Category: Works

My Art Guide Milan 2025 offers a comprehensive overview of the city’s art scene and related events taking place during miart, Milano Art Week, Fuorisalone, and Superdesign Show. Our locally based editorial committee selects the must-see exhibitions, major galleries, and art spaces, while also curating recommendations on where to dine and stay in Milan.

The editorial committee for the 2025 edition includes Gea Politi, Director of Flash Art; Nicola Ricciardi, Artistic Director of miart; and Bruna Roccasalva, Artistic Director of Fondazione Furla.

Additionally, Serena Scarpello, head of content at MoSt, curates the design section, highlighting must-visit spaces and unmissable events.

The guide is available in print, digital, and app formats, offering the latest updates from Milan’s contemporary art scene and keeping visitors informed throughout the Art and Design Weeks. The printed edition, available in English, is a sought-after collector’s item and is distributed for free at major art fairs, museums, galleries, and luxury hotels.

The contemporary art project ‘Vetrina’ inaugurated its second cycle of presentations in February 2024. After exploring the broad theme of nature through the site-specific works of the first nine invited artists, the focus has now shifted to the theme of activism, exclusively involving women artists who are enterprising and provocative in different ways and who have always, in their works, provided space for a proactive reflection on the contemporary world.

For VETRINA#13, Vino Vero has invited Mariana Hahn, a multidisciplinary artist who investigates the relationship between the body and the transmission of memory and knowledge. Hahn incorporates materials such as silk, hair, salt, and copper in her research, examining memory as it is stored and transmitted in these media, and investigating their role, definition, and transformation through time and different civilizations.

The site-specific exhibition “Night Eyes” comprises five works, each offering an exploration of materiality and human experience, where time serves as a catalyst for transformation, reshaping both the artwork and its meaning.

The first piece, “Untitled” (2020), features a stainless copper plate intricately shaped to depict the outline of a reclining human figure. This work was conceived to represent the artist’s own body, captured through the imprint of sweat left during her running sessions in Paris. This act of leaving a trace is imbued with significance; as time progresses, the natural oxidation process inherent to copper gradually reveals this imprint more prominently, becoming a mark of both presence and memory. The pose captured is one often witnessed by the artist—a reflection of marginalized individuals sitting still on city streets, heads bowed over their knees, in a posture of submission and vulnerability.

This resonance between form and emotion invites contemplation on how copper mirrors human existence. Just as our bodies undergo various transformations throughout our lives, so too does copper transition from its initial lustrous shine to an intricate patina over time. This transformation highlights not merely aesthetic contrasts but also suggests layers of narrative within the patina—stories etched into its surface that resonate with beauty born from decay.

In addition to this evocative piece, the exhibition presents four more works incorporating salt and copper. These pieces consist of salt remnants crystallized upon copper plates, forming textured surfaces and craters resembling moons slowly falling apart. Inspired by the salt pans the artist encountered on Gozo Island (Malta), this altering process of evaporation and material redefinition introduces a meditation on time, erosion, and material memory.

The exhibition is accompanied by an essay by Dayneris Brito, of which the following is an excerpt:

“Hahn’s practice navigates an ambiguous space between performance and materiality, where body and environment converge, generating poetic resonances from residues and quotidian elements—human sweat, salt, and copper—that are conventionally perceived as ephemeral or disposable. Through these materials, Hahn engages in a discourse on the liberatory potential of art—mental, corporeal, and intimate—placing the body at the center of this performative exploration. The display window at Vino Vero functions as a double-reflective mirror, where the viewer is invited to confront their own image within the work, engaging in a bidirectional reading: a dialogue in which the artwork simultaneously observes and addresses its observer.”

Fondazione Malutta presents
Amuse Bouche
Bea Vita Venezia
January 18th – September 15th, 2025

Bea Vita inaugurates “Amuse Bouche”, a new exhibition dedicated to the Fondazione Malutta collective. This is a work in progress exhibition that involves the gradual accumulation of objects and elements over the six-month duration of the show, with a continuous multiplication of artworks and participating artists. For this show, a selection of artists from the collective will present their works, reflecting the breadth and diversity of their creative vision. Now in its third chapter, it exhibits artworks by Ariele Bacchetti, Alessandro Bevilacqua, Thomas Braida, Nina Ćeranić, Chiara Campanile, Veronica de Giovanelli, Bruno Fantelli, Cristiano Focacci Menchini, Anna Furlan, Enej Gala, Andrea Grotto, Manuela Kokanović, Bogdan Koshevoy, Alice Modenesi, Stefano Moras, Pierluigi Scandiuzzi, Bianca Francesca Serafin, Aleksander Velišček, Maria Giovanna Zanella, and Nežka Zamar.

“The works on display represent plates, ingredients, and ‘banquets’ painted by the involved artists, each with their own visual and poetic language. But there’s more: throughout the exhibition, the number of paintings grows, as if the artistic and human desire to ‘add’ never ends. Every week, new painted plates are added to those already on display, transforming the exhibition space into an ever-expanding banquet, a living and ever-changing work that reflects our relationship with food, pleasure, and accumulation. This exhibition invites the viewer to reflect on the relationship between satiety and hunger, between satisfaction and the desire for more. In an era where consumption and production are often excessive, the continuous increase in paintings becomes a powerful metaphor: how much can we accumulate before reaching a limit? Is there really a limit to our desire?”

Founded in Venice in 2013, Fondazione Malutta consists of over thirty artists from diverse cultural backgrounds, ages, languages, and creative practices. These boundaries, far from being limitations, become catalysts that the group actively challenges and reinterprets. The foundation represents a lively confluence of cultures, genders, and sensibilities that enrich and fuel its collective and dynamic research. Spanning multiple geographies—from Albania and Serbia to Italy and Croatia, from Slovenia and Bulgaria to France and Kosovo—the artists of Fondazione Malutta converge in Venice. This city, much like art itself, resists boundaries and thrives on movement and exchange, reflecting its true essence through its rich commerce and cultural history. Through innovative exhibitions and events, the foundation celebrates a dynamic and ever- evolving artistic heritage.

Bruno Fantelli (Cles, 1996) graduated from the Academy of Fine Arts in Venice and currently lives and works between Venice and Dimaro-Folgarida. He has exhibited in solo shows at Cellar Contemporary in Trento and Weber&Weber in Turin, and has participated in numerous group exhibitions, including the recent “CRASH” at Joystick Space and “TORN CURTAIN-buongiorno, buonasera,” curated by Luca Massimo Barbero and Hélène de Franchis.

Manuela Kokanović (Zagreb, 1991) is a painter who graduated from the Academy of Fine Arts in Venice, where she currently lives and works. She is a member of the Fondazione Malutta collective and works at the artist-run space Zolforosso. Among her recent projects are “Venice Time Case”, curated by Luca Massimo Barbero, and her participation in Avvenimento#1 at the Peggy Guggenheim Collection, Venice.

Bogdan Koshevoy (Dnipropetrovsk, 1993) pursued his artistic education first in Ukraine and later in Venice, where he currently lives and works. His work integrates realism with fantastic, often grotesque, elements, creating atmospheres that capture moments of tragedy or foretell disasters. Among his recent exhibitions are “Unknown Events” (Barvinskyi Art Gallery, Vienna), “The Roof is on Fire” (Weber&Weber, Turin), and “CRASH” (JoyStick Space, Venice).

Alice Modenesi is an artist with a background in restoration, trained at the Scuola Grande San Giovanni Evangelista in Venice. She participated to the Venice Architecture Biennale in 2016, collaborating with the Albanian Pavilion under the curatorship of Fondazione Malutta. Notable exhibitions include “One of Us” with Casa delle Ragazze in Treviso, curated by Carlo Sala and Rachele Maistrello, “I 1000, Garibaldi event” in Venice, and “Crepaccio – Casa delle Ragazze” in Milan, curated by Caroline Corbetta.

Stefano Moras (Pordenone, 1985) is a visual artist based in Brussels, where collaborates with the Open Earth Foundation. He graduated in Visual Arts and Performing Arts from the Accademia di Belle Arti di Venezia (2012). His practice has developed in international contexts, including residencies at KAT-Sugar Refinery Art Village (Taiwan), Reopening Boxes (Brussels), Progetto Borca (Italy), and an ongoing collaboration with Dolomiti Contemporanee.

Aleksander Velišček (Šempeter pri Gorici, 1982) is a contemporary visual artist with a degree in Visual Arts and Performance Studies from the Academy of Fine Arts in Venice. His artistic research focuses on social, political, and cultural themes, exploring the relationship between identity, memory, and the present. Co-founder of Fondazione Malutta, Velišček has participated in major artistic residencies (Fondazione Bevilacqua La Masa, Viafarini, Dolomiti Contemporanee, Cité Internationale des Arts) and exhibited in numerous international contexts.

Maria Giovanna Zanella (Schio, 1991) graduated in painting from the Academy of Fine Arts in Venice. Her works explore the experience of alterity as an encounter with difference from the self, by searching for an “existential nudity” that reveals the fragility and beauty of the human condition. Notable residencies include Viafarini, Dolomiti Contemporanee, and Mediterranea. Recent activities include the group shows “Salon Palermo 4” at Galleria Rizzuto, “Le diablo au corps” at Galleria Bonelli, and “Venice Time Case,” an itinerant exhibition/project curated by Luca Massimo Barbero.

Nežka Zamar is an interdisciplinary artist based between Vienna, Venice, and Ljubljana. Her practice questions the limits of identity and individuality of a language, expanding the interspace between materiality and concept. She holds BA and MA degrees from the Accademia di Belle Arti di Venezia and studied at Mimar Sinan Fine Arts University in Istanbul. Co-founder of Sans acid, she has exhibited internationally and participated in major residencies and projects, including the Venice Architecture Biennale and the Mediterranea Young Artists Biennale.

My Art Guide Mexico City 2025 offers a thorough insight into the city’s vibrant art scene during Art Week, which runs from 3rd to 9th February 2025. This comprehensive guide highlights key events such as Zona Maco and Material Art Fair, along with other significant exhibitions, galleries, and cultural venues across the city.

Curated by a panel of local experts, including Caral Sodi (Director of Casa Wabi), Kit Hammonds (Chief Curator at Museo Jumex), and Direlia Lazo (Artistic Director of Zona Maco), the guide features must-see exhibitions and essential places to visit. It also includes personal recommendations for dining and accommodation in Mexico City.

The guide is available in print, digital, and app formats, providing the latest updates from Mexico City’s contemporary art world, ensuring visitors stay informed throughout Art Week. The printed edition, available in English, is a sought-after collector’s item and is distributed for free at major art fairs, museums, galleries, and luxury hotels.

INFO & SALES

press@lightboxgroup.net

M. +39 347 7850764

Bea Vita is a historic Venetian trattoria located in the Cannaregio district, along the Fondamenta de le Capuzine, which reopened in May 2024 with a new soul. Now, in addition to offering cuisine, natural wines, and cocktails, it is also a cultural centre, hosting live music and art exhibitions. This evolution aims to reinterpret the traditional bacaro concept, adapting it to the contemporary needs of the city and its inhabitants.

The intention is not to replicate other local experiences, but to create a unique place that unites various areas of Venetian life and culture. The project aims to build a space of aggregation where multiple experiences can be lived, from food and wine to artistic and musical events to social events related to the local community.

Fondamenta de le Capuzine, 3082, 30121 Venezia VE

INFO & SALES
press@lightboxgroup.net
+39 347 7850764

The contemporary art project ‘Vetrina’ inaugurated its second cycle of presentations in February 2024. After exploring the broad theme of nature through the site-specific works of the first nine invited artists, the focus has now shifted to the theme of activism, exclusively involving women artists who are enterprising and provocative in different ways and who have always, in their works, provided space for a proactive reflection on the contemporary world.

For Vetrina#11 Vino Vero has invited the artist Stefania Galegati to present part of the project “Isola delle Femmine” which by its nature allows one to dream and reflect on crucial themes such as the management of common goods and private property, the protection of the territory, feminism and its various facets, and openness to failure and weakness.

The portraits of “Isola delle Femmine” by Stefania Galegati are an artistic practice of drawing and painting initiated in 2018, which will continue until the completion of reading and rewriting Simone De Beauvoir’s book “The Second Sex”. This project represents an exercise in which writing and painting merge and traverse the artist’s body, creating a dialogue between the encyclopedic text of historical feminism and visual expression. Such practice narrates a rediscovered education, absent in the artist’s school, academic, and university paths. Simone De Beauvoir’s words follow a path that goes from reading, to the eyes, to the brain, to the heart, to the stomach, to the uterus, and finally to the hand, to become signs and visual patterns.

This artistic journey accompanies a collective initiative to purchase Isola delle Femmine, a small island that covers nearly 15 hectares and is located 19 kilometers from Palermo, through €10 quotas donated by numerous women. The idea originally by Valentina Greco opens symbolically to an expansion of imagination and desire.

“Vetrina” is an exhibition series curated by Mara Sartore for Vino Vero, in collaboration with Lightbox. In 2024, Showcase hosts the works of three women artists – Loredana Longo, Stefania Galegati, and Paula Valero – who share a strong personality but with very different expressive styles and artistic paths. The challenge is to present artworks in a limited space and in direct contact with the public, where the showcase becomes an integral part of the artwork itself, and no longer just an exhibition space for sale.

Stefania Galegati (Bagnacavallo, 1973) ha studiato pittura all’Accademia di Belle Arti di Bologna e a Brera con Alberto Garutti. Ha fatto parte di Via Fiuggi, un gruppo di giovani artisti che vivevano insieme a Milano alla fine degli anni Novanta. Lavora con diversi media innestando meccanismi di spostamento semantico nelle cose e nelle persone. Ha esposto per la prima volta nel 1994 a Viafarini. Nel 2003 vince l’International Studio Program al PS1 MoMA di New York. Nei 4 anni successivi vive senza residenza fissa fra New York, Buenos Aires, Tanzania e Europa. Dal 2008 vive a Palermo, dove ha messo radici con la sua famiglia. Dal 2015 al 2018 ha gestito il Caffè Internazionale, locale bar, centro multiculturale ed opera d’arte. Attualmente insegna pittura alla Accademia di Belle Arti di Palermo. Lavora con Pinksummer, Genova, dagli inizi e con Francesco Pantaleone di Palermo dal 2007.

È socia fondatrice dell’associazione Femminote, con cui segue il progetto di acquisto collettivo dell’Isola delle Femmine (PA). È fondatrice e presidente dell’associazione Counterproduction che si occupa di pedagogia radicale e che dal 2015 attiva la Summer School of Contemporary Art di Palermo. Realizza due opere permanenti a Bagnacavallo (RA): nel 2019 il secondo Monumento al Cadere e nel 2023 Storie di Fango, dedicata alle ragazze che hanno aiutato durante l’alluvione. Nel 2024 vince il primo premio BPER ad ArteFiera di Bologna.

Stefania Galegati (Bagnacavallo, 1973) studied painting at the Academy of Fine Arts in Bologna and at Brera with Alberto Garutti. She was part of Via Fiuggi, a group of young artists who lived together in Milan in the late nineties. She works with different media by grafting mechanisms of semantic displacement into things and people. She first exhibited in 1994 at Viafarini. In 2003, she won the International Studio Program at PS1 MoMA in New York. Over the next 4 years, she lived without a fixed residence between New York, Buenos Aires, Tanzania, and Europe.

Since 2008, she has been living in Palermo, where she has put down roots with her family. From 2015 to 2018, she managed the Caffè Internazionale, a local bar, multicultural centre, and work of art. Currently, she teaches painting at the Academy of Fine Arts in Palermo. She has been working with Pinksummer, Genoa, since the beginning, and with Francesco Pantaleone in Palermo since 2007. She is a founding member of the association Femminote, which is involved in the collective purchase project of Isola delle Femmine (PA). She is the founder and president of the association Counterproduction, which deals with radical pedagogy and has been running the Summer School of Contemporary Art in Palermo since 2015. She has created two permanent works in Bagnacavallo (RA): in 2019, the second Monument to the Fallen, and in 2023, Stories of Mud, dedicated to the girls who helped during the flood. In 2024, she won the first BPER prize at ArteFiera in Bologna.

In commemoration of the Gwangju Biennale’s 30th anniversary, the Gwangju Biennale Foundation presents the Collateral Event at the 60th International Art Exhibition of La Biennale di Venezia Madang: Where We Become Us, a special archival exhibition set to take place at the Il Giardino Bianco Art Space in Venice, Italy, from April 20 to November 24, spanning a total period of 221 days.

Unfolding across three distinct sections, the exhibition reflects on three decades of the Gwangju Biennale’s history while envisioning a future of sustainable human communities. Madang: Where We Become Us aspires to be a powerful platform for the Gwangju Biennale, to engage deeply with the international community, and to foster shared understanding and empathy around the Biennale’s foundational values of democracy, human rights, and peace.

Gwangju Biennale: Celebrating 30 years as a global cultural madang
Since the establishment of the Gwangju Biennale in 1994, the Gwangju Biennale has evolved into Asia’s leading contemporary art biennale, integrating artistic expression with the “Gwangju Spirit,” which encompasses the principles of revolution, democracy, and community.

Pavilion of Poland
60th International Art Exhibition – La Biennale di Venezia

REPEAT AFTER ME II
by Open Group (Yuriy Biley, Pavlo Kovach, Anton Varga)
Curated by Marta Czyż

Commissioner: Bartłomiej Sienkiewicz, Minister of Culture and National Heritage of the Republic of Poland Interim Director of the Zachęta — National Gallery of Art: Justyna Szylman
Polish Pavilion office: Michał Kubiak (deputy commissioner), Anna Kowalska

April 20 – November 24, 2024
Pre-opening Days: April 17–18–19, 2024
Opening: April 18, 11am

Repeat after Me II is a collective portrait of witnesses to the ongoing war in Ukraine, presented in the form of an audiovisual video installation. The protagonists of the film at the Polish Pavilion are civilians with refugee experience, speaking about the war through the sounds of weapons they recall, which they invite the audience to repeat. The Open Group art collective and curator Marta Czyż have thus created a military karaoke of the future, joining the public and war witnesses in dialogue. Repeat after Me II is an installation by the Ukrainian Open Group collective, made up of two films. These videos were created in 2022 and 2024. All the people they feature are refugees, speaking of their war experiences through the sounds of weapons they recall, then encouraging the audience to follow their lead. The artists use the karaoke format. Yet here the accompaniment is not hit songs, but shots, missiles, howling and explosions, and the lyrics are descriptions of deadly weapons. This is the soundtrack of a war. The juxtaposition of these works from 2022 and 2024 shows the drastic continuity of memory, as well as the changes in war technology.

My Art Guides Venice Meeting Point
April 16 – 21, 2024
Navy Officers’ Club, Arsenale Venice

Established in 2015, the My Art Guides Venice Meeting Point is a platform created by Lightbox. Taking place during the pre-opening of La Biennale di Venezia 60th International Art Exhibition, the VMP fosters international dialogue around contemporary art, creating collaborative opportunities between visual artists, art organisations and the international art community, as well as cultivating a deeper public engagement with the arts. The Venice Meeting Point, just around the corner from the entrance to the Arsenale, takes place at the Navy Officers’ Private Club.

This year’s main partner is Alserkal Initiatives with Cité internationale des arts, who present the collective exhibition “When Solidarity Is Not a Metaphor”, curated by Nataša Petrešin-Bachelez, which imagines solidarity as lived practice.

The exhibition offers a counter-space to the reigning agendas of war, patriarchy, and colonialism, and their toxic impacts on human and non-human ecosystems. The exhibiting artists—alumni, residents, and collaborators of both the Cité internationale des arts in Paris and Alserkal Initiatives in Dubai—challenge the understanding of ‘solidarity’ as merely an object of theorising and discourse.

At the VMP you will also find the X Muse Art Bar which each day from 5 pm will host various personalities and artists as: TAN art critics Louisa Buck and Ben Luke, Delfina Foundation with a performance by Moe Satt and Vadim Grygorian book preview with
Marcos Lutyens performance.

VMP Bistrot this year is created by Massimo Santi who will set up his Santi Listening Bistrot, combining excellent food and music, to complement the Club’s offerings during the Biennale opening days. This project is realised in collaboration with Lightbox and the renowned Venetian wine bar Vino Vero, which will take care of selecting the wines.

To reserve your table or organise your event at the Venice Meeting Point, please go to listeningbistrot.produzioniprivate.it
Please note that it is also possible to book your table for dinner or organise your event after 8pm, by reservation only.

Programme