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“What I cannot see is no longer an obstacle: it is desire. Not seeing is the anticipation of seeing.”

We are used to always looking at everything, wanting to see, and managing to do so. But not everything is within our sight, not everything is revealed to us. Here, then, is the author’s suggestion: transform the obstacle into a resource, fuel the desire.

This is relevant to us because we often view works of art merely as objects hanging on walls and believe that viewing is an entirely individual action. However, sometimes looking together allows us to see something more. Chicca Gagliardo’s book is an experience and can be used as a reflective map for orientation, or the opposite. Disorienting ourselves, losing familiar points of reference, to rediscover and rewrite ourselves.

Chicca Gagliardo, Quando ci scopriremo poeti nessuno potrà prenderci, Hacca Edizioni, 2024

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Light is not the opposite of darkness, and for John Berger, this is a fact, not just a metaphor. Light is not uniform and constant, or at least it can only be so in rare circumstances, by the sea or in the mountains. Light calls to the eye, and wherever it is, our gaze seeks it out. This is a good starting point for reflecting on how we look at things, and in John Berger’s collection of critical essays, each encounter with works of art becomes a real experience.

We are interested in this because Berger reveals how seeing comes before words and how looking is the beginning of every personal narrative.

John Berger, “Sul guardare” Il Saggiatore, translated by Maria Nadotti, Milan 2017.

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“To collect means to surrender to the desire to love more than one object with the same intensity and care without ever choosing exclusive love.”

Life in its forms is an intense and lengthy reflection on how we define ourselves based on the objects we choose.

This interests us because it reflects on the relationship between us and “things”, whether they be works of art or everyday objects.

Emanuele Coccia and Alessandro Michele, “La vita delle forme, Filosofia del reincanto” HarperCollins, Milan 2024.

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“This is what the body is for” by Roberta Scorranese
in dialogue with the poet Mario De Santis

The average time spent in front of a work of art does not exceed 8 seconds. Drawing from this research by the Tate Gallery in London, Roberta Scorranese shared her particular way of looking at paintings, especially those depicting women’s bodies. Not updating the works, putting away cell phones, not confusing the artist’s life with their artistic production, are some of Scorranese’s suggestions, but above all, we should not be afraid to truly look. Within the pages of “This is what the body is for” the author directs our gaze to famous works, offering us a way to see them with fresh eyes. With patience.

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Appearances, falls, beautiful wives, and a poem by Patrizia Cavalli that bestows special words upon the title of the book. The journey proposed by Roberta Scorranese is not solely one of form, that of bodies, but also of substance, the depth of our gaze. If on one hand it’s all a matter of light, on the other, one of the senses most abused, sight, regains value within the pages of this essay. Upon finishing the reading, the book can be used as a navigation map to revisit known works of art and reclaim them from a different perspective.

We are interested because it contributes to refining our ability to look at the masterpieces of art.

Roberta Scorranese, “A questo serve il corpo: viaggio nell’arte attraverso i corpi delle donne”, Bompiani, 2023.

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“The central perspective has something chimerical about it,” perhaps this is why Jesus Christ (in Art) and the twins from The Shining (in cinema) are placed at the center.

Leonardo Da Vinci and Stanley Kubrick probably had similar interests. To understand them, we need to change the question we usually ask ourselves (and others) when facing a work of art. We need to move from what it means to how an image works. This is the simple yet complex action proposed by Riccardo Falcinelli in his book Figures.

We are interested because it goes beyond simply enjoying a work of art and urges us to understand the voluntary and unconscious secrets of the artists.

Riccardo Falcinelli, Figure, Einaudi, 2020

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At a film school within an art gallery in Milan

“In the spaces of the Milanese gallery Studio Gariboldi, a course dedicated to Art & Cinema will be held starting from April 20th. New ways to engage with cultural hubs like art galleries? Why not. And there are free spots available for a student from art and cinema schools.”

FIND OUT MORE HERE:

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The Reina Sofia Museum in Madrid and the Antoni Tàpies Foundation present the solo exhibition dedicated to Antoni Tàpies.

The exhibition features over 220 works from 1943 to 2012.
From his avant-garde beginnings to experimental phases, and to the poignant reflections on humanity, Tàpies’ art remains timeless.
Until June 24, 2024. 

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We are always on the lookout for new challenges and goals to achieve. For this reason, this year we will enthusiastically take part in ITALICS.

Tomorrow, we will participate in the ITALICS project in collaboration with the Sandretto Re Rebaudengo Foundation: a day of closed-door work, an invitation-only panel, and a public meeting, aimed at stimulating reflections and sharing new scenarios.

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A book of poems, stories and songs. A rebus, like Banksy’s identity is a rebus. It is a homage to street art, for all those who seek the beautiful and revolutionary everywhere, even in the details of existence. A QR code to listen to the entire record with voice and music by Andrea Del Monte. Studio Gariboldi collaborated on Rebus Banksy with a contribution by Elisabetta Bucciarelli.

Andrea Del Monte, Rebus Banksy, The man with the rebel art, Ensemble, 2023