“The Milan-based painter Aldo Sergio uses paint to warp perception, creating portraits and still life paintings which blur the boundary between the digital and the physical, and the traditional and the contemporary. “
“Sergio uses traditional painting methods to capture portraits of Victorian families, bowls of fruit, and birds, and then distorts these objects by covering them in small ‘glitches.’ Sergio builds tensions between objects, people and space, and his carefully painted glitch-like malfunctions to give his artworks an unusual movement, making a stark contrast to the stillness and seriousness of traditional paintings.” via Colossal
His solo exhibition at Galleria Patricia Armocida in Milan runs until the 30th of November, 2018.
Talented marble artist Fabio Viale creates an upgrade versions of classic masterpieces aligning them to the modern society state of things (and its current meltdown with gangster culture). His tattooed marbles are the pieces to think about the contemporary life priorities and “what’s going to left after us”
"Mathery" is an award-winning Italian studio founded by duo of art directors Erika Zorzi and Matteo Sangalli. The catalysation of their ideas often turns as a long-term collaborations with leading agencies and producers, and even festivals like OFFF Barcelona. For their latest edition Mathery imagined "OFFF" name as abbreviation to "Oysters Flavoured Food Festival" brining the outstanding visuals for the campaign.
Chinese visual designer Xiaolin Zeng was responsible for creating motion titles for Digital Design Days / "OFFF on Tour" Festival went in Milan last week.
Boolean as in computer-aided design are called operations of subtraction, intersection, and union
"After 18 months of hard work in the studio, the Italian artist Angelo Musco is ready to to share his ‘Aaru’— a the culmination of many photo shoots and hours in the studio. being the artist’s medium, the human body is the basis of the new work."
"The word ‘Aaru’ comes from Egyptian mythology and represents an eternal paradise, a lush oasis for eternity. The ancient Egyptians believed that after death they had a dangerous journey through the underworld to the hall of final judgment where the ‘weighing of the heart’ was executed before they could continue onto the paradise of Aaru."
In the creative industry, we are overwhelmed by abstract CGI animation, most of the times made using presets, most of the times without a concept.
FROM COLORS TO NONE is a research about 3 human steps through colours. Each step is represented by a basic geometric form: A circle, a square and a triangle. The circle is humanity, Square is coherence, Triangle is relationships. Nowadays, these 3 aspects are, day by day, chocked by our digital routine. Sometimes we feel like swimming in the sand, blinded by powder. But when it seems all black, we try to survive and research for a new balance. So we build our Color Machine from none. Cause, maybe, from none we come… and our life is 100% colourful :)
Italian photographer Nicola Bertellotti is a real castle-hunter travelling around the Europe to find abandoned beauties of previous epochs. His photographs left us with gasps and unresolved questions "why? where?" spelling more miracle on the untold stories
For Untitled (plot for dialogue), Asad Raza continues his exploration of inhabiting space with social practices, human and non-human beings, and objects. Raza responds to the architecture of the 16th-century church by introducing flooring, lines, netting, racquets, iced jasmine tea, and coaches for a tennis-like game. He repurposes the church, a place of messages from higher authorities, into a space of two-way exchange and recreation. Raza’s involvement in tennis is longstanding; he is an avid player and has written extensively on the subject. Here he reorients the sport as a reflection on the importance of non-productive activities in a society focused on work. For Raza, the game serves as a method of absorbing energetic drives into symbolic but non-harmful practices.
Visitors to Untitled (plot for dialogue) become more than spectators—practicing with the coaches, they inhabit their bodies in coordinated action. Players respond to each other through the medium of the ball and the plot of the court. The piece places the experience of play above purely visual appreciation, as the back-and-forth of tennis exchanges produces meditative beauty through actions never to be repeated.
Director and curator: Alexander May
Curator: Michele D’Aurizio
Exhibition coordinator: Nadine D’Archemont
Assistants: Giulia Ratti, Chiara Spagnol
Tennis coaches: Tommaso Agrati, Edoardo Bodini, Tommaso Corbetta, Chiara Dell’Acqua, Jacopo Mazzetti, Marco Zanghì
Massimiliano Pelletti was born in Pietrasanta, a land of noble sculptural roots that gave and gives a lot to the contemporary art. In Pietrasanta he also grown up, and he trained technically in the study of his grandfather, the sculptor Mario Pelletti. He made his debut as an artist in 2006 by winning the 12th biennial of young artists of Europe and the Mediterranean.
Pelletti makes experience of the shape with rigorous attention compositive, strictly consistent with the creative mood of his territory.
He puts togheter the mannerism with the conceptual relevance and the narrative sensibility, because he realizes that the aesthetic perfectionism contains in itself the conflicting root of the emotions.
NEBULA is an interstellar cloud of dust, hydrogen, helium and other ionised gases. Looking at one of these is like, at the same time, watching to the future and the past, due too the light velocity and the distance between us and them.
Leonardoworx made a design research about this concept, and "we are made of stardust" manifesto. It's an ordered disorder guided by abstract shapes with nebulas textures in a first step.
"In the second one I painted my imaginary textures (inspired always by real nebulas). Looking at universe is so inspiring and it shows how little we are in space and time dimensions," - says Leonardo
Russian Calligrafiturism artist Pokras Lampas spent 500 l of yellow paint, 1250 sq.m of calligraphy for the fabulous "F.. is for Fendi" campaign performed on the top of monumental HQ of Fendi in Rome at Palazzo della Civiltà Italiana (Colosseo Quadrato)
An official Calligraffiti ambassador (and freak), Pokras Lampas is blurring the frontiers with his brushes and paint buckets. He is one of the most talented modern artists, and is totally rewriting stuff through Calligrafuturism, his personal way of expressing his version of our uber-global and sometimes-crazy world. This globetrotter is also spreading the word about modern calligraphy and collaborating with crazy cool brands and artists.
He realized the biggest Calligraffiti in Italy on FENDI rooftop at Palazzo Della Civiltà Italiana, reinterpreting the F IS FOR…manifesto throughout freedom of expression, art, culture and optimism all around!
Not only he’s a super fly freak – who happens to love Kanye West – but he is also an incredible masterpiece machine. Pokras Lampas captures, creates, interprets and simply makes magic magic.
Totally goosebumps-worthy, his time in Rome with the F is For… crew was so rad, filled with an intense, gigantic-lettered poem, shapes and lines that basically set the standard once again for what we label as authentic talent.
"Giovanni Gastel's static scenes provide an alluring and unsettling glimpse into private spaces characterised by poetic irony and balance"
"Combining minimalist design with voyeuristic angles, audiences are invited to measure and compare different modes of domesticity in the works of Giovanni Gastel. Each living room is a hive of conceptualised activity"
" Milan-born Giovanni Gastel first has contact with photography in the 1970s, which truly began to take shape in 1981 when he was introduced to the world of fashion, collaborating with the likes of @vogueitalia and @mondouomo. Ritratti di Living plays upon flattened shadows and deep colours, providing an emotional backdrop for the lifestyles advertised."
Text via Aesthetica Magazine
Cristina Burns is a photographer and a mixed media artist. Her work is characterised by juxtaposition, where opposing elements such as candies, toys, and flowers are fused to anatomical parts and insects, often blurring the extremely thin lines between fantasy and reality, purity and sin, life and death.
This multiplicity of elements are meticulously arranged to create her surrealistic compositions, then she photographs the assemblage, digitally enhance and prints in a limited number of copies, the resulting print is the only record of the artist's process.
"In 2008 the wreck of a treasure ship called the Apistos (meaning “the Unbelievable”) was found on the seabed off east Africa. It sank about 2,000 years ago. Its unique cargo of global artefacts, assembled by a freed slave called Cif Amotan II, have spent two millennia undergoing a “sea change” straight out of Shakespeare’s Tempest, becoming wrapped in coloured corals and bizarre crustacean growths - until the archaeologists who found this sunken marvel asked Hirst to use his millions to help recover it."
"If you believe that, you’ll believe anything. The curators who told this bit of hokum straightfaced at the start of the press view deserve bonuses, if Hirst has not yet bankrupted himself creating this luxury masterpiece. " The Guardian
Photographed by Christoph Gerigk
© Damien Hirst and Science Ltd.
The elaborate backstory is slightly undercut by the fact that the fake relics include not just historical references, but the faces of Pharrell, Kate Moss, Rihanna, and Die Antwoord singer YoLandi Visser, not to mention Mickey Mouse.
Photographed by Prudence Cuming Associates © Damien Hirst and Science Ltd. All rights reserved, DACS/SIAE 2017.
‘Treasures from the Wreck of the Unbelievable’, April 9-December 3, Palazzo Grassi and the Punta della Dogana, Venice; palazzograssi.it
Photography from exhibition by Rita Bamburova
Italian sculptor Willy Verginer creates figurative sculptures from wood, pieces that allow his carving skills to stand out with minimal additions of monochrome bands of paint.