The figure of Jeff Wall (Vancouver, 1946) represents a decisive juncture in the history of contemporary photography: the artist, beginning in the late 1970s, was among the first to problematize the status of the topical photographic image, moving it ...
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Many will have been impressed by the Poland Pavilion at the 2024 Venice Biennale, featuring the participatory video installation Repeat after me II by the Open Group collective (Yuriy Biley, Pavlo Kovach, Anton Varga). The protagonists of the two vid...
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The debate on the intersection of art and science has experienced a significant acceleration in recent years in exploring the aesthetic possibilities offered by emerging technologies, as evidenced, one example above all, by the section The Unfinished...
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Certain documentary-style shots, besides standing out in isolation in the teeming iconographic firmament of recent reportage history for the eloquence of a phenomenon effectively risen to noumenon, are candidates to become staples of photography tout...
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Some films become cult films because they come out at the right time, first intercepting certain epochal and existential ferments still latent with an original style destined to set the standard. One of these is Amores Perros (153 minutes), the debut...
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The figure of Daniel Buren (Boulogne-Billancourt, 1938) emerges on the contemporary scene with an authority that transcends mere historical recognition to embody an artistic practice that continues to renew its language after more than fifty years of...
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In a Florence that in recent years has been trying to reshape its identity by counterbalancing the extremely rich historical legacy of which it is the custodian with massive forays into the contemporary (just think of the recent installation in front...
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"Mutation," wrote Francesca Alfano Miglietti in the preface to Mutant Identities. From Fold to Plague: Beings of Contemporary Contaminations, Costa & Nolan, 1997, "is the anarchic dimension that does not recognize the linearity of a species evolu...
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