IN STUDIO with Dario Maglionico – ep. 10

IN STUDIO with Dario Maglionico – ep. 10

Giorgia Massari · 1 month ago · Art

For the tenth episode of IN STUDIO, we went to visit the artist Dario Maglionico. Born in 1986, of Neapolitan origin, he lives and works in Milan, dedicating himself exclusively to painting. We were impressed by his work exhibited by the Antonio Colombo gallery last spring and decided to get to know him better. In his works, meticulous realism and attention to detail meet the surreal, like in a dream. Actually, his journey is not a dreamlike one, but is instead linked to the theme of memory and the subjective perception of time and space. Let’s start the interview and discover more about his research and his studio.

Dario Maglionico |

The studio

We are in Milan, in the Cimiano area. An outlying area often chosen by artists. Inside a large building is Dario Maglionico’s studio, which he shares with other artists. A large open space divided by small walls or shelves to create different corners, each with its own personality. There are many artists present, some we already know, like the Press Press guys and the illustrator Beatrice Bellassi, while others we meet for the first time, like Andrea Fiorino, Dario’s neighboring workstation, and great friend, the painter Martina Merlini, the collagist Zeno Peduzzi, and the artist Giacomo Silva. But let’s start with the questions and understand how he got here.

Let’s start from the beginning. How did it all starts?

I started painting at the age of seventeen. I never really studied painting; I graduated in Biomedical Engineering at the Polytechnic University of Milan. My approach to painting began as self-taught. This approach is ambivalent because, on the one hand, it directs you towards what you like, but on the other hand, you tend to close yourself off, so it can be a limit. The academic environment undoubtedly allows you to immediately encounter what you don’t like and, above all, to confront yourself with peers, which I consider fundamental. I found this aspect here, in the form of the shared studio.

Your technique is very precise. Did it take you a long time to refine it?

The precise technique is the result of consistency; I painted every day. Now less, sometimes I take breaks, but before, I painted constantly. Then, with time, it’s inevitable that it becomes a necessity, dictating your way of life. It’s a practice that becomes automatic; you start painting but think totally about something else.

Dario Maglionico |

How did you come to this studio?

Together with Andrea Fiorino, we were looking for a space. Fiore found an ad, we came here to see it, and we entered in September 2019. We did a few months, and then there was the pandemic that forced us to temporarily return home, which before then had always been my workplace as well. I must say that coming here changed things. Having a shared space I like. It gives me the opportunity to detach and compare myself with other artists. The experience of the shared studio is new to me, and I can say that I wouldn’t go back. I thought it might be a bit intrusive, but it’s exactly the opposite.

Do you often have visitors here?

Certainly, the Press Press guys are very active; they often come as collaborators and customers who need to print. Occasionally, friends, collectors, or gallery owners come for studio visits, as you are doing now. The beauty of this place is that it is an open space. Visitors come for one artist and meet others.

Let’s talk about your research. In your paintings, there are places and people, are they real or imaginary? Where do your inspirations come from?

Tendentially, the places and people I paint are all familiar to me. They are the houses of friends and acquaintances. Especially at the beginning, it was like that. The first subjects I portrayed were my parents. My work reflects on the perception of time and space and how it is influenced by one’s experience and memories. When we remember something, the image is often fragmented, superimposed. The different perspectives with which we observe anything create a memory that is not univocal but is made up of the sum of several moments that occurred at different times. My intention is not to describe a space experienced by the subject portrayed but also by the one observing it.

When did you start painting in this way? How has your research evolved over time?

I started this series of works, in this way, in 2013. Little by little, with very small and slow steps, there has been an evolution. Over the years, the work evolves and goes in certain directions, maintaining some things and changing others. It always starts from a space or a person that strikes me, so I photograph them to have a basis on which to create a digital draft. In reality, I have two design methods. On the one hand, this more documentaristic method with a strong visual reference, while the other methodology was born during the lockdown. Unable to go anywhere, I started studying Blender, a 3D modeling program through which I could create imaginary places from scratch. From this method, a series of still lifes were born, in which there is a completely acausal association, in the sense that they don’t tell anything, it’s an association of objects without a reason.

So with this program, you can digitally reproduce places and people, always starting from your memories and, possibly, from the photos you take. All this then serves as a starting point when you move to the canvas. How helpful was it to discover this digital tool?

This method opened up new scenarios for me; I had the opportunity to create an infinity of perspectives. Another important aspect in this sense is photogrammetry. In a few words, you take 360-degree photos of the subject and create a model that you can place in space freely. The 3D set also helps me create lights and shadows, in addition to subverting the rules of physics. However, I realized that everything must originate from real places and people, as well as from my memory and perception. I understood this a year ago when I was preparing the works for my solo exhibition at Antonio Colombo’s. At the same time, I was building an ideal house, entirely imaginary. I somewhat abandoned that project when I realized that I need the confrontation with real space. All my imagination is built from my experience. For example, even when taking photographs, I never included all the elements in the model but chose only some, those most impressed in my memory.

Here, the space is limited. Canvases are hung on the wall without frames; is this your usual working method?

My method is always this. I got used to working on the wall initially due to space constraints, but now it’s the mode I prefer. Hanging them on the wall allows me to work on multiple canvases simultaneously. I frame them only when the work is completed.

Let’s move on to our customary questions. What cannot be missing in your studio?

The computer, a wall to hang canvases, and colors. I don’t need anything else.

Would you leave this studio tomorrow?

From the studio, no; from Milan, perhaps yes. I am very attached to this space and the people who inhabit it.

Is the Milan factor no longer necessary for you?

Initially, it was. Living in Legnano, moving to Milan was important to make myself known, to get to know other realities and be present. But now, no, indeed, I would like to explore other realities both in Italy and abroad. Maybe you’ll find me in some residency, who knows, we’ll see.

Ph Credits Andrés Juan Suarez

IN STUDIO with Dario Maglionico – ep. 10
IN STUDIO with Dario Maglionico – ep. 10
IN STUDIO with Dario Maglionico – ep. 10
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Has food truly conquered us?

Has food truly conquered us?

Anna Frattini · 1 month ago · Photography

Over the past year, the internet seems to be obsessed with food culture, fueling a trend that is now evident even in the world of visual culture. From the Tomato Girl Summer, which many mock retrospectively, to the foodie fashion girlies, Balenciaga’s collaboration with Erewhon, and the massive success of The Bear. Food appears to be experiencing a rebirth, but in the worlds of art, photography, and design, it has always been present. Is this just a passing trend, or is it the glorification of an element that has always been part of our lives?

Un’illustrazione di Maisy Summer

From Tomato Girl Summer to the pomegranate

It was only in 2020, with lockdown recipes—does anyone remember Dalgona Coffe?—that so much talk about food emerged. On TikTok, @wishbonekitchen made us dream by showing us her life as a private chef in the Hamptons this summer. Unforgettable were her Heirloom Tomato Gallette and the garden where she harvested fruits, vegetables, and herbs. In 2023, it seems to have been the summer of food not only with the release of the second season of The Bear but also with Tomato Girl Summer. On the other hand, according to Danielle Cohen on The Cut, it now seems to be the time of the pomegranate.

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Un post condiviso da Cansu Porsuk Rossi (@cansupo)

Thanks to its shape and the vivid red that characterizes it, this fruit is widely recognized as a symbol of fertility in many parts of the world. But not only that, we find the pomegranate in mythology, art history, and, according to Cohen, even in the Torah. In short, fruits and vegetables seem to be largely protagonists of this rebirth, so we have collected some works and photographs by artists and photographers we have talked about in the past and more.

Browsing through our archives, we remembered Michael Crichton‘s photos and his photographic series, Conceptual Food, as well as Dan Bannino, who many years ago narrated the eating habits of the powerful. But there is also Stephanie Sarley, an artist who, with fruit fingering, challenged the way the art world has represented the female reproductive organ throughout its history.

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Un post condiviso da Stephanie Sarley (@stephanie_sarley)

Why it seems not to be just a passing trend

The success of food in visual culture can be attributed to its tangible communicative power. We see and experience the colors and textures of food daily, all evocative elements of memories that we have been collecting forever. In conclusion, we can only wonder which will be the next fruit to receive all this attention, already dedicated to tomatoes and pomegranates, even before avocados and bananas.

Has food truly conquered us?
Has food truly conquered us?
Has food truly conquered us?
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Michel Haddi beyond the fashion shots

Michel Haddi beyond the fashion shots

Anna Frattini · 1 month ago · Photography

29 ARTS IN PROGRESS recently showcased Michel Haddi: Beyond Fashion, a photographic exhibition dedicated to the Franco-Algerian photographer, marking his first solo exhibition in Milan. Starting from January 16, the second chapter of this exhibition opens, featuring unconventional shots infused with a street and urban soul. Additionally, there are elements of irony and sensuality that highlight Haddi’s complex personality.

michel haddi
© Michel Haddi – Debbie Harry, British Vogue, London, 1994 | Courtesy of 29 ARTS IN PROGRESS gallery

In this second chapter, nude shots and unpublished works by Michel Haddi are presented, stemming from advertising campaigns he personally captured. The displayed photographs capture the spirit of their time, thanks to influential figures such as John Galliano or Patsy Kensit, who have played pivotal roles in the realms of fashion, cinema, and music.

Michel Haddi has the ability to portray his subjects with both irony and depth, and each of his shots tells a unique story. His life, marked by a turbulent start, has nevertheless propelled him to become one of the leading fashion photographers from the 1990s to the present day.

Michel Haddi beyond the fashion shots
Michel Haddi beyond the fashion shots
Michel Haddi beyond the fashion shots
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Joel Meyerowitz is the master of color photography

Joel Meyerowitz is the master of color photography Contributors · 1 month ago · Photography

A few weeks ago, the Huxley-Parlour gallery in London announced the new exhibition by Joel Meyerowitz, which opened on January 17th. We couldn’t help but talk about him, the American photographer born in New York in 1938, famous for his street photography, and recognized as one of the pioneers of color photography. The London exhibition, titled “Dialogues,” highlights this aspect effectively. Pairs of photographs engage in a dialogue concerning light, color, and composition. The pairings are chosen to investigate the development of color in the artist’s work, set within non-hierarchical and unresolved compositions.

The exhibition in London

Meyerowitz’s imagery blends a distinctly American aesthetic with a meditative approach to color. Spanning from 1964 to 2011, the exhibition at Huxley-Parlour reveals Meyerowitz’s enduring interest in the sensory and evocative experiences of his surroundings. Paired with lesser-known images from the artist’s extensive archive, the exhibition features some of Meyerowitz’s most famous works, including his early street photography and images from his seminal series, Cape Light.

Joel Meyerowitz and the Color Revolution

Joel Meyerowitz is widely acknowledged as one of the first photographers, along with William Eggleston and Stephen Shore, to bring color photography from the periphery to the center of fine art photography. Historically, where black and white photography was considered a serious medium, color was widely viewed as technically inferior and aesthetically limited, relegated to advertising campaigns, television, and personal holiday photographs. In the London exhibition, it’s interesting to trace Meyerowitz’s shift from black and white to color. On display are works from “A Question of Color,” where Meyerowitz, carrying two cameras, paired black-and-white and color prints of nearly identical scenes.

Courtesy Joel Meyerowitz

Joel Meyerowitz is the master of color photography
Joel Meyerowitz is the master of color photography
Joel Meyerowitz is the master of color photography
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A photographic journey in Bangkok with Xiaomi

A photographic journey in Bangkok with Xiaomi

Giulia Guido · 1 month ago · Photography

Not even a week ago, Alessia Glaviano – Head of Global PhotoVogue – a guest on our Spigola podcast, reminded us that it no longer matters whether you shoot with a camera or a smartphone. What matters is the intention behind the shot, not the means. We pondered deeply on this statement, and although there was initially some skepticism, we concluded that to take a true stance on the matter, we had to try it ourselves: capturing moments solely with a smartphone, but with the same attitude we would have had with a professional camera. Xiaomi provided us with the opportunity and the means.

Almost by chance, Xiaomi presented us with a challenge: to visit a distant place and attempt to capture its uniqueness using the brand-new Redmi Note 13 Pro+ 5G. And so began our journey, short but very intense, in Bangkok.

All the promises of this new device – which, along with four others, forms the new Redmi Note 13 Series, further enriching the brand’s Redmi Note lineup – were substantial. Starting from the battery, rechargeable to 100% in just 19 minutes with a lasting capacity of days (not hours), and of course, the camera system consisting of 3 cameras, including a main 200 MP camera, an ultra-wide-angle camera, and a macro camera.

We decided to put Xiaomi to the test in every moment spent in the Thai capital. The first stop was at the Royal Palace and the Wat Pho temple, where the goal was to capture the colors of the mosaics and decorations.


Being one of the most touristy places in the city, we encountered many people who, like us, were fascinated by the architecture of these sacred places. The Redmi Note 13 Pro+ 5G came to our aid in this moment as well. The smartphone is equipped with AI-based editing tools that, among other things, allow us to remove people who accidentally end up in our shots. You know those photos you see on Instagram of tourist spots always empty? Now you can have them too, effortlessly!

But a city is not only visited during the day; often, it comes to life at night, illuminated by a myriad of different lights. In our case, the lights were those of the legendary tuk-tuks, indispensable in a trip to Bangkok. In this case, the challenge was formidable: darkness, colored lights, movement. All the ingredients for a challenging shot were present.


Not content with just the shot, we continued to play with AI tools and added a bit more movement, some stars, many stars.

When traveling, we know very well that we are not only captivated by architecture, landscape, and glimpses, but we also focus on the faces we encounter on the streets. However, we often don’t have much time to photograph them, sometimes because they move, other times because we are the ones on the move. That’s exactly what happened to us in the characteristic Thai markets, first and foremost the Floating Market.

Reviewing the photos on the return flight and at home with friends was like reliving the journey once again, leaving no detail behind.


In Bangkok, on the occasion of the launch of the new Redmi Note 13 Series, the brand also introduced the brand-new Redmi Watch 4 and Redmi Buds 5 Pro. Visit Xiaomi’s website to discover all the features of these devices.


Photos shot on Xiaomi Redmi Note 13 Pro+ 5G

A photographic journey in Bangkok with Xiaomi
A photographic journey in Bangkok with Xiaomi
A photographic journey in Bangkok with Xiaomi
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