The Collapse of the Contemporary Art Market: When Value Loses Its Narrative
For years, a fissure could be felt beneath the polished surface of the contemporary art market, an invisible yet growing crack made of excess, saturation, and fatigue. Today, that crack has become a fracture. Auctions are slowing, sales are falling, galleries are closing or even converting into non-
Cinema After Cinema, The Last Film We Will Ever Make: Where creation becomes simulation and authorship evolves into new forms of possibility
Cinema has always been a paradox, suspended between industry and intimacy. It is a machinery of colossal scale, yet capable of delivering the smallest tremor of human vulnerability. What we now confront, however, is not simply another technological shift within its history, sound, color, digital edi
Sandra Mujinga, Skin to Skin at Stedelijk Museum, an Interview by Matteo Giovanelli
On September 11th, the Stedelijk Museum (Amsterdam, NL) opened Skin to Skin, the new solo show by Sandra Mujinga, a portal to a unique parallel world. Conceived as a void, the exhibition room presents itself as a green space, translating the concept of the digital green screen into physical reality.
Bytes, Data, Backups, Uploads, Reviews, Photographs: The Role of Documentation and Preservation in Contemporary Art
We might say, exaggerating just a little and using this as a provocation to open the article, that all contemporary art is, ultimately, documentation. This is not a mere semantic shift but an observation rooted in the very nature of artistic languages, which arise and evolve with a specific function
The Power of Cute: Review of the 13th Berlin Biennale by Sofia Baldi Pighi
From rhetoric to whisper, the 13th Berlin Biennale adopts a deliberate posture of political engagement. It looks sideways, renounces slogans and the monumentality of frontal denunciation, and instead prefers a critical discourse whispered in the ear. This edition investigates fugitivity, understood
From Relational Aesthetics to Aesthetic Relations: On the Value of Interaction in Contemporary Art
When Nicolas Bourriaud published his seminal text Relational Aesthetics in 1998, his thesis emerged as a necessary departure from the object-based and self-referential forms of 1980s art. The artwork was no longer conceived as a closed entity, but as a generative device for human relationships, capa
When Nothing Weighs More Than Stone
There is something irredeemably inert in the object. We touch it, move it, measure it. Yet the very act of handling it marks its domestication. Sculpture, perhaps more than any other medium, bears the risk of consensus: it appears stable, complete, assertive. And for this reason, it has always been
Curating Otherwise: Interdependence as a Tool to Practice
When the old is dying and the new delays, a counter-movement rises in the infrathin of the now. Outside the prestige ecosystems of museums, biennials, and the increasing artist-run spaces, the figure of the independent curator moves on unsteady grounds marked by precarity given by the ongoing lack o
Post-Referential Space: A New Paradigm for Exhibition and Experience
Towards a Generative Ontology of Space In recent decades, contemporary art has progressively dismantled the long-standing assumptions of fixity and localization that, for centuries, structured the relationship between the artwork and its spatial context. The exhibited object, once anchored to a spec
Crafted for Your Attention: As Predictable as Art
There’s something deeply alluring about predictability. It’s like a mental embrace, a kind of linguistic stillness that shields us from the unknown. Everyday communication rituals, “How are you?”, “Good, and you?”, aren’t meant to inform, but to affirm. They’re gestures of inclusion,
