Richard Prince at Beverly Hills: Cowboys

Richard Prince, Untitled (Cowboys), 1990

Richard Prince, Untitled (Cowboys), 1990

A cowboy walks into a bar and says to the bartender, “Who’s the asshole who owns this shithole?”
—Richard Prince

From February 21 to April 6 Gagosian Gallery presents Richard Prince’s Cowboys.

Over the last thirty years, the American cowboy has given rise to some of Prince’s most celebrated works. Dividing into several phases between the early 1980s and the present, his rephotographing of verité images inspired by cowboy Westerns and produced for the advertising industry, reveals as much about his shifting relationship to an American icon and its construction by the mass media as his use of evolving reprographic technologies.

In the earliest iterations, out of necessity Prince shot around advertising copy to obtain the final edit, resulting in tightly cropped, grainy close-ups of larger-than-life ranchers, printed in standard format. In the second stage, enhanced production techniques allowed him to substantially increase the scale and intensity of the final images, and move his subjects out into the landscape. In the third phase he was able to work from high quality images totally devoid of copy. Thus the cowboys were reduced to diminutive yet legible ciphers dwarfed by vast, bucolic American landscapes. Transposed into the world of art, these cinematic vistas evoked—not without a trace of irony—the great Romantic tradition in painting.

For his first Cowboy paintings, which follow earlier series of Nurse paintings, Prince has again tapped pulp fiction for inspiration. Directly inspired by the covers and cover artwork of so-called “frontier books,” he has transferred to canvas greatly enlarged inkjet prints of scanned figures removed from their original settings. He then paints in, around, and over the prints in an uninhibited manner evocative of post-war American painting—from sedimentary layers and floating blocks of color to swipes and splatters of more animated moments.

At a glance, the Cowboy paintings are ironic appropriations intended to deconstruct both a regressive stereotype and the truth of uninhibited artistic gesture. But on closer scrutiny, there is an undeniable element of complicit pleasure in Prince’s masterfully casual renderings of figure and ground where the powerful male gunslingers are little more than pretexts or catalysts for free experimentation with paint. Lush, lurid abstract grounds, rapidly executed, replace the information of the former landscape backgrounds, intimating at various atmospheric conditions or temperaments: the vaporous pastels of a midday summer haze; a rosy dawn or a vermilion sunset; the fresh green depths of a mountain landscape, or the ominous dark of night.


Richard Prince | Cowboys

Gagosian Gallery | Beverly Hills

21 Feb. –  6 Apr. 2013

T. (+1) 310.271.9400




Richard Prince was born in 1949 in the Panama Canal Zone. His work has been the subject of major survey exhibitions, including the Whitney Museum of American Art, New York (1992); San Francisco Museum of Modern Art (1993); Museum Boijmans van Beuningen, Rotterdam (1993); Museum für Gegenwartskunst, Basel (2001, traveled to Kunsthalle Zurich and Kunstmuseum Wolfsburg); Serpentine Gallery, London (2008); “Richard Prince: Spiritual America,” Solomon R. Guggenheim Museum in 2007 (traveled to The Walker Art Center, Minneapolis, 2008); and “Richard Prince: American Prayer,” an exhibition of American literature and ephemera from the artist’s collection, Bibliothèque nationale de France, Paris (2011). Prince lives and works in New York.


Akram Zaatari at MOCA, Chicago

Akram Zaatari, Still from Tomorrow everything will be alright, 2010, Single-channel HD video, color, sound, 11:48 min. Collection Museum of Contemporary Art Chicago, gift of Mary and Earle Ludgin by exchange, 2011.46 © 2010 Akram Zaatari, courtesy Sfeir Semler Gallery

Akram Zaatari, Still from Tomorrow everything will be alright, 2010, Single-channel HD video, color, sound, 11:48 min. Collection Museum of Contemporary Art Chicago, gift of Mary and Earle Ludgin by exchange, 2011.46 © 2010 Akram Zaatari, courtesy Sfeir Semler Gallery

Since the mid-1990s Akram Zaatari has explored how photography and video are used to record minute moments that accumulate to compose a greater sense of history. For Zaatari, history is deeply intertwined with the specific realities of individual lives, and thus much of his work is rooted in photographic archives and personal experience and often subtly registers the effects of conflict in his home country of Lebanon and the surrounding region. Using the world around him as an ongoing resource, Zaatari excavates objects with historical relevance, photographs personal documents and diaries, and weaves biographical elements into narrative videos and photo installations that explore questions of sexuality and human intimacy.

A cofounder of the Arab Image Foundation, Zaatari has shaped his career not only by creating images but also by collecting, preserving, and archiving photographs from the Middle East, yet few of his works are straightforward pictures. One of his primary projects has involved accessing the archives of commercial studio photographer Hashem el Madani, whose mid-century Studio Shehrazade amassed a trove of black-and-white portraits (taken between the late 1940s and 1970s) of Beirutis in confident poses and amorous embraces, sometimes costumed and reenacting scenes from their favorite Hollywood films. By pulling these mid-century and prewar images into the present, Zaatari subtly asks what forms of being and types of relationships were being imagined in this cosmopolitan society of the past.

In addition to his photographic practice, Zaatari has made more than forty videos to date, many of which have been screened internationally to great acclaim. His latest, the award-winning Tomorrow everything will be alright (2010), was featured in the 2011 Istanbul Biennial and centers on the hesitant reunion of two male former lovers who communicate preternaturally through a typewriter, as if the anachronistic medium were delivering text messages back and forth. The video features footage Zaatari shot in the late 1990s, during a time of uncertainty in Lebanon. A new photo installation by Zaatari featuring images of couples from the Studio Shehrazade archive accompanies the video.

MCA Screen: Akram Zaatari is the third iteration of the exhibition series MCA Screen, which is dedicated to work in film and video. Recently added to the MCA Collection, Tomorrow everything will be alright is the first work by Zaatari to be acquired by a museum in the United States.

This exhibition is organized by Naomi Beckwith, Curator at the Museum of Contemporary Art Chicago.


Akram Zaatari

MOCA Museum of contemporary Art | Chicago

Untill May 5 2013

T. 312.280.2660 |



Akram Zaatari (born in 1966 Sidon, Lebanon) is a filmmaker, photographer, archival artist and curator. In 1997, he co-founded the Arab Image Foundation with Zeina Arida and photographer Fouad Elkoury. His work is largely based on collecting, studying and archiving the photographic history of the Arab World. Akram Zaatari has been selected to represent Lebanon at the 2013 Venice Biennale by Sam Bardaouil and Till Fellrath, curators for the Lebanese Pavilion. He has been exploring issues pertinent to post-war Lebanon. He investigates the way television mediates territorial conflicts and wars, and is particularly interested in logic of religious and national resistance movements, and the circulation and production of images in the context of today’s geographic division in the Middle East. His work has been widely exposed worldwide in biennales and venues such as the Centre Pompidou [4] and is in the permanent collection of museums such as the Tate Modern [5] and the Thyssen Bornemisza Contemporary.

Alberto Di Fabio at London : Dialogues

Alberto Di Fabio, Energy, 2001, Acrylic on canvas, 83 x 69 cm, Courtesy Gagosian Gallery

Alberto Di Fabio, Energy, 2001, Acrylic on canvas, 83 x 69 cm, Courtesy Gagosian Gallery

This installation of dynamic and powerful images by Alberto Di Fabio uniting the worlds of art and science is a collaboration between the Estorick Collection and Gagosian Gallery.  Di Fabio’s ‘intervention’, curated by Pier Paolo Pancotto, constitutes a response to the Estorick’s permanent collection and will be displayed in striking arrangements over the building’s stairwell windows.

Di Fabio’s work has consistently investigated the natural world, the physical phenomena that govern it, and macro- and microcosms, through a painterly style incorporating both abstract and realistic elements as well as optical/kinetic and spiritual dimensions.  This approach, which he has developed since the 1980s, has met with great success on the exhibition circuit and has received support and recognition internationally from critics and collectors alike.

For this exhibition, the artist has created a specific project conceived in relation to the areas connecting the various levels of the museum, in such a way that the works will be grouped together to form vertical structures, endowing them with an innovative dramatic impact.  At the same time, it presents a selection of works that not only reflect Di Fabio’s career over the last twenty years, but which also engages in an imaginary dialogue with the masterpieces of Italian art from the 20th century owned by the museum – hence the title of the show.


Alberto Di Fabio | Dialogues

Estorick Collection of Modern Italian Art | London

13 Feb. –  7 Apr. 2013

T. +44 (0)20 7704 9522



Alberto Di Fabio (b. Avezzano, 1966) studied in Rome and Urbino and completed his training through collaborations with Cy Twombly, Alighiero Boetti and Donald Baechler.  His painting is divided into various phases beginning with the cycle of Mountains in the 1980s and continuing to that of the Subatomic World images of the 1990s and the early years of the 21st century.  He has exhibited tirelessly since the late 1980s, with solo shows at the Kunstverein, Bregenz (1997); Umberto Di Marino, Naples (2004, 2007, 2011); Gagosian Gallery, Beverly Hills (2004), London (2002, 2007),  New York (2010),  Athens (2011); Pack, Milan (2005, 2007, 2010) and the Galleria Nazionale d’Arte Moderna e Contemporanea, Rome (2012).  Di Fabio’s work has also been featured in numerous collective shows, including The Return of the Exquisite Corpse, The Drawing Center Museum, New York (1993); Napoli Presente, Pan, Naples (2005); Dublin Contemporary, National Gallery, Dublin (2011) and several editions of the Rome Quadriennale (1996, 2003, 2008).  He lives and works between Rome and New York.

Carmen Herrera at Milan: Works on paper 2010 – 2012

Carmen Herrera, Untitled, 2011, acrylic and pencil on paper, 50x70 cm

Carmen Herrera, Untitled, 2011, acrylic and pencil on paper, 50×70 cm

Lisson Gallery Milan presents an exhibition of new works on paper by Carmen Herrera. Herrera produced a number of paintings on paper throughout the 1960s, but subsequently focused on canvas until revisiting the medium in 2010.

This new body of work showcases not only her revised treatment of the medium but also a new dimension to her work. There will be a catalogue of 42 works to accompany this exhibition with an essay written by Estrellita B. Brodsky.

Preparatory drawing lies at the core of Herrera’s practice and is the starting point for all her work. Herrera begins the process of making these paintings (comprising pencil and acrylic on paper) with mathematical drawings on tracing paper that are governed by lines, numbers and disciplined decisions. It is here that the compositional rationale and choice of colour are formulated. As the works shown here demonstrate, once translated onto larger paper, of two different sizes carrying the same proportions, her mathematical precision and clarity of vision are expressed through a variety of shapes, structures and spatial relationships.

Composed of reductive geometric forms, floating yet grounded on their white backgrounds, these works engage with a similar pictorial vocabulary to Herrera’s paintings on canvas. Here however, the arrangements are defined and contained within a frame inside the paper’s edge: the structures and blocks of colour are delineated and reined in by these parameters. Form defined by colour and its purification has been a central characteristic of Herrera’s work since she exhibited at the Salon des Réalités Nouvelles between1949 and 1953.

Carmen Herrera | Works on Paper 2010 – 2012

Lisson Gallery | Milan | Italy

25 Jan. – 15 Mar. 2013

T: + 39 02 8905 0608


Carmen Herrera (B.1915 Havana, Cuba) lives and works in New York City.
Previous solo exhibitions include Lisson Gallery, London (2012); Museum
Pfalzgalerie, Kaiserslautern (2010); Ikon Gallery, Birmingham (2009); Miami Art
Central (2005); Museo del Barrio, New York (1998); The Alternative Museum,
New York (1984); Group exhibitions include Sheldon Museum of Art, Nebraska
(2012); Deutsche Bank, New York (2010); Museum of Modern Art,New York (2007); Discovery Museum, Bridgeport (1997).

Add Fire. The 2013 Furla Prize in Bologna

Add Fire, Jimmie Durham per Premio Furla 2013

Add Fire, Jimmie Durham per Premio Furla 2013

The ninth edition of the prize dedicated to the young rising Italian art. Is titled “Add Fire” the ninth edition of the Furla Prize, biennial recognition of excellence for contemporary art dedicated to young Italian talents, presented today in Milan. The title of the edition of this year is signed by Jimmie Durham, the American artist – but also the poet – who will be godfather at the 2013 Furla Prize. The Furla Prize aims at supporting the best artistic practice of our Country, through the monitoring, the selection, the training of the artists and the production of new works and has been able over time to affirm itself as an international showcase for the rising creativeness. Edited by Chiara Bertola, the prize is organized and promoted by the Premio Fondazione Furla, Fondazione Carisbo, Fondazione Querini Stampalia, MAMbo – Museo d’Arte Moderna di Bologna, with the support of Carisbo S.p.A. and the collaboration of Viafarini and Arte Fiera. Over the presentation, to which have taken part Giovanna Furlanetto, President of Fondazione Furla, Fabio Roversi-Monaco, President of the Fondazione Carisbo, Marino Cortese, President of the Fondazione Querini Stampalia, Gianfranco Maraniello, Director of the MAMbo Museo d’Arte Moderna in Bologna among the others, Chiara Bertola announced the names of the finalists of the ninth edition and the five curatorial couples who identified the best finalists for this edition. Jimmie Durham also attended the meeting, in the role interpreted in the past editions by Christian Boltanski (2011), Marina Abramovic (2009), Mona Hatoum (2007), Kiki Smith (2005), Michelangelo Pistoletto (2003), Lothar Baumgarten (2002), Ilya Kabakov (2001) e Joseph Kosuth (2000). The artist godfather has the task to retrace the rising theme and the title of the edition, thanks to the realization of a work expressly conceived that will characterize all the graphic of the Prize. “Add Fire” wants to be an homage to an initiative that has always placed itself as the engine of growth for young artists and at the same time calls, in an unmistakable way, to never give in, in front of any kind of difficulty, facing the future with passion and creative energy.

The selecting curators of the ninth edition are: Stefano Collicelli Cagol (Padova, 1978) and Bart van der Heide (Olanda, 1974); Francesco Garutti (Milano, 1979) and Yann Chateignè Tytelman (Ginevra, 1977); Ilaria Gianni (Roma, 1979) and Alice Motard (Parigi, 1978); Vincenzo Latronico (Roma, 1984) and Fanny Gonella (Malabry, Francia, 1976); Filipa Ramos (Lisbona, 1978) and Elena Filipovic (Bruxelles, 1978).

The five final artists, identified at the end of a real journey of recognition on the territory, are: Chiara Fumai (1978), Davide Stucchi (1988), Tomaso De Luca (1988), Diego Tonus (1988), Invernomuto/ Simone Bertuzzi (1983) and Simone Trabucchi (1982).

The exhibition, titled “Add Fire” from the work of Jimmie Durham, is going to be set in the evocative frame of the former Ospedale degli Innocenti in Bologna, a monumental building owned by the Province of Bologna, recently enhanced by a significant restoration and functional redesign. The exhibition is going to be inaugurated on Friday 25th of January along with Arte Fiera Art First and will be open to people starting from Saturday 26th January up till Wednesday 6th February 2013. The five finalist projects at the centre of the roundtable dedicated to rising creativeness that is going to be held within the arte Fiera, on Friday 25th January at 11:30 and that will see the participation of the curators and artists of the 9th Furla Prize. The international jury formed by Galit Eilat (President Akademie der Künste der Welt, Köln and Reacher Curator at the van Abbe museum, Eindhoven), Marina Fokidis (Founding Director Kunsthalle Athena), John Peter Nilsson (Director Moderna Museet Malmö),Chiara Parisi (director of cultural programs Monnaie de Paris), Dirk Snauwaert (Director of WIELS Contemporary Art Centre, Brussels) is going to select the winner, who is going to be announced on Friday 25th January 2013 in Bologna, over the inauguration of the exhibition. The winner will have the chance to realize the work proposed in the project, entirely produced by Fondazione Furla and meant for public fruition thanks to the granting on free loan to MAMbo – Museo d’Arte Moderna di Bologna. The realized work will be presented in preview at the Fondazione Querini Stampalia in June 2013, along with the 55th Biennial of Visual Arts, in Venice.

Like every year, the winner of the Furla Prize will have the chance to study and work abroad, thanks to the participation to a project of artist residency, that for this edition will take place at the WIELS Contemporary Art Centre in Brussels.


ADD FIRE | Exhibition of the finalist artists

Bologna, Ex Ospedale degli Innocenti

Via d’Azeglio 41

26 Jan. – 6 Feb. 2013

Press preview: 24 gennaio 2013, 10.00 – 12.00

Opening: 25 gennaio 2013, 19.30 – 22.00

Proclamation of the Winnerof the ninth edition of the Furla Prize

Friday 25th Jaunuary, at 19:30

Tim Walker at London: Story Teller

Tim Walker, Giant doll enters back door. Fashion: Versus. Eglingham Hall, Northumberland, 2011

Tim Walker is one of the most visually exciting and influential fashion photographers working today. Extravagant in scale and ambition and instantly recognisable for their eye-opening originality, Walker’s photographs dazzle with life, colour and humour. His recent work is drawn from the pages of the world’s leading magazines: British, French, American and Italian Vogue, Vanity Fair, W and The New Yorker among many others.

Walker’s photographs provide the focus of the exhibition, but the camera, he claims, ‘is simply a box put between you and what you want to capture’. Everything in Walker’s pictures is specially constructed and in a glimpse behind the mechanics, there are installations and a selection of the extraordinary props and models on show: giant grotesque dolls for Italian Vogue and an almost life-size replica of a doomed Spitfire fighter plane.

The photo shoot begins to resemble the film set: hair and make-up artists, fashion stylists and costume fitters, model makers, set designers, builders, producers and painters, prop suppliers and a cast of models playing out imagined roles. At the centre is Walker harnessing creative and technical talents to conjure up the harmonious whole in a singular picture.

The exhibition is accompanied by a series of events that feature many of Tim Walker’s long-time collaborators and uncover the influences and stories behind his work. There will be workshops for all ages offering visitors the opportunity to work with some of the set designers and prop builders who have worked with Tim Walker throughout his career and talks will include Tim Walker in Conversation with Penny Martin. Throughout the exhibition there will also be the opportunity to see a series of films specially curated by Tim Walker. Made up of films that have inspired and influenced many of his images, they will include cult movies such as La Belle at la Bete, The Red Shoes, A Matter of Life and Death and Tim’s own first feature The Lost Explorer.

To coincide with the exhibition, Thames & Hudson will publish Story Teller by Tim Walker featuring over 175 inspirational images, collages and snapshots from Walker’s personal archives.

Tim Walker | Story Teller

Somerset house | East Wing Galleries

18 oct. 2012 – 27 Jan. 2013

T. +44 (0)20 7845 4600 |



Timothy “Tim” Walker, born in England in 1970  is a British fashion photographer. Tim Walker’s photographs have entranced the readers of Vogue, month by month, for over a decade. Extravagant staging and romantic motifs characterize his unmistakable style. After concentrating on the photographic still for 15 years, Walker is now also making moving film. On graduation in 1994, Walker worked as a freelance photography assistant in London before moving to NewYork City as a full time assistant to Richard Avedon. On returning to England, he initially concentrated on portrait and documentary work for UK newspapers. At the age of 25, he shot his first fashion story for Vogue and has continued to work to much acclaim ever since. The Victoria and Albert Museum and the National Portrait Gallery in London include the photographs of Tim Walker in their permanent collections. In May 2009 he received an Infinity Award from the International Center of Photography in New York. In 2012 Walker received an Honorary Fellowship from the Royal Photographic Society.

Guy Bourdin at Florence: A Message For You

Guy Bourdin, Heart, Pentax calendar, 1980

Guy Bourdin, Heart, Pentax calendar, 1980

In collaboration with the 2013 edition of Pitti Uomo, The MNAF Museo Nazionale Alinari della Fotografia presents A Message For You the photographic exhibition dedicated to Guy Bourdin, that tells the master of fashion photography who signed the most famous advertising campaigns of the ’70s.

Guy Bourdin is considered to be one of the most daring and intriguing artists in the world of 20th century visual culture. With an eye of a painter, he was able to create fascinating images in terms of storytelling, compositions and colors, exploring the realms between the absurd and the sublime. Using fashion photography as his medium, his photographic ambiguous settings, suggestive narratives and surreal aesthetics, radically broke conventions of commercial photography.

He was able to touch generations of readers by creating a moment of magic using a transient form of expression – the glossy magazine page. His legacy and inspirational work is finally being celebrated by major international museums.
A singular artist with a unique perception of art, fashion, advertising and life, and a relentless search for perfection, Guy Bourdin was responsible for the groundbreaking turning point in the world of image-making in the late 70s.

A Message For You aims to capture this most significant period of his career and focus on the unique body of work that Guy Bourdin produced together with Nicolle Meyer as his lead model. The 75 modern exhibited prints, is a compilation of French Vogue editorials and various advertising campaigns such as: Charles Jourdan, Pentax calendar and Versace together with a collection of unpublished images from the Guy Bourdin archives.

The projection presents a road trip through Guy Bourdin’s visual landscape, through which the viewer enters into a nearly private domain of a creator, who was pooling together, ideas, thoughts, dreams where the fluidity of imagination is transformed into a final image. The research became a procession of moments captured en route: personalities, situations, landscapes, colors, objects and details, familiar, yet remote. Like a fine artist or a film director, Guy Bourdin’s inquisitive mind and eye makes the journey simultaneously intense, surprising and full of humor, pre-conceiving ideas for future images and storytelling.

MNAF Museo Nazionale Alinari della Fotografia
10 Jan. – 14 March 2013 | Florence | Italy
T. 055 216310 |

Guy Louis Bourdin (December 2, 1928 in Paris – March 29, 1991 in Paris), born Guy Louis Banarès, was a French fashion photographer. Bourdin was one of the best known photographers of fashion and advertising of the second half of the 20th century. He shared Helmut Newton’s taste for controversy and stylization, but Bourdin’s formal daring and the narrative power of his images exceeded the bounds of conventional advertising photography. He set the stage for a new kind of fashion photography.
Bourdin worked for Vogue and Harper’s Bazaar, and shot ad campaigns for Chanel, Issey Miyake, Ungaro, Versace, Loewe, Pentax and Bloomingdale’s.
He was the first photographer to create a complex narrative, then snatch a moment — sensual, provocative, shocking, exotic, surrealistic, sometimes sinister — and simply associate it with a fashion item. The narratives were strange and mysterious, sometimes full of violence, sexuality, and surrealism. Bourdin was influenced by his mentor Man Ray, photographer Edward Weston, the surrealist painters Magritte and Balthus, and film maker Luis Buñuel. Even though much less well known to the public than his colleague Helmut Newton (also working for Vogue), Bourdin possibly has been more influential on the younger generations of fashion photographers.

Tomás Saraceno at Milan: On Space Time Foam

Tomás Saraceno, On Space Time Foam, 2012, installation

Tomás Saraceno, On Space Time Foam, 2012, installation

Curated by Andrea Lissoni On Space Time Foam is the work created by Tomás Saraceno for the “Cubo” at Hangar Bicocca, which, for the occasion, has become the ideal habitat for an unprecedented experiment in art installations, a utopian idea that takes form thanks to the convergence of highly specialized technical and engineering know-how.

It is an installation that incorporates the space for which it was designed, altering its form and function: a work that is fully realized only upon activating the dual opportunity of being observed from below and accessed from above.
It’s a floating structure composed of three levels of clear film that can be accessed by the public, inspired by the cubical configuration of the exhibition space. The work, whose development took months of planning and experimentation with a multidisciplinary team of architects and engineers, will then continue as an important project during a residency of the artist at the Massachusetts Institute of Technology – MIT in Cambridge (MA).
The starting point and image/symbol of the project is the drawing of the physicist Paul Davies, which conveys the central idea underlying On Space Time Foam: the coexistence and mutual dependence of people above and below the membranes, as their movements, breathing and actions influence each other and the surrounding space. With each movement of air – the opening of a door, a visitor moving about, the breath of just one individual – the installation changes form as if it were a living organism.

At first glance, the work seems to be composed of three clear PVC membranes suspended at a height of 24 metres, which visitors can access to observe the space below. Just a second later, however, visitors realize that the work is constituted chiefly by what they cannot see. As the artist himself states, “This is a sculpture made of 7,000 cubic metres of air in which you are literally sustained by air.” The visitor may not realize it, but the entire “Cubo” is subjected to pressure that allows the membranes to be inflated by hot air, according to a fundamental process
that brings the work to life.

Moreover, On Space Time Foam has been inspired by the theories of quantum physics, according to which the fundamental layer of existence, the conformation of the universe on the smallest scale, defined “Planck scale”, is structured like a foam. The very title of the work encompasses these three dimensions, “Space-Time-Foam”, announcing a place in which space and time change coordinates, as is the case in Cosmic Foam, which cannot be conceived in the physical parameters to which we are accustomed. “Quantum foam” is a concept of quantum mechanics, a description of subatomic time-space, about which we can only speculate today: On Space Time
Foam explores and symbolizes these infinite possibilities, serving as a metaphor.
Lastly, Saraceno suggests several images that can serve as keys to interpreting the work, including that of the drumhead on which everything reverberates and that of the “Cubo” as an immense musical instrument that vibrates with the passage of air.

On Space Time Foam is a very particular, unusual and suggestive work of art. It can be considered as an experiment that nevertheless requires the willingness to interact, individual and collective sense of responsibility and special behavioral conditions.


Tomás Saraceno | On Space Time Foam
26 Oct. 2012 – 03 Feb. 2013
Hangar Bicocca | Milan | Italy
ph. 02 6611 1573 |

Tomás Saraceno (b. San Miguel de Tucumán, Argentina, 1973) is an artist and architect internationally known for his visionary and surprising installations accessible to the public and able to modify the perception of architectural spaces. His oeuvre, inspired by the tradition of 20th-century utopian architecture, stems from the desire to create aerial structures that can be inhabited by people, are self-sufficient and have a low environmental impact.
Saraceno, who refers to himself as “living and working between and beyond planet Earth”, bases his work on themes such as the elimination of geographical, physical, behavioural and social barriers; the research into sustainable ways of life for humanity and the planet; the encounter and exchange among different disciplines and bodies of knowledge; the model of networking and sharing applied to all phases of the invention and execution of works and projects.

Paolo Gotti at Bologna: VISIONS

evento visions Blog AI

Paolo Gotti, VISIONS, La punta del Crysler tra fumi e nuvole, New York, 1993

The showroom of ACF Trading in Bologna is delighted to present Visions  the exhibition of the Bolognese photographer Paolo Gotti.

The abstract vision of his landscapes that seem anything but “real’’, reveal a painted feeling, a metaphysical revelation, almost a mirage. Hunter of images, he finds uncontaminated  landscapes or urban spaces, the resonance of universal emotions.

This is what Paolo Gotti has been doing since the seventies. Careful in interpreting shapes and colors. Master of composition,  balance and symmetry. A meticulously designed travel photography, as required by his training as an architect.

Snapshots taken ​​out of time and space, the “visions” of Gotti, show empathy and emotional intensity comparable to that of a hyper-realist painter. According to Giorgio Celli a naturalist with a strong artistic sensibility, “reality too real, by a strange paradox, goes into the unreal and the photographer is a creator of illusions”.

The splashes of colour faded like a watercolour, the exaltation of the of the sea that change colour with the quick passage of a cloud, cutting perspective of the heavens, the anatomy of deserts and rocky plateaus emphasize the importance of the pictorial and abstract elements. Water, Earth, Air and Fire are the four central characters of  the calendars from 2004 to 2008. It is the poetry in nature, that Paolo Gotti immortalizes in his aesthetic correspondence, through a kind of visual meter that marks the rhythm of his images.

The monumental photographic archive of Gotti, more than 10,000 photos taken all over the world, from Colombia to Madagascar, from India to Haiti, just to mention a few countries, Yemen, Iceland, Bolivia, Australia and China, which also include urban realities – and therefore human – that through his lens are turned into landscapes.

This particular view of the world rests on a delicate balance between the absence and presence of the artist.  A vocation to be an “ethnologist”, diametrically opposed to that of the explorer who collected artefacts: the photographer on the other hand returns to the world the images of the five continents, without taking anything away from the places he has visited.

On view during the exhibition, photographic works of large and medium size, and the presentation of the three thematic calendars of 2013 Visions, Life in ports, Kiosks and street vendors.

Paolo Gotti |VISIONS

20 Dec. 2012 – 28 Feb. 2013

ACF Trading | Bologna | Italy

Ph. 051 222909 |


Paolo Gotti was born in Bologna and graduated in architecture in Florence, where he attended the Centre for Film and technical studies in 1971 earning a certificate to practice as a photographer. In 1974 chooses Africa as a destination of his first real trip, one in which, as the artist says, “you know when you leave but do not know when you come back.” With his old Land Rover he crosses the Sahara to the Gulf of Guinea in the Ivory Coast before returning to Italy after nearly five months aboard a cargo ship. As a result of this adventure, that leaves a strong impression on him, he begins full-time work as an architect, graphic designer and photographer. After various years experience in the field of advertising, and experience gained in still life, he devotes himself increasingly to the reportage. Travelling the world with his Nikon, photographing people, landscapes and locations that he carefully stores into a giant visual atlas, which have created the themes of his calendars for the last twenty years. The lens of his camera has passed through more than 70 countries, including Italy, Niger, China, Haiti, Brazil, Mexico-Guatemala, Nepal, Ceylon-Maldives, Indonesia, USA, Canada, Thailand, the Caribbean, Malaysia, Miami, Yemen, Venezuela, Philippines, Cuba, India, Chile, Bolivia, Iceland, Australia, Colombia.

Mariko Mori at London: Rebirth


Mariko Mori – Transcircle 1.1, 2004, © Mariko Mori Studio, Photo Ole Hein Pedersen

The Royal Academy of Art welcomes New York based Japanese artist Mariko Mori to the new space for art and architecture in Burlington Gardens. Her first major exhibition in London for 14 years, Rebirth includes some of Mori’s most acclaimed works from the last 11 years, alongside new works created especially for this exhibition. Starting and ending with the death and birth of a star, the cycle of life and rebirth is an important theme of the show, which includes photography, works on paper, sound works, as well as sculpture and large scale immersive installations and environments that invite contemplation.

The exhibition has been developed in close collaboration with the artist, and is timed to coincide with the winter solstice in 2012. According to ancient calendars, this year’s solstice will either mark the end of the world or the birth of a new era.

Since her first exhibitions in the mid-1990s, Mori’s practice has been rooted in both traditional and contemporary Japanese culture, and between East and West. Her works juxtapose contrasting aesthetic languages that have ranged from traditional tea ceremonies to Manga and cyber culture, fusing Shintoism and Buddhism with the hard planes of science and technology.

Mori’s recent practice has evolved around a fascination with ancient cultures, among them prehistoric Jomon (c.14,000 – 300 BC) in Japan and Celtic traditions in Europe. Founded on a belief in cycles of death and rebirth, these were marked by a holistic world view that placed mankind in a more harmonious relationship with our surroundings. These interests are expressed through emerging technologies and digital media, which the artist embraces as tools to be harnessed in order to reconnect with our environment.


Mariko Mori | Rebirth

 Royal Academy’s 6 Burlington Gardens | London

13 Dec. 2012 – 17 Feb.2013 | Ph. +44(0)2073005762



Mariko Mori (born 1967 in Tokyo, Japan) is a Japanese video and photographic artist. While studying at Bunka Fashion College, she worked as a fashion model in the late 1980s. This strongly influenced her early works, such as Play with Me, in which she takes control of her role in the image, becoming an exotic, alien creature in everyday scenes. In 1989, she moved to London to study at the Chelsea College of Art and Design.