section tells the taste of the end of the century. Here we meet the femmes divines of Boldini, from the Countess Greffulhe, with her eccentric tulle dresses, to the shy Cléo de Mérode, the dancer of the Paris Opéra, famous for her ethereal beauty.

The exhibition Boldini and the myth of the Belle Époque, organized by Arthemisia, it is created by the Asti Musei Foundation, the Cassa di Risparmio di Asti Foundation, the Piedmont Region and the Municipality of Asti. The Catalog is published by Skira.

Read also:
• Boldini and the portrait: a story to discover in Asti
• Boldini and the myth of the Belle Époque





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Il caffè versato in questa tazza è in realtà una scultura in legno » Design You Trust


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È difficile da credere, ma i tuoi occhi ti stanno giocando brutti scherzi. Il liquido nero che vedi essere versato nella tazza nella foto qui sotto è in realtà solo legno sapientemente scolpito e dipinto.

Un anno fa, l’intagliatore di legno giapponese Kibori no Konno ha condiviso su Twitter le foto di alcuni chicchi di caffè iperrealistici che aveva scolpito nel legno e poi dipinto. Sembravano proprio come la cosa reale e la gente non poteva smettere di lodare il suo talento. Da allora, ha creato ogni sorta di sculture interessanti e per celebrare il pezzo che ha davvero dato il via al suo viaggio artistico lungo un anno, l’artigiano giapponese ha deciso di fare qualcosa di veramente speciale. E che ha fatto…

In un’intervista con la rivista giapponese J-Town, Kibori no Konno ha detto di aver scolpito l’opera d’arte da un blocco di cipresso, rimuovendo il materiale in eccesso con una sega e un multiutensile, e poi ha perforato le bolle di schiuma con un trapano a mano. Ma la vera sfida è stata applicare lo strato di pittura e vernice in modo tale da creare l’illusione della trasparenza.

Di più: Instagram, Youtube h/t: odditycentral

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Blackberries, meal residues, ancient coins: the Colosseum’s hydraulic system restores a photograph from two thousand years ago


Remains of chestnuts, figs, pine nuts, grapes, peach and plum pits, melon seeds, and then residues of the meals consumed by the spectators on the bleachers during the shows, more often than not meat, mostly pork and mutton, cooked at the moment on improvised braziers, together with some pizza and vegetables of all kinds.
And also bones of animals such as bears of different sizes, probably used in acrobatic shows, lions, leopards, deer, but also small dogs, or even larger ones, very probably forced to fight each other in the arena, or object of venationesthe hunting parties which, together with the fights of the gladiators, have entertained the Roman people eager to bread and circuses. Not to mention the spices, found in the form of small seeds, from coriander to fennel, and again anise, which escaped the attack of manganese, with their original color still clearly visible.
It is only part of the precious archaeological documentation that emerged following research into the sewage collectors of the Colosseumwhich bears witness to the last phases of the amphitheater’s life before the “end of the games” which took place in 523 AD, followed by its definitive abandonment.


South manifold, Colosseum Archaeological Park Archive | Courtesy of the Colosseum Archaeological Park

The fascinating “booty” returned from the belly of the giant desired by the Flavians was the focus of a day of public archeology promoted by the Colosseum Archaeological Park, aimed at presenting the results of a research project regarding the hydraulic system and sewers of the ‘Flavian Amphitheater. The meeting, entitled Hydraulics of the Colosseum. Presentation of new data from research in sewage collectors it took place at the Curia Iulia, in the presence of the director of the Colosseum Archaeological Park, Alfonsina Russo, and the experts of the research group that worked on the investigation under the scientific direction of Martina Almonte, Federica Rinaldi and Barbara Nazzaro.

Today it is impossible for visitors to access these underground conduits which still retain traces of use and the brick stamps with the signatures of the emperors who promoted their construction and restoration, but through the study involving the speleologists of Roma Sotterranea Srl – within the funding for Major Cultural Heritage Projects – alongside specialized architects and archaeologists, visitors too can ideally slip into the water, mud and ancient walls, to discover the habits that were consumed in one of the symbolic places of Rome and of antiquity .


Final part of the southern manifold, Colosseum Archaeological Park archive | Courtesy of the Colosseum Archaeological Park

“The important research work promoted by the Park, in collaboration with the best Italian and international institutes – explains Alfonsina Russo, director of the Colosseum Archaeological Park – has made it possible to better understand the functioning of the Colosseum as regards the hydraulic structure, but also to delve into the experience and habits of those who frequented this place during the long days dedicated to the shows. These were particularly delicate and complex excavation operations precisely because they were carried out in an artificial cavity. We have decided to present these results as part of a public archeology day, open to everyone’s participation, because we strongly believe that all our activities, from research to valorisation, must be shared with citizens and communities. This is the first step, which will undoubtedly be followed by the scientific edition and publication of the data”.

The stratigraphic excavation of the southern manifold kicked off the study activities, which began in January 2022, with a delicate operation to unblock almost 70 meters of canal with the collection of ample archaeological material.
Among the remains of spontaneous plants, very useful for underlining the degree of biodiversity of the place, there are blackberries and elders alongside fragments of boxwood and laurel leaves, evergreen plants which must have been used to decorate the rich settings or to adorn the areas adjacent to the Colosseum during the shows.
There were also finds of an artificial nature, such as dice or objects for personal use, such as a worked bone pin, and still studs, shoe tacks and fragments of leather, remains of wall and floor coverings as well as a conspicuous number of coins of the late age, 53, all in bronze with the exception of an orichalcum sestertius of Marcus Aurelius, found, in a poor state of conservation, in the southern sewer of the Colosseum.
Issued in 170-171 AD to celebrate the ten years of the emperor’s reign, with the inherent hope of being able to celebrate another ten, this coin which portrays, on one side, the emperor standing, understand veiled, in the act of performing a bloodless sacrifice on a tripod, should once have amazed with its brilliance. On the other hand, it was customary for an emperor to ingratiate himself with the people by throwing money right during the games.


Angular sewer, Colosseum Archaeological Park Archive | Courtesy of the Colosseum Archaeological Park

“Decades translated into games, parties for the imperial entourage and for the people of Rome – explains the archaeologist Francesca Ceci -. This coin inspired confidence for its value and for its liberating aspect as a means of exchange and for the propagandistic nature of the very image of Rome”.
How the coin got from the hands (or pockets) of the crowd to the sewer remains a mystery, while the hypotheses intertwine with the suggestions.
“Among the various ways to curry favor with the population – continues Ceci – there was that of distributing donations of various kinds, in particular during the ludi in the amphitheater. We can imagine, flying with the imagination, the shiny orichalcum coins with the ten-year anniversary thrown into the crowd and one of these, ours, falling into the sand of the arena and then dragged, together with the blood of men and animals, into the sewage pipes, and deposited there for many centuries until it was found by intrepid contemporary archaeologists”.
A surprising find that bears witness, over 1500 years later, to the fascination of those games and those days.


The arena seen from above. Courtesy of the Colosseum Archaeological Park





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