Arts Council Malta proudly announces that Maltese artist Matthew Attard, born in 1987, will represent Malta at the esteemed 60th International Art Exhibition – La Biennale di Venezia. This historic occasion marks the first time that a solo Maltese artist has been entrusted with the national pavilion. Attard’s exhibition, titled “I WILL FOLLOW THE SHIP,” curated by Lead Curator Elyse Tonna and Co-Curator Sara Dolfi Agostini, promises to be a groundbreaking exploration of cultural heritage and digital technology.

At the forefront of this venture is the youngest team ever to represent Malta at the International Art Exhibition of La Biennale di Venezia. “I WILL FOLLOW THE SHIP” melds contemporary drawing, historical narratives, and cutting-edge digital technology, reflecting Attard’s recent investigations into AI and digital mediums as forms of artistic expression.

The inspiration behind the project stems from Attard’s fascination with historical images of ‘ex-voto’ ship graffiti, which adorn wayside chapels across Malta. These ancient maritime symbols, etched into stone by seafarers seeking divine protection, resonate across cultures as emblems of hope and survival amidst the tumultuous seas. Attard’s work seeks to delve into humanity’s relationship with artificial intelligence and digital technology, intertwining historical imagery with contemporary digital drawing techniques.

The exhibition’s title, “I WILL FOLLOW THE SHIP,” serves as a metaphor for both the objective and subjective aspects of Attard’s artistry. It alludes to the artist’s utilization of a digital eye-tracking device for drawing, drawing parallels between tangible historical drawings and ephemeral digital creations. Through a multi-layered installation at the Malta Pavilion in the Arsenale, Attard aims to provoke contemplation on authorship, perception, and the evolving relationship between humans and machines in an increasingly digitized world.

As the global community grapples with issues such as climate change and technological advancement, “I WILL FOLLOW THE SHIP” offers a poignant reflection on the human condition. By challenging societal faith in techno-symbiotic relationships, Attard prompts viewers to reconsider their roles in an ever-changing landscape.

The Malta Pavilion’s participation in the 60th International Art Exhibition of La Biennale di Venezia is made possible through the support of Arts Council Malta and the Ministry for the National Heritage, the Arts and Local Government. Under the leadership of Dr. Romina Delia and the Internationalisation team at Arts Council Malta, the pavilion continues to serve as a platform for critical dialogue on contemporary art and cultural identity.

Minister for the National Heritage, the Arts and Local Government, Owen Bonnici, expressed his enthusiasm for Attard’s representation of Malta, hailing the project’s exploration of human existence and survival amidst historical and futuristic intersections. Attard himself expressed gratitude for the opportunity to showcase his work on an international stage, emphasizing the significance of bridging cultural traditions with technological innovation.

“I WILL FOLLOW THE SHIP” promises to captivate audiences at the 60th International Art Exhibition of La Biennale di Venezia, inviting viewers to ponder the complexities of human experience and the evolving role of technology in shaping our collective destiny.

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On Monday, March 11, 2024, the Aula Magna of the Academy of Fine Arts in Bologna will serve as the stage for a remarkable event, titled “Nino Migliori: Experimentation as the Language of Possibility.” Commencing at 11:00 a.m., this gathering promises an insightful exploration into the artistic evolution of renowned photographer Nino Migliori, accompanied by contributions from esteemed figures Walter Guadagnini and Ascanio Kurkumelis.

The event aims to provide attendees with a comprehensive overview of Migliori’s oeuvre, spanning from the late 1940s to the contemporary era. Central to the discussion is the profound significance of experimentation within Migliori’s photographic language. By delving into his extensive body of work, participants will gain a deeper understanding of how Migliori’s innovative approach has shaped the realm of visual storytelling.

Of particular importance is the role played by the Nino Migliori Foundation in championing the artist’s research endeavors, both within Italy and on the global stage. This occasion serves as an opportunity to underscore the foundation’s vital contributions to the preservation and dissemination of Migliori’s legacy.

Since his debut in 1948, Nino Migliori has embarked on a captivating journey through European visual culture. His early works reveal a dual exploration of neorealistic photography and experimental techniques, showcasing a unique blend of narrative storytelling and material innovation. Migliori’s ability to seamlessly navigate between these two realms has established him as a trailblazer within the photographic landscape.

Notably, Migliori’s off-camera photographs have garnered international acclaim for their avant-garde aesthetic and profound conceptual depth. These works, situated within the broader context of European informalism, offer viewers a glimpse into the artist’s visionary perspective, often predating established trends within the art world.

Over the years, Migliori’s artistic practice has continued to evolve, embracing new materials and techniques such as polaroids and bleaching. By the late 1960s, his work had assumed conceptual dimensions, signaling a shift towards more abstract and introspective explorations of the medium.

At the heart of Migliori’s artistic ethos lies a steadfast commitment to experimentation and innovation. His visual productions are characterized by a keen sense of vision, inviting viewers to engage with themes of identity, memory, and perception. Through his work, Migliori challenges conventional notions of photography, pushing the boundaries of the medium to new and exciting heights.

Today, Nino Migliori stands as a true architect of vision, his legacy enshrined within the annals of art history. His works are held in esteemed public and private collections worldwide, a testament to the enduring impact of his artistic vision. As attendees gather to celebrate Migliori’s achievements, they are invited to embark on a journey through the rich tapestry of his photographic legacy, a testament to the enduring power of creativity and experimentation.

Accademia di Belle Arti di Bologna

Via delle Belle Arti, 54, Bologna
www.ababo.it

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Internationally acclaimed Roman artist, Hitnes, has recently completed his groundbreaking urban artwork in Ostia, which has left a lasting impact on the landscape and the community, particularly the students of the region. Situated at the ITC “Paolo Toscanelli” branch on Via Capo Sperone, this mural curated by Mirko Pierri of the a.DNA project association marks Hitnes’ debut in the Ostian territory, showcasing his unparalleled talent and vision.

The mural has not only visually transformed the surroundings but has also sparked curiosity and dialogue among the students and locals alike. Mirko Pierri emphasizes the importance of engaging the community, stating, “School is a public place and should not be experienced counting the hours until the last bell to escape, but it can be a space open to everyone, creating aggregation during and after lesson hours.” Hitnes’ artwork has succeeded in accomplishing just that, fostering a sense of connection and conversation within the community.

Mirroring the evolutionary journey, Hitnes’ mural narrates a compelling story that unfolds across the walls of the Toscanelli Institute. From the primordial sea to the emergence of mankind and their subsequent impact on the environment, the mural encapsulates the essence of evolution intertwined with human intervention. Through thought-provoking imagery, Hitnes prompts viewers to reflect on humanity’s relationship with nature and our role in shaping the world around us.

The project, part of the larger initiative “E.C.O.” (Ecology Sharing Opportunities for the sea of Rome), underscores the importance of art in raising awareness about environmental issues. By winning the “Lazio Street Art 2022” call for proposals and securing funding from the Lazio Region, Hitnes’ mural stands as a testament to the power of art in addressing societal challenges. Collaborating with local associations and schools, the project not only enriches the cultural landscape but also fosters community engagement and dialogue.

Hitnes’ mural serves as a beacon of inspiration, urging us to reconsider our relationship with the environment and the world we inhabit. As the narrative unfolds, from the depths of the sea to the emergence of life on land, Hitnes reminds us of our interconnectedness with nature and the need for sustainable coexistence. In a world grappling with environmental degradation, Hitnes’ artwork serves as a poignant reminder of our responsibility to protect and preserve the planet for future generations.

With its thought-provoking imagery and profound symbolism, Hitnes’ mural in Ostia transcends mere aesthetics, leaving an indelible mark on the community and igniting conversations about our collective future. As we contemplate the mural’s message, let us heed its call to action and strive towards a more harmonious relationship with the environment, guided by empathy, compassion, and a commitment to sustainability.

Hitnes’ mural is not just a work of art; it is a testament to the transformative power of creativity and a catalyst for change in Ostia and beyond.

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We’re still learning about the white noise of melting ice in a lagoon that is not pink.
The lagoon is not pink is a journey in Iceland covering just over 3800 km in search of the most aseptic and impersonal parts of the island, with the idea of ​​isolating tourists and people from the environmental context.

In August there was a volcano that erupts. We discovered its lava strength on Instagram, two weeks before the departure. To facilitate the visits, they have created two paid parking and a road that can only be traveled by foot. Along the way it is an exile of mismatched gloves and hats lost. The authorities invite you to stay on the marked route, because – they say – it can be dangerous.

Looking for off the beaten track places we ended up in the most isolated fjord of Iceland where we discovered that the inhabitants all know each other because they attended the same local school. Despite the different ages, there was only one class and one teacher for everyone. Twice a week, a small ship docks at the marina to allow locals to go shopping without taking the car. In August 2022, 11 (eleven) people lived here. We met one with his dog. Very friendly. He was a postman working about 2 hours by car from the fjord.

He worked every year from April to the end of October, then with the first snow they closed the road and the job was gone. Even the fishing industry has gone, there are no more fish. They had so many and they exported them to Japan.

It’s a matter of time and timing. There is also a hostel belonging to a well-known hotel firm. Despite the peak of the season, it was closed. No hot chocolate for us. The road ends with the last house inhabited by two elderly sisters. Beyond their home, nothing.

In these places there is only one time, that of Winter. The Christmas decorations, which are also fixed in the summer, testify to this.

Supermarkets are large, very cold and aseptic environments, the products are poorly placed on the shelves and without an evident logic. However, sweets and soft drinks dominate. They also have tropical fruits but you can’t bargain on the price. You buy them at a high price.Water is everywhere, but it is the only product in supermarkets with an English label, bottled for tourists.

The supermarket checkouts are presided over by blond children, boys and girls, largely minors. They speak excellent English and are very friendly. Their minimal and indispensable warmth compensates for the aseptic cold of the supermarket.

Private property is not noticed as we know it and definitly Iceland is a country where children leave their bicycles untied along the road and where a yellow light means slow down and not speed up. 

Everything was fine, I saw Iceland suffering a bit because we are a lot and we all want to see it.

About the author:

Luca Arena (1988) was born on the first day of spring at 9:30. He is color-blind since 35 years and every day he tries to get over it. He studied economics and marketing at the University of Pisa and during his free time he devotes himself to travel and photographic reports.

He has several solo exhibitions and online publications. The work Impersonalism: Tenerife was presented to the public with a personal exhibition at Spazio 32 in La Spezia, a cultural reference point, while the project Á means river | Ísland and the book was exhibited at GATE 26A in Modena.

IG: liuk_arena

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Cotignola, Italy – In a celebration of contemporary art and the transformative power of papier-mâché, the Museo Civico Luigi Varoli in Cotignola is set to unveil “Salve,” an exhibition featuring the works of American artist Christian Holstad. Scheduled for inauguration on Saturday, March 9, 2024, at 5:00 p.m., this exhibition is part of a comprehensive project spearheaded by curator Gioele Melandri, aiming to explore and elevate the role of papier-mâché in modern artistic expression.

Holstad, born in Anaheim, California in 1972, brings a distinctive sensitivity to the utilization of papier-mâché, delving into themes of rejection, waste, and the metamorphosis of these elements into potential sources of inspiration. His oeuvre reflects the paradoxes of contemporary consumer society, confronting viewers with a visionary reinterpretation of everyday objects. Shopping carts, microphones, jewelry, and even serpents become symbolic conduits through which Holstad challenges societal norms and perceptions.

At the heart of the exhibition lies an exploration of papier-mâché as a catalyst, igniting a dialogue between the artist, his creations, and the audience. Divided into two acts, the showcase promises a multi-faceted journey into Holstad’s artistic universe. The first act, titled “A flutter of butterflies atop debris to reach our gentle heights,” premiering on March 9th, features Holstad’s monumental installation “Gentle Parade.” This captivating display intertwines deconstructed shopping carts with delicate papier-mâché butterflies, inviting viewers to contemplate notions of gentleness and resistance amidst societal flux.

Accompanying this centerpiece are Holstad’s intricate paper sculptures from the late nineties, alongside a curated selection of new works tailored specifically for the occasion. Transitioning seamlessly into the second act, “Hello,” which opens to the public on April 12th, visitors will be immersed in Holstad’s world of newspaper paper drawings. Originating from private collections across Italy, Europe, and the United States, these drawings offer a glimpse into the artist’s evolution over the past decades.

Expanding beyond the confines of Museo Civico Luigi Varoli, “Salve” extends its reach to the nearby Chiesa del Pio Suffragio, where additional sculptural works by Holstad will be on display. Collaborative efforts with the cultural association MAGMA further enrich the exhibition experience, presenting a diverse program of events and activities.

Supported by the Municipality of Cotignola and Gruppo Hera, “Salve” marks a significant milestone for Christian Holstad, as it represents his first solo exhibition in Romagna. This region, where the artist has immersed himself for several years, serves as an inspirational backdrop for his artistic endeavors.

Complementing the exhibition is a comprehensive catalog and a series of guided tours and educational workshops, providing visitors with deeper insights into Holstad’s creative process and thematic explorations.

Christian Holstad’s artistic trajectory has left an indelible mark on the international art scene, with notable exhibitions across prestigious galleries and institutions. From Paris to London, Milan to New York, his works have captivated audiences worldwide, offering profound reflections on contemporary society and culture.

As “Salve” prepares to unfold its artistic tapestry, it promises to captivate and inspire, inviting viewers to embark on a transformative journey through the enchanting world of Christian Holstad’s papier-mâché creations.

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Athens Photo Festival 2024 is accepting submissions from artists and photographers for its exhibition program. The selected works will be on view from 4 June to 28 July, at the Benaki Museum / Pireos 138, one of the most prestigious museums in Greece. The submission deadline has been extended to 15 February.

The Festival will feature the work of over 100 artists from all over the world, selected through this international open call. Exploring a variety of cultural, artistic, social, and political perspectives, the festival is dedicated to providing a dynamic platform for the exchange of ideas, artistic expression, and engagement with photography and visual culture.

The Festival invites projects from the entire spectrum of the photographic medium, ranging from fine art, conceptual, documentary photography, and photojournalism to other media, including video, performance, and installation. In this way, we seek to create a critical dialogue that embraces a variety of expressive means, thematic areas, and approaches – from a traditional photography background to the most contemporary practices. 

The main program will occupy all the exhibition spaces of the Benaki Museum / Pireos 138, covering over 3,000 square meters. In addition to the exhibitions, at the core of the Festival, is a multi-layered program of events and initiatives, including educational activities, networking and talent development opportunities, community outreach, and a variety of public programs.

Submission Deadline: 15 February, 2024

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As the misty tendrils of imagination unfurl over the vast ocean, a captivating narrative emerges from the Nordic Pavilion at the 60th International Art Exhibition – La Biennale di Venezia. Here, artist Lap-See Lam invites us to traverse realms both real and fantastical aboard the spectral dragon ship of The Altersea Opera.

At the heart of Lam’s creation lies a tale of existential exploration, a poignant quest for belonging amidst the currents of displacement. The protagonist, a creature of both water and land, invokes the sea goddess Ma-Zhou, inadvertently summoning a dragon ship that transcends the boundaries of time and space. This enigmatic vessel becomes the vessel for a journey imbued with myth, magic, and the ever-present yearning for home.

Conceived by Lap-See Lam and brought to life through a collaboration with curator Asrin Haidari and artist Kholod Hawash, The Altersea Opera unfolds as a multi-modal installation, a symphony of visual and auditory wonder. Composer Tze Yeung Ho’s ethereal score, blending Baroque ornamentation with diverse instruments, sets the tone for the voyage, punctuated by haunting lullabies and poetic verses echoing the artists’ multilingual backgrounds.

As visitors step into the Nordic Pavilion, they are enveloped by the essence of a dragon ship, inspired by the Floating Restaurant Sea Palace – a majestic vessel with a storied past, now resting in a remote boatyard in the Stockholm Archipelago. It is here that Lap-See Lam’s exploration of generational loss and cultural displacement takes shape, weaving together threads of mythology, history, and personal narratives.

Central to the Pavilion’s narrative is the figure of Lo Ting, a mythological being caught between worlds, half-fish, half-man, longing for a home that exists only in memory. Through a richly layered film shot aboard the Sea Palace, Lam reimagines Lo Ting’s journey, navigating through landscapes both physical and metaphorical, in search of Fragrant Harbor – a place transformed beyond recognition.

Echoing Lam’s evocative storytelling are Kholod Hawash’s textile works, delicate embroideries that speak volumes through intricate motifs and symbols drawn from folk tales and archaeological landscapes. Each stitch, each thread, becomes a testament to the resilience of memory and the power of cultural heritage to transcend borders and time.

The Altersea Opera is more than an installation; it is a testament to the collaborative spirit of artistic innovation. Initiated by Moderna Museet in collaboration with the Office for Contemporary Art Norway and the Finnish National Gallery Kiasma, it exemplifies the power of cross-cultural dialogue and exchange in the realm of contemporary art.

As the dragon ship of The Altersea Opera sets sail within the hallowed halls of the Nordic Pavilion, it beckons us to embark on a voyage of self-discovery, navigating the depths of imagination and the vast expanse of the human experience. In this ethereal journey, we find solace in the shared narratives of longing, belonging, and the timeless quest for safe harbor amidst the ever-shifting tides of existence.

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Renowned architect Frank Gehry once famously declared, “I decided the fish was the model for the future of architecture because it expressed sculptural movement.” This profound statement encapsulates Gehry’s lifelong fascination with natural forms and his quest to redefine the boundaries of architectural design. Now, Gehry’s visionary perspective is on full display in his latest exhibition, “Ruminations,” at the Gagosian gallery’s Madison Avenue location.

Opening on February 8, 2024, “Ruminations” showcases Gehry’s latest sculptures and works on paper, including elaborate interpretations of his iconic Fish Lamps sculpture series and a captivating Crocodile Lamp sculpture. The exhibition offers viewers a glimpse into Gehry’s creative process and his exploration of the intersection between art, architecture, and nature.

At the heart of the exhibition are Gehry’s internally illuminated sculptures, crafted from copper and Formica, which evoke the fluidity and grace of aquatic life. Visitors to the gallery will encounter suspended fish sculptures, illuminated from within, casting mesmerizing shadows and blurring the lines between art and architecture. Gehry’s fascination with the “perfect form” of the fish extends beyond sculpture and permeates his architectural masterpieces, such as the iconic Walt Disney Concert Hall in Los Angeles and the Guggenheim Bilbao.

Each sculpture in “Ruminations” is a testament to Gehry’s innovative approach to design, drawing inspiration from nature’s timeless beauty and evolutionary marvels. The intricate leaflike scales adorning the copper fish sculptures represent a new motif inspired by Gehry’s personal experiences, including a memorable hike with his granddaughter.

In addition to his sculptural works, “Ruminations” also features a selection of Gehry’s works on paper, offering viewers insight into his creative process and artistic experimentation. Through loose, joyful drawings rendered in ink, watercolor, and acrylic, Gehry captures the dynamic energy and organic essence of the piscine form, echoing the fluidity of his architectural sketches.

Throughout his illustrious career, Gehry has pushed the boundaries of architecture, challenging conventional notions of form and function. From his groundbreaking designs for the Guggenheim museums to his innovative furniture creations, Gehry’s work transcends traditional categorizations, blurring the lines between art and architecture.

“Ruminations” invites viewers to embark on a journey through Gehry’s visionary imagination, where the timeless elegance of nature converges with the bold innovation of architectural design. With each sculpture and drawing, Gehry invites us to contemplate the future of architecture and the endless possibilities that lie ahead.

As visitors immerse themselves in Gehry’s captivating world of sculptural wonders, they are reminded of the enduring power of art to inspire, provoke, and challenge our perceptions of the world around us. “Ruminations” stands as a testament to Gehry’s creative genius and his unwavering commitment to shaping a more beautiful and harmonious built environment for generations to come.

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The world of Asian cinema, with its rich variety of genres and styles, has always fascinated audiences worldwide. Now, thanks to the digital innovation of Prime Video Channels, Italian cinephiles have access to a new temple of Eastern cinema: Far East Channel.

Launched by the distribution house Plaion Pictures, Far East Channel brings to the forefront a wide range of films ranging from no-holds-barred combat to breathtaking thrillers and touching love stories. With a selection that includes both critically acclaimed titles and works of pure entertainment, this channel offers an unmissable showcase for lovers of Asian cinema.

Eastern cinema has experienced a boom in recent years, captivating Italian and international audiences with a series of box office hits and productions that have become true cultural icons. Far East Channel responds to this growing demand for quality content from the Far East, offering a reference point for anyone seeking the best cinematic productions from the region.

The channel’s catalog is already rich with must-see films, ranging from beloved classics to rare gems, and will constantly be enriched with new additions every month. Among the first offerings, standout titles include “Snowpiercer,” the apocalyptic thriller directed by Bong Joon-ho, winner of numerous awards, and “Drive My Car,” winner of the Oscar for Best International Film in 2022.

Action lovers will also find electrifying films like “Hunt” and “Ip Man,” while those in search of strong emotions will appreciate titles such as “Ritratto di famiglia con tempesta” by Hirokazu Kore’eda, a work with dramatic tones exploring family ties.

Starting today, Prime customers have the opportunity to subscribe to the Far East Channel and enjoy its content whenever and wherever they want, via PC, TV, and the dedicated Prime Video app. With a free 7-day trial period and an additional monthly subscription of €6.99, this new destination for Asian cinema is now accessible to everyone, with the flexibility to cancel the subscription at any time.

Far East Channel represents a step forward in offering quality content on Prime Video Channels, offering Italian viewers a unique opportunity to explore the rich panorama of Asian cinema and discover new stories, emotions, and adventures that only Eastern cinema can offer.

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Venice – From today, Thursday, February 8, until Friday, March 8, the international call for young dancers and choreographers interested in participating in the new edition of Biennale College Danza is available online. The call can be accessed on the official website of the Venice Biennale, www.labiennale.org.

Following the success of previous editions which featured renowned artists such as Teshigawara and Xie Xin, as well as reinterpretations of works by major figures like Crystal Pite, Merce Cunningham, and Simone Forti, the upcoming Biennale College Danza will be directed by acclaimed choreographer Wayne McGregor. McGregor will be involved in a new creation with and for young dancers, premiering on the stage of the 18th International Contemporary Dance Festival, scheduled from July 18 to August 3.

Biennale College Danza offers a unique opportunity for 16 dancers aged between 18 and 28, along with two choreographers, to participate in an intensive residency in Venice. The three-month program allows artists to study under the guidance of international masters, developing their artistic skills and acquiring practical competencies to enter the dance market, from creating a portfolio to managing contracts and intellectual property.

During the residency period, from May 6 to August 3 at the Arsenale’s Sale d’Armi, participants will have the opportunity to take part in classical and contemporary technique classes, workshops dedicated to repertoire study, creative processes, and improvisation in preparation for new projects.

The culmination of the Biennale College Danza program will be within the 18th Festival, featuring the presentation of new choreographies commissioned by the Biennale. These include a creation by McGregor for the Sala Grande of the Palazzo del Cinema at Lido, a new work from the repertoire of Cristina Caprioli, and two original creations devised by selected choreographers, realized with the College dancers.

The Festival will not only serve as a platform for presenting the concluding works of the training program but also as a space for critical and creative exchange. Participants will have the opportunity to attend scheduled performances, participate in conferences, and mini-residencies with guest artists.

The complete call for Biennale College Danza 2024, including information on the program, benefits, and facilitations offered (travel, accommodation, transportation, compensation), can be found at https://www.labiennale.org/it/biennale-college.

Biennale College represents an experience that integrates all sectors of the Venice Biennale – Art, Architecture, Cinema, Dance, Music, Theatre, ASAC – offering young talents the opportunity to collaborate with renowned masters in creating works destined for the Biennale’s artistic programs. The project, carried out by the Venice Biennale, is supported by the Ministry for Cultural Heritage and Activities – Directorate General for Performing Arts and the Veneto Region.

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