Laureata in Discipline dell’Arte, della Musica e dello Spettacolo all’Università di Bologna, città dove ha continuato a vivere, si è specializzata in Beni Storico Artistici all’Università di Siena. Curiosa e attenta al divenire della contemporaneità, crede nel potere dell’arte di rendere più interessante la vita. È direttrice editoriale di Juliet Art Magazine online.
All the articles by Emanuela Zanon on Finestre sull'Arte
One hundred cast-iron male figures facing the sea horizon, scattered across two miles of a beach in Merseyside (Another Place, 1997, Crosby Beach, Liverpool). Solitary figures—like the previous works, replicas of the artist’s own body—perched a...
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Jenny Saville (Cambridge, 1970) is one of the few contemporary painters whom even the general public recognizes instinctively and without the need for captions. From the outset, her painting, unabashedly devoted to enormous bodies, treated as masses ...
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At a time when the aftermath of grievances over the absence of Italian artists at the International Exhibition of the upcoming Art Biennale is still swirling (completely unfounded, moreover, except in terms of "discourtesy" to the host country of the...
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One of the reasons why many contemporary art exhibitions are refractory to the general public is that they make the viewer feel a bit stupid. Of course, the more sensitive and knowledgeable viewers are, the higher their threshold of tolerance with re...
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Anaesthetics of the laceration in which intimacy and dramaturgy, monumentality and maniacal attention to detail, references to the (especially Flemish) masters of the past and crude actuality coexist: these are the hallmarks of the sculptural practic...
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Big data, chatbots, artificial intelligence, virtual reality, predictive modeling, Internet of Things (IoT): the list could go on with a long list of neologisms coined in recent decades to designate the technological applications by which our collect...
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It is by no means easy to organize thematic multimedia group exhibitions by enhancing the breath and specificities of multiple works without the end result being dissonant, and it is even more difficult to orchestrate curatorial reasoning on topical ...
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To crown Nan Goldin's more than 40-year career, the Moderna Museet in Stockholm, in collaboration with the Pirelli HangarBicocca in Milan, the Stedelijk Museum in Amsterdam, the Neue Nationalgalerie in Berlin and the Grand Palais Rmn in Paris, has or...
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