By Michele Robecchi
At home with both high-value and down-home productions, Christian Marclay has established himself over the course of a 30-year career as a pioneer of sound and visual art. Following the success of The Clock, a 24-hour film that took about three years to be completed and is arguably Marclay’s most ambitious [...]
By Michele Robecchi
The new media category of homemade journalism found renewed poignancy on spring 2011 when thousands of citizens, armed with mobile phones and cameras, joined the protests in Cairo and provided a vivid, non-official portrait of the ongoing revolution. The power of those images, as well as their earned reputation for painting [...]
In the panorama of contemporary Swiss art, Gianni Motti occupies a category all his own, and while his influence nationally and internationally is beyond dispute, it is no less important to point out both the force and integrity of his independence with respect to the usual institutional and economic channels art follows. Consequently, [...]
By Michele Robecchi
Milan Kundera’s recent request to insert a clause in his agreements to prevent the digital publication of his novels has predictably generated both enthusiastic and perplexed responses, drawing a deeper furrow between those who advocate the uniqueness of the book as object and those who propagate its electronic version [...]
By Michele Robecchi
Without questioning the sacrosanct necessity of security measures, especially when it comes to protecting a massive, crowded and potentially vulnerable event such as the Olympics, the recent news of missile batteries installed on rooftops of Bethnal Green and many other neighborhoods surrounding London’s Olympic Park have raised a few eyebrows. Battered [...]
By Michele Robecchi
When the eminent professor Arnold Bode initiated Documenta in 1955, his primary goal was to show the ‘Entartete Kunst’ (degenerated art) erstwhile banned from his country by giving movements such as Fauvism, Cubism, Surrealism and fundamentally anything remotely abstract the first opportunity to be viewed in post-war Germany. It was clearly [...]
By Michele Robecchi
Paul McCarthy is contemporary art marmite. Love him or hate him, it’s impossible to deny his influence and relevance. Yet, even according to many of his supporters, “The King, The Island, The Train, The House, The Ship,” his recent solo exhibition at Hauser & Wirth and possibly one of the largest [...]
By Michele Robecchi
Undisputable geniality and stunning longevity were two of the main ingredients that made Frank Lloyd Wright reach his legendary status, yet there was a time, in the mid-1920s, when the life of the man whose work would revolutionize architecture as we know it, seriously hit the skids. Self-exiled in Wisconsin, and [...]
By Michele Robecchi
The local community - that unpredictable, unquantifiable, factor whose feedback has dominated the activity of every museum or contemporary art institution ever since their policy of decentralization started taking place in the early 1990s. There is always something slightly manipulating in the idea of educating the public to interact with the [...]
Hales Gallery - London
By Michele Robecchi
Adam Ross is an artist who periodically hops from abstraction to realism. As with many painters, the ostensible reason for doing so resides in his desire to examine his medium of preference and to establish a critical relationship between its two historical representational forms. But there is more. His landscapes [...]
