Guariento di Arpo relaxes perfectionby Sofia SilvaGuariento di Arpo's response to the authority of his Padua predecessor Giotto is one where grace blends with Gothic style and humanism
Sara Deraedt: sous videby Emile RubinoSara Deraedt paradoxically reinvests visuality by operating a shift of the discursive impulse away from words
Evolution of a quasi-movementby Stefano PirovanoWe look at a quasi-group of thirteen artists and what has kept them together in the last five years, rising images to the third dimension
Defendente Ferrari: escape from the Renaissanceby Silvia TomasiDefendente Ferrari keenly sought refuge in dreams during an era that instead celebrated the triumph of reality.
Cosima zu Knyphausen and her imprecise skeletonsby Piero BiselloThe paintings of Cosima zu Knyphausen persuade you to ask what surrounds them, circulating motifs and subtle atmospheres, dismissing style.
Ottaviano Nelli the roughby Antonio CarnevaleHere is an introduction to Ottaviano Nelli, the late Gothic painter from Gubbio who was famous for his rough mix of sacred and vulgar
Naoki Sutter-Shudo, monuments and iconsby Samantha OzerIn crafting speculative worlds on a shrunken scale, Naoki Sutter-Shudo dislocates us from the abstraction of the impending future, allowing a site for contemplation of reality
Wojciech Bakowski: dream-like narratives (an interview) by Veronica GisondiDwelling on the possibilities of images, sounds, and words becomes a way for Wojciech Bakowski to dive into the boundaries of human insight, cognition, and the medium itself - while reveling in the limits of one’s own reality
Henrik Potter: HINGEby Céline MathieuThe work of Henrik Potter is not the in-between. It is more the and and. It’s a mutuality, a literal enjambment
Hair air style from Middle Age to Botticelliby Silvia TomasiHair colour had a moral significance, the hairstyle a message of seduction or betrayal. And each hair became a story
Enrico Castellani, surfaces and foundationsby Tommaso TriniLOOM gallery and Fondazione Enrico Castellani re-enact the 1999 solo exhibition at Galleria Civica di Trento
Marina Xenofontos, fluidity is a chrismby Stefano PirovanoMarina Xenofontos' poetic loops entail independent words, images and forms, that fluidity turns into a discourse
Italian silent film divas in their photographic postcardsby Esme GarlakeMany ordinary women saw Italian silent film divas as influences on daily dress and behaviour; much of this came from the consumption of photographic postcards, nowadays still avidly collected
At the tender edge of violence: Fin Simonettiby Veronica GisondiSpaces of worship constitute a fruitful field of inquiry for Fin Simonetti due to their symbolic value and particular function, that is, of public places that harbour and feed collective beliefs
At the show with artist: Elena Ricci encounters Frans Masereelby Elena Ricci*Frans Masereel presents us with an intensely personal vision of life. It is a vision which shows an understanding of each aspect of humanity, in which both the highest and lowest levels form part of a whole.
The artistic fate of the windby Silvia TomasiOver the centuries, the wind has always been an iconographic presence for artists, touching upon fate, religion, chaos, love, and nature
Estrid Lutz and rootless cyberpunks todayby Piero BiselloEstrid Lutz's dislike for finishedness, common beauty and constrains makes her a kin to previous renovators of punk attitudes (and surfers)
Vilnius CAC: an interview with the director Kestutis Kuizinasby Denis MaksimovFrom palace of culture to contemporary art centre, from Soviet art festival to Baltic Triennial: an interview with CAC director Kestutis Kuizinas
On Giulio Romano’s tableware designsby Esme GarlakeTableware designed by Giulio Romano invites us to re-consider the false binary between works of art and functional objects.
Joseph Yoakum and adventurous factsby Sophie VarinJoseph Yoakum has us going between the mundane quality of things in front of us and the extra-ordinary quality of their reasons in the world
