09.03.2026

On the occasion of Art Genève 2026, Bilan Magazine dedicated an article to the Salon d’Art. In this case, it is not words but images that speak about us.

Photographer Laurent Guiraud captured a shot on the reflective surface of an artwork placed in front of our stand. The result? You can clearly see a painting by Katsumi Nakai hanging on the wall and a sculpture by Tomonori Toyofuku in the foreground.

Respectively:

Katsumi Nakai, Untitled, late 1970s, acrylic on shaped wood, 57 × 57 cm
Tomonori Toyofuku, Untitled, 1985, shaped wood, 115 × 85 × 6 cm

Below is the Italy–Japan press review

06.03.2026

Katsumi Nakai at MAMCO, Art Genève 2026

We are pleased to announce that the work Object 46-104 by Katsumi Nakai has been acquired by the MAMCO – Musée d’art moderne et contemporain in Geneva.

The work was part of the solo exhibition Katsumi Nakai. Flying High and of the project Italy-Japan, Japanese Artists in Milan since 1960. Katsumi Nakai was born in 1927 in Hirakata, in Osaka Prefecture. His journey eventually led him to Milan, a city that deeply impressed him and became the final stop of his journey “following the sun.” Nakai was close to the circle of artists that the art critic Guido Ballo in 1967 defined as the “Nuova Scuola di Milano.” Among them he met Tomonori Toyofuku and Lucio Fontana, who would play a fundamental role in shaping his artistic vision.

Katsumi Nakai, Object 46-104, 1973, acrylic and oil on plywood.

04.03.2026

Sentimental Value: The House

If you haven’t seen Sentimental Value yet, you are lucky. The new film by Joachim Trier is a masterpiece of characters, relationships and emotions—but also, crucially, of spaces. Perhaps the true protagonists are the spaces themselves: the house, the dining room, the study, the bedrooms, the corridors.

The house is the film’s first image and the true engine of its narrative. It is both old and new, painful and welcoming. It is filled with memories yet still yearning for a future. The house in Sentimental Value was conceived by Jørgen Stangebye Larsen, who is based in Oslo but works internationally. Each environment is designed as a layering of lived experience. The house becomes nest and prison, past, light and shadow. It listens and speaks, almost like a character.

Working alongside set decorator Catrine Gormes, production designer Larsen created interiors that combine, with quiet elegance, IKEA furniture and iconic design pieces such as the Arco Lamp and the Pernilla Armchair. Furniture by Alvar Aalto and Arne Jacobsen also appears throughout the film’s interiors, helping to shape the emotional landscape of the characters—even those who are no longer present.

Go and see it with confidence. Much will resonate within you and, almost without noticing, it may refine your eye as well.

03.03.2026

Studio Gariboldi featured in Il Sole 24 Ore

In his article on Art Genève, Giovanni Gasparini emphasizes the fair’s identity as a true “salon d’art”: a focused and selective platform that opens the international season with a strong curatorial approach.

Within this context, Studio Gariboldi’s participation is part of a high-level dialogue, reaffirming the gallery’s commitment to historical research and the development of rigorous projects on an international stage.

Read the full article here:

02.03.2026

Shakespeare’s Women

To mend the living. To restore them. And then to breathe, deeply.
Hamnet tells the story of Shakespeare, or rather, of Shakespeare’s family, framed through an unexpected and profoundly intimate lens. It is a journey that invites our quiet participation and leaves us in tears by the final frame.
It is a beautiful film. Once again, women, mothers, both flawed and tender, tand at the center. The playwright himself, that towering genius (one of our most beloved and enduringly studied authors), remains almost peripheral. And yet, in the end, he is the one who sets everything right. He is a man, and a genius.
Why do we suggest seeing this film?
Perhaps above all, for the sheer poetry of its production design. The visual world of the film is nothing short of lyrical. Credit belongs to Fiona Crombie, whose meticulous and evocative design shapes every space the story inhabits. From the intimacy of the family home to the carefully reconstructed interiors, each environment resonates with historical authenticity and emotional truth.

Go and see it. Trust it. And allow it, in its quiet way, to mend a small part of you too.

27.02.2026

Anselm Kiefer, born in 1945, the German artist we know for The Seven Heavenly Palaces at Hangar Bicocca, became deeply admired there through those majestic creatures that mark our complex time. Now he returns with 42 large canvases that clothe the Sala delle Cariatidi and the small skylight room of Palazzo Reale in Milan.

The Alchemists lies at the heart of his exhibition, curated by Gabriella Belli. With this project, Kiefer pays tribute to the women who, between the Middle Ages and the early modern period, made decisive contributions to the birth of scientific thought: Maria the Jewess, inventor of fundamental tools and processes for the distillation and sublimation of substances; Cleopatra the Alchemist, active in Alexandria and author of symbolic texts and diagrams; and Trotula de Ruggiero, associated with the Salerno medical school and a key figure in medieval medicine. These personalities—suspended between science, spirituality, and experimentation—long remained at the margins of official narratives.

Anselm Kiefer’s work belongs to that European postwar trajectory that intersects with the research paths we have always followed, from Art Informel to the postwar avant-gardes. In The Alchemists, we find once again the same tension between matter, history, and experimentation that marked those movements, expressed here on a monumental and profoundly contemporary scale.

Anselm Kiefer. The Alchemists
Palazzo Reale, Milan, until 27 September 2026.

12.02.2026

A delicate yet powerful collection featuring the major Japanese women poets who wrote haiku. The volume, edited and translated by Cristina Banella, is of rare beauty. Each haiku is accompanied by an explanation, allowing readers to fully appreciate references, cultural connections, and nuances that might otherwise be difficult to grasp at first reading.

We offer you two of them, inviting you to read them all—as small daily oracles, or to seek and discover images capable of sparking subtle wonder or triggering possible revelations.

Wild geese
like little waves
gradually fading away

Abe Midorijo

On the tatami I sit
like a butterfly: a white
pumpkin flower

Hasegawa Kanajo

In the picture: Aiko Miyawaki, Listen to Your Portrait, 1975, incisione su granito nero / engraving on black granite, 66,5 x 66 x 22,5 cm.

20.01.2026

Studio Gariboldi is pleased to announce its participation at
Salon d’Art – Art Genève
Following the artistic direction showcased in the gallery, Studio Gariboldi presents Italy-Japan project, a selection of Japanese artists who worked in Italy during the 1960s.

The selection for Art Genève focuses on Aiko Miyawaki, Nobuya Abe, Katsumi Nakai, and Tomonori Toyofuku.

The elegant brass of Miyawaki’s sculptures, the organic forms of Toyofuku’s wooden works, the vibrant colors of Nakai’s openable painting-sculptures, and the elegance of Abe’s pieces will convey to the public the harmony and chromatic rigor of these brilliant overseas artists.

The body of work represents the result of an intense and meaningful encounter between Japanese avant-garde practices and the evolving European informal art scene-a decade marked by experimentation, innovation in materials, and intense intercultural dialogue. The project has received the Patronage of the Japanese Consulate in Milan.

Studio Gariboldi – Booth C47
From Thursday 29 January to Sunday 1 February 2026
Wednesday 28 January, opening by invitation only

Palexpo – Geneva
Route François-Peyrot 30
1218 Le Grand-Saconnex

You can request a preview or an entry ticket for the opening at:
press@studiogariboldi.com