Tag: The Art Field
Sofia Zevi: I don’t use Instagram, I don’t need it
As society chases constant novelty, —yet the value of honest endures. Sofia Zevi and the need to be critical, today when everything seems to have to be 'wow' on social...
Art Basel 2025: What Hides Behind Every White Wall of the Fair?
White walls, invisible materials, global logistics: Art Basel 2025 lays bare the environmental paradox of art fairs, where aesthetic minimalism meets concrete consumption
Piet Hein Eek’s Work with Wood Scrap: “There Are No Poor Materials”
From scrapwood cabinets to masterworks: the story of a Dutch Designer who built a global creative ecosystem around circular design, teamwork, and manufacturing Integrity
Rainbows in Shadows by Jenna Gribbon: seeing and being seen
Jenna Gribbon’s first solo show in Milan challenges the definition of looking, inviting the viewer to step into the artist’s place and inhabit her subjectivity
Consumerism and Built-in Obsolescence, in Counterpoint to Adriano Olivetti
An implied contradiction: Formafantasma’s reflection on consumerism and Technological Obsolescence takes place in Venice at the Olivetti store—a primary reference for the purpose economy
Consumismo e obsolescenza programmata, in controcanto ad Adriano Olivetti
Una mostra a contrasto, reazione: il ragionamento dei Formafantasma su consumismo e obsolescenza tecnologica prende luogo a Venezia, al negozio Olivetti, primo simbolo di imprenditoria etica
At the Biennale, it’s all sweat: a trillion trees—nothing else will save us
Introduction to Carlo Ratti’s Architecture Biennale: the lone subject is sustainability—a “mind-boggling” number of trees, humanity on its knees, sweat, heat, and a bacterial population boom
Alla Biennale, il sudore: mille miliardi di alberi, non c’è altro da fare
Introduzione alla Biennale Architettura di Carlo Ratti: l’unico argomento è quello sostenibile: un “numero da capogiro” di alberi, l’umanità che crolla, sudore, calore e la sovrappopolazione di batteri
