17.04.2025

Psychoanalysis and art haven’t always made a great pairing, which is why Massimo Recalcati attempts to free art from the pathographic lens of psychoanalysis. This is a complex and fascinating book, recommended for philosophers, historians, artists—but also for curious readers who are willing to dive back into deep reflection.
The volume is enriched with color images featuring some of our favorite artists: Tàpies, Burri, Fontana, Duchamp.
We’re drawn to it because it shifts the perspective, proposing that “art and psychoanalysis are practices that find their foundation only in themselves—without guarantees, without that hard, strong knowledge that characterizes the positive sciences; practices that place the dimension of the Real at their core.”

Massimo Recalcati, The Miracle of Form. Toward a Psychoanalytic Aesthetics, Castelvecchi.

11.03.2025

The book Fantasmi e Guerrieri, Justice and Revenge in Japanese Imagination tells stories of ghosts, recounting the deeds of those who, unable to obtain justice in life, returned after death to punish their oppressors. It also narrates the tales of warriors with epic feats, like in the episode of the forty-seven rōnin.

Thanks to the shadows and lights of Japanese fantasy imagination, the book explores the eternal clash between law and justice, between the strong and the weak, still alive in today’s Japan.

It interests us because the legends of Japan speak of our fears and the “warrior” hidden in each of us.

07.03.2025

Contemporary Art Restarts from Art Genève

“The most interesting proposal in the section of 28 ‘Solo shows’ presented by as many galleries comes from Studio Gariboldi of Milan, which brings to the fair the Japanese artist (with some Italian background) Aiko Miyawaki. Her small sculptures and meditative brass assemblages from the 1960s, unique or in limited editions (…)”

By Giovanni Gasparini

continue to read here:

18.02.2025

A lot is said about Suzuki Izumi, but we are interested in telling the story of the imagination and writing of a young Japanese woman. She will remain young forever, as she left the visible world too soon. But her youth is most evident in her writing, in the worlds she explores, and in the visions that sometimes precede our historical-social moment.

Encountering the stories collected in Noia Terminale, the first volume of a trilogy, is sometimes torment, other times a provocation, and at other times pure alienation.

This book matters to us because disturbance is the foundation of making art, and we’ve chosen to talk about her because she is the third Japanese woman, beyond any stereotype, who, along with Sadayakko and Aiko Miyawaki, forms a deep and original portrait of how women respond to the call of their vocation.

05.02.2025

Studio Gariboldi will be present at ARTE FIERA with a selection of artworks. You can find us in our usual spot, spacious and bright, in the Main Section, Pavilion 26, Booth B2.
We will be at the booth from Thursday, February 6 (from 11 AM to 9 PM) to Sunday, February 9 (from 11 AM to 7 PM).

On Friday evening, at 7 PM, we will be heading to the Cinema Modernissimo for the Flash Art Award, together with the Italics consortium, for the Panorama Monferrato project.

30.01.2025

On the occasion of the Art Genève fair (from January 30 to February 2), Le Quotidien de l’Art wrote about us.

Aiko Miyawaki, cuivre d’or
« My work is subtle. Time, space, light… these concepts obsess me, » wrote Aiko Miyawaki (1929-2014) in her 1992 autobiography. A passionate traveler, after World War II, she journeyed across the world to connect different cultural universes. At the crossroads of minimal and conceptual art, which dominated Milan, Paris, and New York in the 1960s, Miyawaki met artists such as Piero Manzoni, Lucio Fontana, Man Ray, Sam Francis, and Jasper Johns. Whether violet, blue, red, or golden, her metal surfaces shine through the refraction of light.
We thank journalist Jordane de Faÿ.

27.01.2025

Aiko Miyawaki is featured on Artribune. The article describes the journey of the exhibition and highlights the most interesting aspects of the Japanese artist’s work.
“Entering Studio Gariboldi gives the impression of stepping into a suspended, golden, hidden place (…). The exhibition thus becomes a moment of silence in a world that moves quickly. The exhibition space is shaped as a place to be traversed. It invites a contemporary flânerie, where the audience tries to decipher the conceptual meaning of the intimacy expressed by the artist.”