The best we saw at Miart 2023

The best we saw at Miart 2023

Giorgia Massari · 1 year ago · Art

The arrival of art week in Milan entails a great ferment in the art world but also for the city itself, which sees new public artworks popping up, a succession of openings – impossible to see them all, except with the gift of ubiquity – and, above all, the opening of Miart, the modern and contemporary art fair that welcomes galleries from all over the world.
I personally have a passion for art fairs, from the historic one in Bologna to the younger one in Verona, but Miart is undoubtedly my favorite. Despite the confusion, dictated by the large turnout and the many galleries present, it is a unique opportunity to discover in a single day the selection proposed by galleries that I normally do not have the opportunity to attend, mainly because of a problem of distances: the Korean ones or the American ones for example, but also the Italian ones quite far from Milan.
After the April 13 opening, which in my opinion was a great success, it is good to clear my head (among brochures and various notes) and clarify what in my opinion was the best I saw, from the works of younger artists to those of the so-called “established” ones.

Crossing the entrance to Miart, one immediately enters the “Emergent” section, this year marked by the color blue and with 22 galleries present. This year’s selection is varied and heterogeneous: sculptures, paintings and installations fill the stands in the long corridor. Above all, I am struck by Giovanni Chiamenti‘s sculptures, placed inside glass cases and presented by Milan’s ArtNoble gallery. Beyond the singular aesthetic, interesting is Chiamenti’s research, which focuses on the interrelationships among living beings and the practices of coexistence and coexistence that have made the evolution of species possible. Remaining in the sculptural-installative sphere, the textile works of South Korean artist Sang A Han stand out without a doubt, consisting of wall works and three-dimensional silhouettes installed on the ceiling of the Foundry Gallery‘s booth.
As always, however, painting dominates the scene from a quantitative point of view. I pause to admire Natalia Gonzalez Martin‘s female-subjected and incredibly detailed canvases, presented by Geneva’s Sébastien Bertrand gallery, and Emilia Kina‘s molded canvases, presented by East Contemporary Milan. The latter in fact become three-dimensional, following the undulating pattern of the painting that reproduces a kind of curtain.
From the emerging category, I would also like to point out the Italian artist Giuditta Branconi, present in the Intesa San Paolo (Miart’s main partner) booth, who presents a selection of seven young artists curated by Luca Beatrice.

Delving instead into the “Established” and “Decades” sections, the galleries seem to be endless, as are the works presented. Among the big names, such as Arnaldo Pomodoro, Agostino Bonalumi, Giorgio De Chirico and Alighiero Boetti, stand out the works of artists who are less known to the general public, but still very successful, such as Vanessa Beecroft‘s heads (Lia Rumma Gallery) and Giulia Cenci‘s anatomical sculptures (SpazioA Gallery).
On the sculptural strand, the works of young artist Monia Ben Hamouda (Chert Lüdde Gallery) are interesting, laden with cultural and religious symbolism and rituals that strike the viewer viscerally. More colorful and vibrant, however, are Clair Lindner‘s sculptures that animate the Maab Gallery booth as if they were organic beings with a life.
Among the textile art works, a recent obsession of mine, I point out the works of Emanuela Marassi (Gandy Gallery) and Tomás Saraceno (Pinksummer). While among the pictorial ones, again numerous, my absolute favorites are the still life and realistic canvases by Alexandra Barth (Chris Sharp), who, in my opinion, stands out for a refined and impeccable painting technique.

Having concluded the tour, which lasted about three hours, I can’t help but get lost among the art magazines and books presented by the various publications and publishing houses present, including Johan&Levi, undoubtedly my favorite. You have until Sunday, April 16 to visit Miart and discover your favorite works, for more info and to purchase tickets click here.

The best we saw at Miart 2023
The best we saw at Miart 2023
The best we saw at Miart 2023
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Ioana Maria Sisea’s Sculptural Narratives Are A Satire Of Contemporaneity

Ioana Maria Sisea’s Sculptural Narratives Are A Satire Of Contemporaneity

Giorgia Massari · 2 weeks ago · Art

Ioana Maria Sisea‘s sculptural micro-narratives draw inspiration from the history of communist Romania, interpreted by the artist in a contemporary key as a pretext for talking about a humanity at the mercy of perdition and materialism. We are talking about the sculptures part of the series The Adventures of Bear Lache and His Friends, presented by Sisea at the Rosenfeld Gallery in London last year. The small works, made of ceramic and enamel, depict bears interacting with half-naked women. The interactions are sensual, mischievous and ambiguous. The disturbing implication is most evident in the greed with which the bears look at the women. Everything is consolidated on Instagram, where the artist posts the sculptures accompanied by videos and photos that refer to contemporary events, particularly looking at Romanian society and politics, her home country. Thus satire and indignation emerge without too many masks, establishing themselves as blatant critiques of contemporaneity.

The story of Lache bear, from zoo to politics

Ioana Maria Sisea was inspired by the story of Lache bear, a bear domesticated in a zoo in Oradea, later transferred to Brasov with the intention of being hunted by former Romanian ex dictator Ceausescu to challenge Tito’s record. In fact, it all started with an analysis by the artist who was researching Ceausescu’s hunting trips. The photos captured an expanse of dead bears, one in particular had a cigarette in its mouth. Hence the parallelism between the bear and man, which finds in death – particularly in the arrangement of the piled – up corpses-a similarity that leads back to the brutality of the human being himself. In Ioana’s narrative, the bear becomes a powerful symbol of different meanings, including chaos, political corruption, and abuse of power. Ioana creates artworks that highlight these themes, including references to controversial political figures in Romanian history. The second step then comes with the bears’ interaction with the female body.

lover boy

Does women’s empowerment still have to come through men?

Ioana Maria Sisea reflects on the exploitation of the female body taking place in Romania. «For women, the use of their sexuality to achieve economic emancipation is a dance with the devil, but many take advantage of it because the rewards would otherwise be unattainable,» the artist told Contemporary Lynx, and she continues, «Sex work is probably one of the few jobs where the promise of capitalism to achieve a better lifestyle than one’s parents still remains». This is where the interaction between bear and woman that Sisea implements in her sculptures comes from, highlighting how women’s emancipation still necessarily and sadly has to come from men. Her intention is to celebrate these women by entrusting the figure of the bear – which here embodies patriarchy – with an entirely negative matrix.

ioana maria sisea
spend money make money 2
ioana maria sisea
sleeping beauty
ioana maria sisea
ioana maria sisea
ioana maria sisea
It’s your lache day
ioana maria sisea
stay focused
ioana maria sisea
lache, bear star of brasov

Courtesy Ioana Maria Sisea

Ioana Maria Sisea’s Sculptural Narratives Are A Satire Of Contemporaneity
Ioana Maria Sisea’s Sculptural Narratives Are A Satire Of Contemporaneity
Ioana Maria Sisea’s Sculptural Narratives Are A Satire Of Contemporaneity
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Vincent Mahé’s illustrations and the art of telling without words

Vincent Mahé’s illustrations and the art of telling without words

Buddy · 2 weeks ago · Art

Before being an illustrator Vincent Mahé is an observer. One of those capable of seeing things that most people miss. And then to capture those details and with sensitivity and immediate synthesis to be able to translate them into universal and delicate micro stories, discreet, languid, so intense and yet so candid.

In Smoke, the 1995 film directed by Wayne Wang, written and co-directed by Paul Auster, the protagonist Auggie Wren every morning, at eight o’clock, places his tripod and camera in front of his tobacconist in New York and takes a picture on the corner of Third Street and Seventh Avenue. A romantic and curious approach that immediately reminds me of Mahé’s work.

That’s why I can never take a vacation. I’ve got to be in my spot every morning. Every morning in the same spot at the same time – he said – It’s my project. What you’d call my life’s work.  It’s my corner, after all. It’s just one little part of the world, but things happen there, too, just like everywhere else. It’s a record of my little spot. “.

The place is the same, but each photo is different from the other. As in the illustrations of Vincent Mahé, the places are those of the cities we live, that we see every day, but the stories they host are always different.

You’ve got your bright mornings and your dark mornings. You’ve got your summer light and your autumn light. You’ve got your weekdays and your weekends. You’ve got your people in overcoats and galoshes, and you’ve got your people in shorts and T-shirts. Sometimes the same people, sometimes different ones. And sometimes the different ones become the same, and the same ones disappear. The earth revolves around the sun, and every day the light from the sun hits the earth at a different angle.

Take your time. You will never understand if you don’t try to slow down.

Vincent Mahé’s illustrations and the art of telling without words
Vincent Mahé’s illustrations and the art of telling without words
Vincent Mahé’s illustrations and the art of telling without words
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MSCHF puts 250 Picasso fakes up for sale, but one is original

MSCHF puts 250 Picasso fakes up for sale, but one is original

Giorgia Massari · 2 weeks ago · Art

Known to many for Jesus, the pair of Nike Air Max 97s customized with Jordan River water and sold for $1,425, the art-fashion collective MSCHF arrives in Los Angeles with the second act of its exhibition No More Tears, I’m Lovin’ It. Also at Perrotin‘s, first in NY and now in LA, the collective opened Art 2 a few days ago, prompting lots of comments. Starting with the invitation for the opening, an envelope from Apple with anything but real AirPods inside. The headphones looking identical to the real thing were just an edible reproduction, a small sweet snack to ease the bitterness of disappointment. Still in the wake of reproduction, the exhibition also continues consistently following the line that MSCHF has started for a few years now. After selling a Warhol original for $250 but among 999 other fakes reproduced by them, this time it is Picasso‘s turn. The collective reproduced 249 times the Le Poisson sculpture by the world-famous Spanish artist, previously buying the original that they then displayed among the fakes. So there are 250 wooden fish on display waiting to be bought, but only one person will be lucky enough to purchase the original. But the exhibition does not end there.

On display alongside this “real Picasso treasure hunt” is the 2004 Chrysler PT Cruiser automobile, yet another MSCHF Drop, the eighty-fourth to be exact. It is the vehicle used to cross the country-destined Truckee, California-by thousands of drivers who could use it through duplicate keys made available by the collective. Now the relic is on display at Perrotin’s after more than a year of performance.


Also not to be missed at Perrotin’s are the much-discussed Big Red Boots that MSCHF released last year, enjoying huge success especially among influencers. This time the collective presents them in a series of six sculptures where the boots are worn by hairy legs, tracing the images spread on social in memes. Not just Picasso, not just the car and the boots. There are many provocative installations that MSCHF presents in Los Angeles, including a rotating machine that mixes Coke and Pepsi. Scroll through the carousel below to discover them all.

Visualizza questo post su Instagram

Un post condiviso da MSCHF (@mschf)

Courtesy MSCHF

MSCHF puts 250 Picasso fakes up for sale, but one is original
MSCHF puts 250 Picasso fakes up for sale, but one is original
MSCHF puts 250 Picasso fakes up for sale, but one is original
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Felicia Chiao and her surreal and imaginative illustrations

Felicia Chiao and her surreal and imaginative illustrations

Giulia Guido · 2 weeks ago · Art

Pennarelli artistici, un blocco per gli schizzi e tanta fantasia, questi sono gli unici strumenti  che Felicia Chiao utilizza per realizzare le sue stupende illustrazioni. 
Felicia è nata in Texas, a Huston, durante il periodo degli studi si è trasferita in Rhode Island, dove ha studiato design, specializzandosi in design industriale e oggi vive a San Francisco. Di giorno è a tutti gli effetti una designer industriale, ma di notte e nel tempo libero si dedica completamente alla sua più grande passione, il disegno. 

Felicia Chiao disegna da sempre, fin da quando era bambina, ma la vera svolta è avvenuta quando ha cominciato a condividere i suoi lavori su Instagram e su Tumblr. In breve tempo i suoi schizzi hanno catturato l’attenzione di migliaia di persone, arrivando ad avere oltre 200 mila follower. 

Non essendo un’illustratrice di professione, Felicia è libera di disegnare liberamente ciò che le piace, senza avere restrizioni o scadenze. Le sue illustrazioni sono calme e spesso e volentieri hanno come protagonista un omino, mostrato durante diversi momenti della giornata all’interno di quella che può essere casa sua. A volte è triste, altre è felice, in alcuni casi è stanco e in altri sta aspettando solo un momento migliore, un po’ come tutti noi. 

Qui sotto trovi alcuni lavori di Felicia Chiao, ma se vuoi scoprirne di più seguila su Instagram

Felicia Chiao and her surreal and imaginative illustrations
Felicia Chiao and her surreal and imaginative illustrations
Felicia Chiao and her surreal and imaginative illustrations
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