Seeing the art was only half the problem. The other half was wanting to be seen.
Interviews, protests, missed encounters and wet shoes. Antonino La Vela’s account of the Venice Biennale, and of his own ambition. Read a free preview in English or Italian.
Read the Free Preview →English & Italian editions · Print & ebook · Out November 22, 2026
Sixty works from Lyon’s Musée des Beaux-Arts bring twentieth-century painting to the Reggia di Venaria. Beyond the celebrated names, three images stay with me: Lam’s knife, Matisse’s yellow, and a small circled 5 in Bacon’s bullfight.
Conrad Bo and Superstroke: When the Brushstroke Becomes a Body Some paintings don’t describe movement; they are movement. Conrad Bo’s
The first time I came across a Superflat exhibition, I was not sure whether I was looking at contemporary art
Yoshitomo Nara: innocence, rebellion, and the soul of Superflat (2025 Guide) Cute, Menacing, and Deeply Human: Exploring Nara’s Complex World
Chiho Aoshima turns the polished surface of Superflat into a world of ghosts, cities, flowers and catastrophe Chiho Aoshima’s images
A collective born in Italy during the pandemic, facing the challenge of being both artists and mothers between creative practice,
Some Venice Biennale articles reached Google’s first page. Others on Gaza, Israel, Russia and institutional power almost vanished. This essay follows the machinery of visibility from museums and markets to search engines and AI.
