At TTG Travel Experience 2025 in Rimini, one of Italy’s leading tourism fairs, the Tuscany pavilion presented to the public an unprecedented experiment in dialogue between past and present. The protagonist was Sandro Botticelli’s Primavera, one of the masterpieces preserved at the Uffizi in Florence, which took new form through a digital reinterpretation created byJapanese artist Tomoko Nagao(here is our in-depth article). The work was commissioned by Danae Project, a publishing company of Finestre Sull’Arte. With imposing dimensions, four meters wide by three meters high, the canvas was an integral part of the newspaper’s booth present within the Rimini event. The official presentation was curated by Daniele Rocca, editor of Finestre sull’Arte, together with Francesco Tapinassi, director of Toscana Promozione Turistica.
The collaboration found a symbolic moment in the donation of the work: in fact, Rocca delivered to Toscana Promozione Turistica the work by Tomoko Nagao, which will be produced in alimited edition of one hundred numbered copies. A gesture that is part of a path to enhance the region’s art and culture through contemporary tools and languages. Tomoko Nagao is an artist known for her approach to digital art and her ability to blend elements of the Renaissance tradition with references to Japanese pop culture. The hallmarks of her research also emerge in this new Spring: figures reinterpreted through an aesthetic that recalls manga, pixel art and visual languages that are instantly recognizable globally. The choice of a subject such as Botticelli’s, an emblem ofFlorentine Humanism, gives his work an additional value, relating the great painting of the fifteenth century with forms of expression proper to digital society.
The director of Toscana Promozione Turistica welcomed the work, emphasizing the coherence between the project and the claim that accompanies the region’s promotional campaign, Renaissance without End. The idea of a Renaissance that continues to produce meanings and inspirations is also read as the possibility of renewing the artistic memory of the region through contemporary ways, capable of reaching audiences other than the traditional ones. The link between Nagao’s work and Tuscany’s tourism promotion mission thus appears evident: on the one hand, the reinterpretation of a universally known masterpiece such as laPrimavera helps to reaffirm the region’s cultural identity; on the other hand, the digital and pop language of the revisitation opens the way to new forms of communication capable of intercepting different sensibilities, particularly those linked to the younger generations and international markets.
The initiative also highlighted the role of media and cultural operators such as Finestre Sull’Arte, committed to building bridges between art history and contemporaneity. The decision to present such a project in a context such as the Rimini TTG, Italy’s main event for tourism and hospitality, signals the desire to place visual culture within an integrated strategy of promoting the territory. Indeed, it is a matter of proposing a model that combines memory and innovation, while enhancing tradition and the possibilities offered by technologies. The limited edition of one hundred numbered copies of Tomoko Nagao’s Digital Spring represents another aspect of the project. On the one hand, the controlled print run guarantees its exclusivity, placing it on the market as a collector’s item; on the other hand, its reproducibility allows the image to be disseminated to a wider audience, transforming it into a vehicle for cultural promotion.
The choice of a Japanese artist, moreover, refers to an intercultural dialogue that has long characterized the dynamics of contemporary art. The contamination between Italian Renaissance and Japanese visual languages highlights the ability of a heritage such as the Tuscan one to generate ever new readings and to become a meeting point between distant worlds. In an international context such as TTG, the presence of Nagao’s Digital Spring has taken on the value of a hallmark. The work flanks the strength of the original masterpiece as evidence of a different way of telling the story of Tuscany, closer to the logic of contemporary communication and the hybridization of artistic languages.
 |
| Finestre Sull'Arte donates Tomoko Nagao's Venus to Toscana Promozione Turistica |
Warning: the translation into English of the original Italian article was created using automatic tools. We undertake to review all articles, but we do not guarantee the total absence of inaccuracies in the translation due to the program. You can find the original by clicking on the ITA button. If you find any mistake,please contact us.
