Serial Identity. Andy Warhol’s universe is revealed at MAGA – Varese



The Andy Warhol Museum, Pittsburgh, PA, a museum of the Carnegie Institute. ALL RIGHTS RESERVED |
Andy Warhol, Kiss, 1963-64

Varese – There’s the famous shot of the Empire State Building from dusk to dawn, and there it is Kissthe sequencing of kisses exchanged by heterosexual and homosexual couples.
And then the portraits of celebrities, a corpus of works and materials relating to publishing and the graphics of record covers, private drawings and the first advertising sketches from the 1950s.
A color thread woven by characters such as Marilyn Monroe, Jacqueline Kennedy, Mao Tsê-tung, the famous series Ladies and Gentlemenand then the album covers, from those dedicated to classical music and jazz of the forties and fifties to the famous album covers of the Velvet Underground and the Rolling Stones, runs from the MA*GA – Museum of Art of Gallarate (Varese) to the Milan gate of Milan Malpensa airport.
From January 22 to June 18, over 200 iconic works arriving from international institutions such as The Andy Warhol Museum in Pittsburgh and the Ronald Nameth archive celebrate Warhol’s universe, from the first drawings made for publishing and fashion, to the famous pop works featuring musicians, politicians, famous designers, actors, commercial brands.


MA*GA Museum, Gallarate

The exhibition curated by Maurizio Vanni and Emma Zanella, entitled Andy Warhol. Serial Identity – to underline how much the research of the father of Pop Art is characterized by extreme versatility and the desire for transformation – will open with a comparison between some private drawings and the first advertising sketches. Famous cycles such as i Flowersthe Campbell’s Soupi Death & Disasters will complement the works related to publishing and disc cover graphics, while the viewer will be invited to grasp aspects such as the search for ever-changing identities that the artist wanted to give of himself, as well as the relationships between his work and the world of music, publishing, cinematography.

The five episodes of Andy Warhol’s Fifteen Minutes, American talk show hosted by the artist for the iconic Andy Warhol TV, aired from 1985 to 1987, and the three video clips from 1981 for Saturday Night Live, America’s most famous TV show, the tops of the work Warholian television. This section will be further expanded at Porta di Milano – Milan Malpensa Airport, thanks to SEA, with a large video wall dedicated to Andy Warhol TV and a spectacular installation inspired by the artist’s most famous images.


Andy Warhol TV Productions, Andy Warhol’s Fifteen Minutes, 1985, Collection of The Andy Warhol Museum, Pittsburgh; Contribution The Andy Warhol Foundation for the Visual Arts, Inc. © The Andy Warhol Museum, Pittsburgh, PA, a museum of the Carnegie Institute. All rights reserved. Film still courtesy The Andy Warhol Museum

On the occasion of the Gallarate exhibition, the video installation by the American photographer and director Ronald Nameth, born of the performance, will be exhibited for the first time in Italy Exploding Plastic Inevitable, a mix of Pop art, psychedelia and underground culture orchestrated by Warhol with the rock of the Velvet Underground and Nico. The show, a sort of ante litteram media mix performance, staged from April 1966 to May of the following year in various American cities, saw Warhol manipulate the lights and images in the environment, to experiment and recreate a psychedelic environment immersive as the Velvet Underground and Nico performed live acting as a mobile medium for film and slide projections with various images and colors.

Read also:
• Andy Warhol. Serial Identity





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L’artista crea immagini orribili di vita e situazioni ordinarie con l’aiuto delle reti neurali » Design You Trust


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Le reti neurali sono strettamente intrecciate nel processo di creazione di immagini e scene sempre più concettuali. Le trame generate ora sono solo una questione di immaginazione dell’autore e richieste adeguate.

L’artista Max Verehin (in precedenza In primo piano) non dà alcuna possibilità alle reti neurali – il suo lavoro è così suggestivo, spaventoso e spaventosamente bello che tutto ciò che dobbiamo fare è guardarlo con riverenza e dire – che diavolo sta succedendo?

Di più: Instagram, stazione artistica

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Painting from Scratch: Nora Kapfer


Looking from a distance at Untitled (2022), a small painting on wood that does not seem to show anything but scribbles in white paint mixed with some traces of black, orange, and yellow, you might imagine Robert Ryman’s never-ending endgame of painting in all variations of white. But if you come closer, this association proves to be inappropriate. Instead of Ryman’s allover color application in pure gestures, one discovers in the arbitrary squiggles and scribbles a bouquet of flowers, and, sprinkled over them like pollen, fine particles of aluminum glitter that also don’t quite fit into a neo-avant-garde-like position. Upon even closer inspection of the small picture, the size of a sheet of paper, it is revealed that the traces of fluorescent orange and yellow are not applied to the surface but rather emerging from the ground of the painting, in the places where the scribbles erode the white paint to such an extent that a colored background becomes visible, revealed in delicate lines vaguely defining the contours of petals and stems.

Nora Kapfer’s little painting hung at the very beginning of her recent solo exhibition at Kunsthalle Friart in Fribourg, Switzerland. Its adjacency to significantly larger (in comparison gigantic) paintings, each of which produces completely different visual effects, nipped any association of painting’s endgame in the bud. Black-brown, partly reflective, partly matte surfaces in which stenciled contours emerge (Küriss [2018], Untitled (Salami II) [2017]) alternated with color fields overgrown by stenciled flowers in a half-regular, half-irregular manner (Pythia I and Pythia II [2022]). Here, motivic banality met painterly pathos (Dein Herz/Dein Garten [Your Heart/Your Garden, 2022]), the decorative met the resistant, the mechanical met the gestural, figuration met abstraction, and nonorganic forms alternated with organic ones. At the very end of the sequence of paintings hung another small-format wood panel, this time in black, with comparable flower doodles, from which the colored background partially emerges in thin lines. By bracketing the sequence of large paintings with much smaller white and black panels—two works that demonstrate a fast, uncontrolled painterly production, comparable to sketches—Kapfer suggested that the works in between are likewise about making and letting the painting emerge from its material.

What is special about this emergence is that Kapfer’s process of making is always defined by opposing procedures of unmaking. The earliest works presented at Friart were Untitled (Salami) (2017), Untitled (Salami II) (2017), and Küriss (2018), in which Kapfer developed a mechanical technique based on the application of bitumen, a tar-like liquid black substance, over the picture ground to give it a reflective surface, into which the artist glued large silhouettes of flowers made of Japanese paper that soaked up the oily stuff. The organic structure of these papers indeed suggests the surface of a sliced salami—hence the curious title. Or is Kapfer humorously alluding here to her “salami tactics,” a policy of small steps to master the great maneuver of painting, of which she once almost despaired? In other paintings (not exhibited in Fribourg), flowers and other banal and kitschy motifs (hearts, stars, stylized figures) were applied as paper shapes into the bitumen layer only to be taken out again, leaving visible traces of the stenciled silhouettes.

Küriss bears no recognizable motif on its surface, but the black bitumen was partially scraped off the wood with the help of solvent to visually cut out checkerboard patterns and carefully stenciled circles as well as organic shapes; these stand out against the black fields and have been partly covered again with vinyl. The mechanical processes of applying bitumen, cutting out stencils, gluing on paper cutouts, painting them over with oil or vinyl, and scratching the paint off again overlap with an auto-generative chemical process caused by the bitumen’s reaction with different layers of the painting, giving the surface an organic-looking texture in some places. Of course, well-known procedures of a quasi-photographic écriture automatique are recalled here, but they are recombined with further modernist and postmodernist elements of painting such as the grid, the stencil, the pictorial gesture, the figurative cliché, et cetera. 

Grids, stencils, and flower clichés also underlie Pythia I and II, painted in gouache, acrylic, and oil on canvas. Here, the largely mechanical, grid-like arrangement of color fields into which flower stencils are serially inserted was supplemented by a rather painterly process. The flowers directly cite Andy Warhol’s Flowers and refer to his Do It Yourself series from 1962, which involved the mechanical filling in of fields according to a numerical code. But while Warhol’s Flowers expose the arbitrariness of color and its commercial use, and his paint-by-numbers series insist on dull mechanical codes, Kapfer’s “paint-by-flowers” works apply a somewhat gestural style by filling the stenciled fields with visible brushstrokes in expressive red or fleshy rosy colors, thereby undoing the mechanical effect of the serialized forms, especially when irregularities break the serial pattern.

Finally, to make works such us Untitled (Oleander III) (2021),Kapfer recycled paper cuts torn off of other paintings, gluing and juxtaposing them in their partly fragmented forms. The overlapping shapes of paper flowers are still marked by the structure of the canvas on which they were previously pasted, and thus produce an organic-like texture, although they just convey the material traces of their mechanical transfer. With a similar effect, Dein Herz, Dein Garten (Your Heart/Your Garden, 2022)recycles flowers cut out of another painted canvas and fixed with acrylic glue on the surface of the new canvas, thereby creating an overpainted, relief-like structure.

Painting, in Kapfer’s selection of works for Friart, presents itself as a complex layering of materials and existing archetypes (grids, figure-ground relations, monochromes, stencils), which either keep “working” independently by chemically and materially infiltrating each other, or are “counteracted” by the artist manually undoing the layering through partial removal, scraping, scratching, tearing off. In the acrylic and oil paintings on canvas, it is rather the gestural application of paint that runs counter to the mechanical composition of the picture and the serial stenciling of banal flowers.

Also in the painterly doodles of the small wood panels, the uncontrolled scribbling of the artist’s tool lays bare colored paper grounds, thereby demonstrating the material agency in the creation of figuration. The motif here appears to be just a side effect of the artist’s handling. Kapfer explicitly links those little paintings to reverse engineering, as invoked by the cultural theorist and philosopher Sadie Plant in her 1997 book Zeros + Ones: Digital Women and the New Technoculture.1 Plantrelates reverse engineering, a “process of analyzing a subject system to identify the system’s components and their interrelationships and create representations of the system in another form or at a higher level of abstraction,” to processes and discoveries by Ada Lovelace and Anna Freud.2 She describes Freud’s ability to accelerate her work—the writing of letters and lectures—by producing scribbles on blank pages at high speed, which induced her to perceive her tasks as already completed. She then more easily turned to the real writing, having simplified it to a system of anticipatory principles and methods. This technique of “beginning in the end of any operation, working backwards from that point to the beginning,” Plant claims, contains within it an “invention of invention itself,” thus contradicting the classic stereotype of femininity that pervades psychoanalysis, in which female creativity is always based on the imitation of the natural.3

In exactly this sense, Kapfer’s white and black wooden panels, tellingly each the size of a sheet of paper, can be read as inventions of the invention. Like catalysts in which the artist works her way back to the ground from the multiple layering of colored papers and white or black oil paint in rapid movements that are as uncontrolled as possible, they release the principles of a way of working that can then be further developed in the large paintings. In the same way hackers use reverse engineering “and pirates conspire to lure the future to their side,” as Plant puts it, Kapfer pirates both expressionist and mechanical models of painting by “engaging in a process which simultaneously assembles and dismantles the route back to the start, the end, the future, the past.”4 Sabeth Buchmann, in her catalogue text for Friart, analyzes Kapfer’s adaption of reverse engineering as a demonstration of a correlation of organic, inorganic, and cultural forms, beyond the essentialist equation of biological growth with aesthetic progression: “Kapfer’s paintings engender that which engenders them” in the same way as “nature does what is natural to it.”5

But how can a painting engender that which engenders it? Can it actually perform a sort of “hysteresis, the lagging of effects behind their causes,” as Plant describes reverse engineering?6 How can painting go back to its “source codes”? Hysteresis is the dependence of the state of a system on its history. Chip reverse engineering uses techniques of delayering by etching and scratching off the hardware layer by layer in order to find and separate its elements. If Kapfer is etching, scratching off, and tearing out layers of her paintings, this, of course, does not result in protocols or diagrams. The constant doing and undoing of layers seems to be a way of separating painting’s elements from one another in order to recombine, redesign, and indeed reactivate them. 

The elements in Kapfer’s paintings do not result in unified surfaces. Rather, they expose the ruptures in the process of their making and document the back and forth of work steps. In the oil and acrylic paintings, these ruptures take the form of clear-cut lines between different zones in which lower layers define the “reaction” of elements in the layers on top. The stenciled flowers, for example, are never just filled mechanically with one color but are painted in correspondence to the underlying grid. They “react” to edges, lines, forms, and materials beneath them and are therefore often divided into several fields in terms of color—fields that are derived not from the flower motif itself but from the mode of its making. In the bitumen pictures, the motif is in each case only a result of the working steps (cutting out, pasting, tearing out, transferring, scratching off, and painting over), which overlap and produce effects.

But what Kapfer’s works finally reflect is that painting, as much as it may be a system, is not only based on code. As Georges Didi-Huberman famously put it, painting is ultimately defined by the “sovereign accident” that he identifies as “difficult to analyze, notably in semantic or iconic terms; for it is a work or an effect of painting as colored material, not as descriptive sign.” The “sovereign accident” appears as a “symptom” that has lost its code, its message, and “opposes its material opacity—which is dizzying—to all mimesis.”7 The “symptom” is a painterly effect that does not “lag” behind its “causes.” It cannot simply be reversed; the sovereign accident can only happen. Reverse engineering in Kapfer’s painting therefore does not result in pure analysis of its source codes.

The bitumen paintings, but also the paintings on canvas, leave room for all kinds of sovereign accidents by treating material opacity as the fundamental code of painting, to put it figuratively. In Kapfer’s most recent paintings,such as Pensées perdues (Lost Thoughts, 2022), her procedures of layering, etching, scratching off, and adding ever new layers of paint or figurative elements, even free-handedly painted stems and petals, which seem to proliferate over the surface, savor and even revel in the effects that the ever-new superimpositions and erasures of material traces produce. The motifs, the flowers and plants in their different shapes and colors, are just an effect “lagging of effects behind their [material] causes.” The piecemeal remains visible. The painting is structured through ruptures of clear-cut lines between different zones, each exposing different relations of their elements and their mechanical or manual treatment. The painting does not present an organic whole but rather a synthesis of painterly events, of work steps and reversals.

Nora Kapfer’s painting is from scratch: she literally goes back to ground zero of painting, bringing it even materially “down to earth” in the petroleum substance of the bitumen paintings. From there, the flowers grow in the asphalt. In this kind of painting, being in today’s world does not mean integrating its floods of images, but revitalizing its codes and eliciting a substance from even the most banal cliché by exposing the material itself as a generating force.

Nora Kapfer (b. 1984, Munich) lives and works in Berlin. Recent exhibitions include Les beaux jours, C L E A R I N G, Brussels (2022); Identität nicht nachgewiesen, Bundeskunsthalle Bonn, Germany (2022); Recent Paintings, Édouard Montassut, Paris (2021); PARTS, The Wig, Berlin (2021); Come a Time, Galerie Lars Friedrich, Berlin (2020); A Home is not a House and A House is not a Home, Kunsthalle Friart, Fribourg, Switzerland (2019); Celluloid Brush, Etablissement d’en face, Brussels (2018); Half a zip. Half a pow, Nousmoules, Vienna (2018); and New Tar, WIELS, Brussels (2017).

1    Sadie Plant, Zeros + Ones: Digital Women and the New Technoculture (London: Fourth Estate, 1998).
2    Elliot J. Chikofsky and James H. Cross II, “Reverse Engineering and Design Recovery: A Taxonomy,” IEEE Software 7, no. 1 (1990): 13–17.
3    Plant, Zeros + Ones, 26.
4    Plant, Zeros + Ones, 26.
5    Sabeth Buchmann, “Systems in Bloom,” in Nora Kapfer (Fribourg, Switzerland: Kunsthalle Friart, 2022), 76.
6    Plant, Zeros + Ones, 26
7    Georges Didi-Huberman, “Appendix: The Detail and the Pan,” in Confronting Images, trans. John Goodman (University Park: Penn State University Press, 2005), 248–52.



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macro photography by Mary Gerakaris

Impressionante fotografia macro di Mary Gerakaris I Artsy Shark


La fotografa Mary Gerakaris amplifica i piccoli dettagli e l’elevato contrasto in questa collezione audace e sorprendente. Visitala sito web per vedere di più.

fotografia macro di Mary Gerakaris

Fotografia “Red and Black” su alluminio, 22″ x 30″

Dipingo con la mia macchina fotografica.

foto delle scale di Mary Gerakaris

Fotografia “Walk This Way” arruffata e incorniciata, 14 “x 11”

Fin dall’infanzia sono stato affascinato dai dettagli, dai motivi e dai colori.

fotografia macro di Mary Gerakaris

Fotografia “In the Beginning” su alluminio, 20″ x 16″

Al college mi sono laureato in Belle Arti prima di iniziare il mio viaggio nella fotografia. Le mie numerose lezioni di pittura, composizione e teoria del colore hanno davvero informato il mio lavoro.

fotografia macro di Mary Gerakaris

Fotografia “One O’Clock” su alluminio, 20″ x 16″

Fin dal college sono stata madre, insegnante e istruttrice di equitazione terapeutica, ma non ho mai posato la macchina fotografica. Vedo la bellezza dettagliata negli oggetti che le persone passano ogni giorno e sono stato influenzato più dal lavoro dei pittori che da altri fotografi.

fotografia macro di Mary Gerakaris

Fotografia “Tropical Overlay” su alluminio, 11″ x 14″

Il mio obiettivo è catturare un’immagine per lo più completa attraverso l’obiettivo e modificarla il meno possibile in post-produzione.

fotografia macro di Mary Gerakaris

Fotografia opaca e incorniciata “Attraverso lo specchio”, 16 “x 16”

A volte ritaglio leggermente, cambio i livelli o il contrasto, ma non “cambio” mai i colori: ciò che vedi è ciò che ottieni. Spesso la composizione di ciò che fotografo è così avvincente per me che scelgo di stamparlo in bianco e nero.

fotografia architettonica di Mary Gerakaris

Fotografia “Tempeste Rouge” su alluminio, 16″ x 16″

La gente mi chiede in che “stile” lavoro. Beh, dipende da cosa vedo quando io e la mia macchina fotografica facciamo un viaggio insieme.

fotografia macro di Mary Gerakaris

Fotografia “Shall We Dance” arruffata e incorniciata, 16″ x 16″

Ci sono così tante trame meravigliose, colori e motivi squisiti in oggetti sia naturali che artificiali. Le possibilità sono infinite. Spesso inizio con un’immagine più grande e ingrandisco fino a quando non trovo un meraviglioso “motivo all’interno di un motivo” macro che aggiunge un po’ di mistero a ciò che vede lo spettatore.

fotografia macro di Mary Gerakaris

Fotografia “Brooklyn Abstract” su alluminio, 20″ x 16″

Le mie astrazioni sono stampate principalmente su alluminio, in quanto sembra dare maggiore profondità all’immagine come nella pittura di fondo. Tutte le mie fotografie su carta sono arruffate e incorniciate da me, in modo da avere il controllo dello stile, delle dimensioni e del colore dei materiali.

fotografia macro di Mary Gerakaris

Fotografia “Wheat” arruffata e incorniciata, 14″ x 11″

Amo condividere le mie immagini con gli altri, sperando di avviare una discussione su ciò che percepisce lo spettatore. In molti casi il soggetto è ovvio, in altri, beh, lascio decidere allo spettatore. Per favore, goditi il ​​viaggio.

L’artista Mary Gerakaris ti invita a seguirla Instagram.

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Journey through the history of printing. The new Bodoni Museum opens in Parma – Parma


Parma – On 30 November 1813, the sound of the main bell of the Cathedral of Parma, whose funeral tolls were reserved for princes, high dignitaries and illustrious personalities, announced the death of Giambattista Bodoni to the city.
Two centuries after that day Parma remembers the Italian engraver, typographer and printer, known for the typefaces that bear his name, with the opening of the new Bodoni museum, the oldest printing museum in Italy, which will the doors tomorrow 30 November, on the ground floor of the Palatine Library, in the Monumental Complex of the Pilotta.
The Piedmontese typographer who, starting from the second half of the eighteenth century, transformed Parma into the world capital of printing, exempted during his lifetime from paying taxes as a “supreme artist” and awarded a life pension by Gioacchino Murat and another by Napoleon “in view of the progress he has made in the art of typography”, he would be happy to visit today the new space that recreates his world.


Showcase of the exhibition section The book factory, The punches | Photo: © John Hänninen

In reality, the Bodoni Museum was founded in 1963 on the occasion of the 150th anniversary of the printer’s death, managed by a foundation specifically set up to raise awareness of the work, figure and collections of the famous printer, as well as to promote studies and research in the field of graphic and typographic art. The museum was located on the third floor of the Palatine Library, in a position of difficult access and poor visibility, until a new project that had been dreamed of for decades led to the movement of the new headquarters to the ground floor, in the rooms previously used as warehouses of the same Library.

The intervention – made possible thanks to an allocation of funds of around 760,000 euros by the Ministry of Culture – led to a rethinking of the entire exhibition itinerary through a joint project by the director of the Pilotta, Simone Verde, and the director of the Andrea De Pasquale Bodoni Museum Foundation.


The new Bodoni Museum | Photo: © John Hänninen

“The new museographic layout of the Bodoni – explains Verde – involved a total redesign of the previous spaces, with structural and plant engineering works and the creation of new exhibition furnishings. From today, the public and scholars visiting the new Bodoni Museum will be able to enjoy a doubly immersive experience, which on the one hand evokes the aspect of the ancient typography and on the other retraces the history and birth of the ducal printing house and the culture of a era in which Parma was among the true European capitals”. And in fact visiting the museum, with the wooden floor laid that takes up the model and design of the French parquet floors of the 19th century, wandering between the empire green walls, really seems to take a leap in time.

The visitor is invited to get lost in a rich selection of Bodoni editions (unique and extremely rare specimens, printed on parchment or silk) and to admire relics that belonged to the Bodoni workshop. New suspension lamps with an essential design light up a series of display cases which house the masterpieces of the history of publishing and graphics.
Along the way you come across the printing press, a faithful reconstruction of the one used by the Saluzzo printer, and the original Louis XV wardrobes, in which Bodoni kept the punch boxes, up to “La Fabbrica del Libro”. Four large showcases, part of the museum’s original furniture from the 1960s, retrace the various phases of the landlord’s work, from the design of the typeface and the creation of the punches to the finishing and composition for letterpress, chalcographic and woodcut printing.


The showcase of punches | Photo: © John Hänninen

Just look towards the large custom-made bookcase to see “Bodoni’s masterpieces”, the collection of Bodoni volumes, with particular regard to the palatine collection still with original bindings and where some of the rarest editions stand out, such as the You hate of Anacreon on parchment of Bavaria and the Police rooms printed on silk.
Finally, a multimedia and interactive table will allow you to browse the pages of Bodoni’s work in its entirety, such as the Typographic manual composed of one hundred round Latin characters, 50 italics and 28 Greek characters on which Bodoni worked throughout his life, or the monumental work of theOratio Dominicathe Our Father in 155 languages ​​using 215 different characters including Latin, Greek and exotic, printed by Bodoni in less than a year.

The inauguration of the Bodoni Museum represents a further step in the Nuova Pilotta redevelopment program which places the Monumental Complex in a fruitful dialogue with its community.
Starting tomorrow, Wednesday 30 November, the museum can be visited from Tuesday to Sunday from 10.30 to 18.30 (last admission at 17.45).

Read also:
• This is what the new museum dedicated to Bodoni, the prince of printers, will look like





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Niclas Riesphoff, Co Westerik “Case di lumache per Berlino” a Shahin Zarinbal, Berlino


Ogni volta che lascio Berlino, noto un odore strano sui miei vestiti. Non è sudato, muschiato o umido, e non del tutto disgustoso, piuttosto costruttivo che corporeo: forni a carbone in disuso, polvere tra le assi del pavimento, detriti fumosi. Una camera da letto non riscaldata. Un rubinetto calcificato. Abbandono – con contorno di lievito madre. Quelle che potrebbero suonare come le note di un profumo di nicchia abusato e obsoleto, fanno scattare il mio campanello d’allarme: prendi. lontano. da. me.

Di recente ho rinunciato alla stabilità, e ormai al privilegio, di un contratto d’affitto e sono entrato in una catena infinita di subaffitti, cosa che avevo evitato con successo per la maggior parte del mio soggiorno in questa città. Il mercato immobiliare è per giocatori d’azzardo e investitori, e ho classificato come avverso al rischio senza attività.

Nel vecchio appartamento ho lasciato un frigorifero, un vecchio materasso, un po’ di farina d’avena e una pila di vestiti. Ci è voluta circa una settimana prima che mi rendessi conto che l’odore si era trasferito insieme alle altre mie cose nel mio nuovo posto. Come sbarazzarsi di questo profumo fin troppo familiare? Qualcosa a cui si è così abituati, che scompare dalla propria percezione ed entra nella coscienza solo quando viene rimosso dal contesto di casa? Può essere lasciato indietro?

Cerco di individuare dove ho raccolto per la prima volta le particelle e gli organismi specifici che compongono quell’odore. Ho inalato frammenti di tutti i tipi di architetture.

Beveva acqua con piombo da vecchi tubi. Bevute condivise e culi baciati. Ho nutrito il mio microbioma. Immagino che queste congiunzioni stiano iniziando a far crescere una casa dentro di me.

Mi viene in mente il mio periodo alla scuola d’arte e come tutto fosse sempre polveroso. Cammino verso la mia libreria appena installata nel mio appartamento appena abitato—“congratulazioni, che aggiornamento”– e tira fuori un catalogo di Paul Thek. Non mi considero una persona particolarmente nostalgica, ma forse l’interno di The Tomb aveva una somiglianza olfattiva con quello che sto descrivendo? Sto sfogliando le pagine, cercando un disegno che dica SUPERA TE STESSO SUPERA TE STESSO SUPERA TE STESSO OTTIENI

SU TE STESSO. Invece, trovo una piccola lumaca stampata che striscia sul retro del libro, con le ali attaccate al suo guscio e le stelle che scintillano sui suoi tentacoli, la configurazione perfetta, e cosa si può chiedere di più?

Cristoforo Wierling

a Shahin Zarinbal, Berlino
fino al 17 dicembre 2022



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Vendi più arte alle fiere e ai festival

Vendi più arte alle fiere e ai festival


Di Carolyn Edlund

Molto spesso, fiere e festival sono il primo punto di contatto con potenziali collezionisti.

Quando esponi a una fiera o a un festival d’arte, incontri molti acquirenti. Se c’è una prospettiva veramente interessata, lo sai. Dicono le cose giuste e il loro linguaggio del corpo indica che stanno prendendo seriamente in considerazione un acquisto. Hai intrattenuto una conversazione significativa con loro, ma è necessario fare di più prima che la vendita possa essere chiusa.

Potrebbero amare ciò che fai, ma nulla di ciò che hai nell’inventario è perfetto. Potresti suggerire un ordine personalizzato, se lo offri come servizio. E se lo fai, preparati in anticipo per le conversazioni sul lavoro su commissione. Conoscere le risposte a domande come termini, deposito, tempo di consegna, ecc. Prepararsi a discutere chiaramente il processo con il cliente.

Se non prendi commissioni, hai ancora un fan e un potenziale futuro cliente (noto anche come a piombo caldo) con cui vorrai rimanere in contatto. Ecco come mantenere viva la conversazione e chiudere le vendite future dai lead che sviluppi:

Ottieni informazioni di contatto

Ottenere un nome e un indirizzo e-mail è essenziale per ulteriori contatti. Se il cliente non è ancora pronto per l’acquisto, usa il tuo cellulare per scattare una foto del pezzo che sta prendendo in considerazione. Dì loro che puoi semplicemente inviargli quella foto via e-mail con le tue informazioni di contatto, il prezzo e altre informazioni sul pezzo o un link al pagina del prodotto per quell’articolo sul tuo sito web. Questo ti dà il loro indirizzo e-mail e servirà come promemoria per loro del pezzo che hanno amato dopo che lo spettacolo è finito.

Durante qualsiasi conversazione di vendita nel tuo stand, chiedi agli acquirenti se puoi rimanere in contatto tramite e-mail occasionali che condividono nuovi lavori. Il loro accordo inserisce il loro indirizzo e-mail nella tua lista di email marketing. Le tue e-mail successive potrebbero essere di natura generale o potrebbero essere adattate in modo molto specifico a quel particolare potenziale cliente. Più informazioni hai sui loro interessi, il loro programma, il loro budget, ecc., più efficacemente sarai in grado di guidarli attraverso il ciclo di vendita.

Seguito

Questo è fondamentale per fare la maggior parte delle vendite d’arte. Il tuo follow-up può essere una telefonata, una nota scritta, un’e-mail o un incontro, a seconda delle loro esigenze e della tua disponibilità. Andrai a casa loro per prendere le misure per un dipinto o una scultura? Porterai con te un pezzo in esame per vedere come sta nel loro spazio? Hanno bisogno di un coniuge o di un’altra persona per prendere una decisione di acquisto importante? Sarebbe più appropriato invitarli nel tuo studio per vedere come lavori e visualizzare l’intero inventario?

Ogni volta che segui, c’è un’opportunità per il potenziale collezionista di conoscerti meglio e ricordarti favorevolmente. Possono essere necessari molti contatti, e talvolta anche anni, prima che venga effettuata una vendita. Fai pratica per seguire tutti i tipi di potenziali clienti e mantenere una routine di email marketing. Ciò ti aiuterà a costruire la tua rete e la tua base di fan e a rimanere di fronte alle persone a lungo termine.

Richiedi la vendita

Una volta che le domande hanno avuto risposta e qualsiasi obiezioni superate, e hai dato al tuo cliente abbastanza spazio per prendere in considerazione e prendere la sua decisione, è opportuno chiedere: “Posso concludere per te?” o “Sei pronto a diventare il proprietario di questa scultura molto speciale?”

Stai vendendo e loro stanno pensando di fare un acquisto. Non è scortese o presuntuoso chiedere educatamente se sono sul punto di acquistare. La tua domanda potrebbe essere il catalizzatore che sigilla l’affare, mentre se non chiedi mai la vendita, potresti lasciare un’opportunità sul tavolo. Quando è in discussione un acquisto significativo, la tua capacità di farlo essere un venditore consultivo può fare la differenza.

Non mollare

Hai mai fatto una vendita a qualcuno che afferma di seguire il tuo lavoro da anni? Non è insolito. La persistenza è essenziale per coltivare prospettive a lungo termine che amano ciò che fai ma non sono al momento del bisogno in questo momento. Anche se non acquistano mai da te, possono essere utili raccontando agli altri la tua arte, condividendo i tuoi post sui social media e sostenendo la tua pratica artistica.

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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Prince’s drawings. A European collection of hidden masterpieces, from Dürer to Barocci, is revealed in Milan – Milan



Hans von Aachen, Diana and Actaeon, Cabinet of Drawings of the Castello Sforzesco | Courtesy of the Municipality of Milan

Milan“A complete collection of stamps”. With these words one of the most popular collectors’ guides in 1771 designated the collection of Prince Alberico XII Barbiano di Belgioioso which now comes out for the first time from the drawers of the Cabinet of Drawings and the Civic Collection of Prints “Achille Bertarelli” of the Castle Sforzesco to present to the public, thanks to an exhibition, one of the most important collections of European prints and drawings in the world.
It was Prince Alberico XII Barbiano di Belgioioso who put together this monumental artistic arsenal – no less than ten thousand pieces, including prints and drawings – one of the major collectors of Milan in the neoclassical age, an official in the Austrian government, a friend of Ugo Foscolo and a great lover of the arts and letters.
Until February 26th the exhibition Prince’s drawings. Alberico Barbiano’s collection of Belgioiosoat the Cabinet of Drawings of the Castello Sforzesco, presents visitors with the result of a long research work which, thanks to the investigations conducted in the Archive of the Brivio Sforza Foundation in Merate, has made it possible to reconstruct the prince’s graphic collection by presenting 44 drawings of the collection made by masters such as Albrecht Dürer, Federico Barocci, Giulio Cesare Procaccini, Carlo MarattiJames Ceruti.


Federico Barocci, Female face, preparatory cartoon for the Uffizi altarpiece, circa 1575-1579 – Cabinet of Drawings of the Castello Sforzesco – Municipality of Milan

This collection, a mirror of everything available on the European market in the eighteenth century, had so far remained in the shadows, surpassed in fame by the more famous collection of paintings that belonged to Prince Alberico and from which pieces such as the Madonna Litta by Boltraffio, now in the Hermitage in St. Petersburg, and the Lady of Pollaiolo in the Poldi Pezzoli Museum.
But who was this noble collector in love with drawing?

“Alberico XII Barbiano di Belgioioso – explains the curator of the exhibition Alessia Alberti, curator at the Cabinet of Drawings and Collection of Prints “A. Bertarelli” at the Castello Sforzesco in Milan – is a Milanese nobleman who lived in the full eighteenth century and inherited the title of prince from his father Antonio who had first received it for his commitment in the Seven Years’ War. Thanks to his various diplomatic assignments in Europe Alberico travels a lot, acquires a European culture, assembles a collection that boasts the most illustrious names in the field of collecting prints and drawings”.

Of the ten thousand drawings originally in the collection, 400 came to the Municipality of Milan donated in 1943 by the Trivulzio family who had received them by inheritance during the 19th century. In 1864, Alberico XII’s last heir had in fact married a Trivulzio, thus initiating the merger of the family patrimony.


Francesco Londonio, Study of a sheep, Cabinet of Drawings of the Castello Sforzesco – Municipality of Milan

There is a reason, in particular, which induces to visit the exhibition.
“The discovery that we are now presenting on the occasion of this exhibition – continues Alberti – is precisely that we have reconnected this nucleus of drawings and prints, which were believed to be the result of Trivulzio’s collecting, to Alberico’s collecting activity, tracing its roots back to an eighteenth-century looking to Europe. And then, thanks to the preparation work for the exhibition, which lasted two years, we were able to focus on various figures of the Lombard seventeenth century, such as the entire Procaccini family up to Ercole il Giovane, showing the transition from the figurative culture of Emilia Romagna to that of Lombardy and then the formation of Lombard culture through the second Ambrosian Academy with some discoveries linked to the names of Busca or Lanciani”.

The exhibition offers the opportunity to admire forty works from the entire collection, while all 400 works, already available online on the Graphic Collections website, can be “browsed through” in the catalogue, which is about to be published.

Among the gems that await the visitor, five works by Albrecht Durer which the artist himself had defined as “my masterpieces”, such as St. Jerome in the study, The Great Fortune – which amazes with its intense blacks – and the famous Sant’Eustachiocharacterized by a gothicism, a careful pursuit of details, a sense of vacuous horrors that permeates the entire composition. In short, a taste of what Giuseppe Bossi, in drafting Alberico’s works, had defined as “the most important tests”.


Luca Cambiaso, Battle of newts, Cabinet of Drawings of the Castello Sforzesco – Municipality of Milan

A discovery concerns an early work by Luca Cambiaso, a work of great intensity, inspired by the knowledge of Michelangelo and the artists closest to him such as Perin del Vaga. On display we find works such as a mysterious Baptism of Christexecuted on pink prepared paper, from the circle of Pellegrino Tibaldi, and an extraordinary fragment of cardboard by Federico Barocci, preparatory for the altarpiece of the Our Lady of the People (today in the Uffizi Galleries), “a cartoon in perfect condition which attests to the way of working inside the workshops, revealing a Federico Barocci better in this case in drawing than in the final result in painting, with a high yield nature of this character in profile”.

The largest section of drawings concerns the seventeenth century, with dozens of sheets from the Procaccini workshops and a small nucleus of Roman sheets linked to Pietro da Cortona and Carlo Maratti. There is no shortage of new attributions formulated for the Lombard seventeenth century, from Carlo Francesco Nuvolone to Carlo Cornara, from Legnanino to Andrea Lanzani.

“What we have today in the Castello Sforzesco represents about a third of Alberic XII’s initial collection. We do not know what fate the rest of the collection had. It had probably been sold by the family before the end of the 19th century” continues Alberti.


Giacomo Ceruti known as Pittocchetto, Portrait of Alberico Belgioioso, Cabinet of Drawings of the Castello Sforzesco – (C) Municipality of Milan

Alberico’s collecting unfortunately abruptly ceased with the beginning of the 1790s when the first economic problems began for the now seventy-year-old prince. With the arrival of Napoleon Bonaparte during his first campaign in Italy in 1796 and the subsequent conquest of Milan, the collector, judged to have collaborated with the Austrian government, was arrested on 24 May. Released, he decides to leave public life, taking refuge in his country residence, the castle of Belgioioso, near Pavia, surrounded by the affection of writers such as Foscolo.

In the exhibition, the collector’s daily life passes through the display, in a special showcase, of some documents from the time of Alberic XII, including inventories, letters, original receipts relating to the purchase of the drawings, displayed alongside the loans from the Historical Archive Civico, the Trivulziana Library of the Castello Sforzesco and the Brivio Sforza Foundation.
The Brivio Sforza Foundation of Merate, in particular, lent the inventory drawn up in 1813 by Giuseppe Bossi on Alberico’s death with the list, and alongside the estimate, of all the prints and drawings, which was then the element proof of the original belonging to Alberico of the whole corpus.


Camillo Boccaccino, Study for the altarpiece of Santa Marta in Cremona, Cabinet of Drawings of the Castello Sforzesco – Municipality of Milan

The exhibition dedicated to the drawings of the Prince of Belgioioso, which renews interest in this figure, is just one of the many activities hosted in the graphics rooms of the Castello Sforzesco, which exhibit in rotation the heritage of the Civic Cabinet of Drawings, born in the 1920s of the twentieth century, and today a casket of 35,000 drawings by Italian and foreign masters from the fifteenth century to the present day.

Meanwhile, the calendar of exhibitions in the graphics rooms is already looking towards 2023. On the agenda is an exhibition of contemporary art dedicated to Giovanni Frangi and his production, a summer exhibition entitled “Greetings from…” with a series of postcards, posters, matchboxes, magazine covers related to the theme of travel, and, in autumn, an insight into ancient drawing through the red pencil technique, with an itinerary in collaboration with the Dutch Institute of History of art.

The exhibition Prince’s drawingswith free admission, can be visited from Tuesday to Sunday from 10 to 17.30 (last admission at 17).

Read also:
• The designs of the Prince. Alberico Barbiano’s collection of Belgioioso





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Vibrazioni estive in illustrazioni da brivido di Magdalena Kaczi Kaczanowska » Design You Trust


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Magdalena Kaczi Kaczanowska è un’illustratrice indipendente di Varsavia, Polonia. Crea bellissimi dipinti con uno stile minimalista e un buon equilibrio tra dettagli e spazi vuoti…

Tra i suoi clienti ci sono: Somersby (Carlsberg Group), Deep Creek Brewing Co., Hoppy Beverage Co., Żabka, Santander Bank, Brokreacja, Only One Inc., E. Wedel, LECH, Netflix, Palmolive, Good Looking Studio, Alternative Longboard, Editions Intervalles, Arterra Wines Canada e altro.

Di più: Instagram, Behance

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