Best Advices About Art Exhibits

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Best Advices About Art Exhibits

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INFINITY. Michelangelo Pistoletto. Contemporary art without limits. 18 March 2023 / 15 October 2023 Fifty works and four large site-specific installations. More than 60 years of art, almost 90 years of life. A narrative path, according to the approach of the projects curated by Danilo Eccher and produced by DART – Chiostro del Bramante, complete and fascinating. Certainly not a traditional exhibition but a narrative, an experience that through the iconic works of Michelangelo Pistoletto (Biella, 1933)-from the historic to the most recent,from 1962 to 2023-accompanies an exciting journey inside the poetics and the world, the many worlds, of one of the masters of contemporary art. An infinity of ways of making art,an infinity of ways of seeing, of changing perspective, of reading reality. At the center a single artist but in his many possibilities of being, of transforming, of depicting and representing himself, of telling. “A collective exhibition of a single artist,” in the words of the curator, because “in diversity I multiplied myself,” as the artist declares. That is why, at the Chiostro del Bramante,Michelangelo Pistoletto is INFINITY: because art is limitless. Michelangelo Pistoletto in 2023 will be 90 years oldand forChiostro del Bramante it is an honor to inaugurate this new exhibition season with one of his great exhibitions, an opportunity to be able to share with the public the master’s historical works in dialogue with Renaissance architecture in addition to new productions, created ad hocfor the spaces of the Chiostro, which will surprise with his tireless creative energy. The works within the exhibition itinerary cover almost Pistoletto’s entire career, from the 1960s with the mirror paintings, Metrocubo di Infinito,Venere degli Stracci,Orchestra di stracci and Labirinto, the 1970s with L’Etrusco and the series of Porte Segno Arte along with Autoritratto di Stelle to more recent works. In the 1990s the Libri, in the 2000s the mirror paintings in addition to projects related to the formula of creation,Love Difference-Mar Mediterraneo and Neon, to the Third Paradise. INFORMATION AND RESERVATIONS Monday through Friday 10 a.m. to 8 p.m. Saturday and Sunday 10 a.m. to 9 p.m. [The ticket office closes one hour earlier]. Monday through Friday, last admission for visitors will be at 7 p.m. Saturday and Sunday at 8 p.m.
168 locals recommend
Chiostro del Bramante
5 Arco della Pace
168 locals recommend
INFINITY. Michelangelo Pistoletto. Contemporary art without limits. 18 March 2023 / 15 October 2023 Fifty works and four large site-specific installations. More than 60 years of art, almost 90 years of life. A narrative path, according to the approach of the projects curated by Danilo Eccher and produced by DART – Chiostro del Bramante, complete and fascinating. Certainly not a traditional exhibition but a narrative, an experience that through the iconic works of Michelangelo Pistoletto (Biella, 1933)-from the historic to the most recent,from 1962 to 2023-accompanies an exciting journey inside the poetics and the world, the many worlds, of one of the masters of contemporary art. An infinity of ways of making art,an infinity of ways of seeing, of changing perspective, of reading reality. At the center a single artist but in his many possibilities of being, of transforming, of depicting and representing himself, of telling. “A collective exhibition of a single artist,” in the words of the curator, because “in diversity I multiplied myself,” as the artist declares. That is why, at the Chiostro del Bramante,Michelangelo Pistoletto is INFINITY: because art is limitless. Michelangelo Pistoletto in 2023 will be 90 years oldand forChiostro del Bramante it is an honor to inaugurate this new exhibition season with one of his great exhibitions, an opportunity to be able to share with the public the master’s historical works in dialogue with Renaissance architecture in addition to new productions, created ad hocfor the spaces of the Chiostro, which will surprise with his tireless creative energy. The works within the exhibition itinerary cover almost Pistoletto’s entire career, from the 1960s with the mirror paintings, Metrocubo di Infinito,Venere degli Stracci,Orchestra di stracci and Labirinto, the 1970s with L’Etrusco and the series of Porte Segno Arte along with Autoritratto di Stelle to more recent works. In the 1990s the Libri, in the 2000s the mirror paintings in addition to projects related to the formula of creation,Love Difference-Mar Mediterraneo and Neon, to the Third Paradise. INFORMATION AND RESERVATIONS Monday through Friday 10 a.m. to 8 p.m. Saturday and Sunday 10 a.m. to 9 p.m. [The ticket office closes one hour earlier]. Monday through Friday, last admission for visitors will be at 7 p.m. Saturday and Sunday at 8 p.m.
LEONARDO A ROMA Influenze ed eredità Con le mostre e i convegni dedicati a Leonardo da Vinci dall'Accademia Nazionale dei Lincei si apre “Il Trittico dell’Ingegno Italiano 2019 -2021”, la serie di iniziative con le quali i Lincei hanno inteso celebrare in un percorso unitario i centenari di Leonardo (2019), Raffaello (2020) e Dante (2021).
13 locals recommend
Accademia dei Lincei
10 Via della Lungara
13 locals recommend
LEONARDO A ROMA Influenze ed eredità Con le mostre e i convegni dedicati a Leonardo da Vinci dall'Accademia Nazionale dei Lincei si apre “Il Trittico dell’Ingegno Italiano 2019 -2021”, la serie di iniziative con le quali i Lincei hanno inteso celebrare in un percorso unitario i centenari di Leonardo (2019), Raffaello (2020) e Dante (2021).
From March 27 to May 21, 2023, the National Museum of Castel Sant’Angelo is hosting in the Superiory Armories the exhibition-performance The Sweet Sixties: Narratives of Fashion, curated by Stefano Dominella and Guillermo Mariotto. Swinging London, Mary Quant’s miniskirt, Ossie Clark’s wearable visions, the colorful storefronts of Carnaby Street in Soho, and the moon landing: the legacy associated with the aesthetic imagery of the 1960s constitutes a semantic reservoir that can be reinterpreted in many ways. A violently revolutionary age only in its epilogue, the scenario of the 1960s actually acts as a tutelary deity of the visual contaminations typical of the fashion world. Hence the desire to investigate the extraordinarily sweet side of the “floating” decade (as the weekly Time magazine called London in 1966), through an anthology made up of atmospheres and quotations that are refinedly Sixties. After the chapters Robotizzati - Experiments in Fashion (Palazzo Wegil 2020), Favole di Moda (Teatro Torlonia 2022) and Roma è di Moda - Via Veneto edition (Via Veneto 2022), and after apainstaking research that took place in important historical archives such as AnnaMode Costumes, Modateca Deanna, Max Mara and Ken Scott archives, Doria 1905 archives, Stefano Dominella, curator of the performance together with Guillermo Mariotto, draws on fashion once again by presenting the exhibition at the National Museum of Castel Sant’Angelo in Rome. Therefore, fifty looks are presented that throughupcycling combine historical garments, true style icons, with clothes and accessories recovered from flea markets and vintage stores which represent at this moment the real trend in international fashion, adopted especially by the younger generations who love to recover from the past to make it contemporary. With set designs by Virginia Vianello, the protagonists are once again the clothes. Bold and naturalistic hues signed by the creative genius of Ken Scott, defined as “the gardener of fashion” precisely because of his floral prints. And then the flaps of skin covered only by 40 centimeters of fabric by Mary Quant, to the futuristic patterns designed by Courrèges, Paco Rabanne and Pierre Cardin. And how not to mention Max Mara’s colorful coats, stolen from the men’s wardrobe and reinterpreted in bright hues. The fashion of the 1960s rewrote and reimagined the silhouette of an entire generation. Dresses, shoes, records and accessories became poetic manifestos to tell the sweetnesses of those years. Fifty creations for five chapters, five rooms, five narrative strands intended to tell the lighter, dreamier side of the 1960s. An experiment that, making the language of visual contamination andupcycling its own, looks at the fashion of those years as an archive to be consulted and enhanced by actualizing the cultural identity of a complex and multiform decade. It all begins at Carnaby Street, in the first room, with two looks created and curated by Guillermo Mariotto, co-curator of the performance, that stand out in the center of the room. Here are the passers-by, whose outfits reproduce the look of young women grappling with a shopping session in London’s cult boutiques. The second chapter, on the other hand, aims to reflect on free clothing associations: on the one hand, naturalistic prints, lush even through Ken Scott’s colorful plumage, on the other hand, denim and Fiorucci’s avowedly pop angels. Thus we arrive at the third room, a reality in which it is the lunar atmospheres of Courrèges, Pierre Cardin, Paco Rabanne, and Valentino Garavani that are rediscovered in the form of metal, pvc, and helmet-like hats. Then it was the turn of the colors and embroidery with which haute couture dressed the bourgeois for grand occasions. Bold hues, glamour and iridescent sequins come alive thanks to a selection of archival gowns, including those from Battilocchi tailoring, Jole Veneziani, Gattinoni, Lancetti, Mila Schön and Carosa. Finally, in the Optical room, the pace of the Sweet Sixties slows down and lingers on the geometric juxtaposition of the two colors (not colors) par excellence: black and white. It ends by celebrating art ( Giuseppe Capogrossi ’s creative testament and the work of the Pittori maledetti of Rome are cited) and by recalling the extraordinary evocative power of fashion, which this project-in-progress uses as a system of investigation and research with shifting and blurred contours to reread an era suspended between a thousand possibilities.
1219 locals recommend
Castel Sant'Angelo
50 Lungotevere Castello
1219 locals recommend
From March 27 to May 21, 2023, the National Museum of Castel Sant’Angelo is hosting in the Superiory Armories the exhibition-performance The Sweet Sixties: Narratives of Fashion, curated by Stefano Dominella and Guillermo Mariotto. Swinging London, Mary Quant’s miniskirt, Ossie Clark’s wearable visions, the colorful storefronts of Carnaby Street in Soho, and the moon landing: the legacy associated with the aesthetic imagery of the 1960s constitutes a semantic reservoir that can be reinterpreted in many ways. A violently revolutionary age only in its epilogue, the scenario of the 1960s actually acts as a tutelary deity of the visual contaminations typical of the fashion world. Hence the desire to investigate the extraordinarily sweet side of the “floating” decade (as the weekly Time magazine called London in 1966), through an anthology made up of atmospheres and quotations that are refinedly Sixties. After the chapters Robotizzati - Experiments in Fashion (Palazzo Wegil 2020), Favole di Moda (Teatro Torlonia 2022) and Roma è di Moda - Via Veneto edition (Via Veneto 2022), and after apainstaking research that took place in important historical archives such as AnnaMode Costumes, Modateca Deanna, Max Mara and Ken Scott archives, Doria 1905 archives, Stefano Dominella, curator of the performance together with Guillermo Mariotto, draws on fashion once again by presenting the exhibition at the National Museum of Castel Sant’Angelo in Rome. Therefore, fifty looks are presented that throughupcycling combine historical garments, true style icons, with clothes and accessories recovered from flea markets and vintage stores which represent at this moment the real trend in international fashion, adopted especially by the younger generations who love to recover from the past to make it contemporary. With set designs by Virginia Vianello, the protagonists are once again the clothes. Bold and naturalistic hues signed by the creative genius of Ken Scott, defined as “the gardener of fashion” precisely because of his floral prints. And then the flaps of skin covered only by 40 centimeters of fabric by Mary Quant, to the futuristic patterns designed by Courrèges, Paco Rabanne and Pierre Cardin. And how not to mention Max Mara’s colorful coats, stolen from the men’s wardrobe and reinterpreted in bright hues. The fashion of the 1960s rewrote and reimagined the silhouette of an entire generation. Dresses, shoes, records and accessories became poetic manifestos to tell the sweetnesses of those years. Fifty creations for five chapters, five rooms, five narrative strands intended to tell the lighter, dreamier side of the 1960s. An experiment that, making the language of visual contamination andupcycling its own, looks at the fashion of those years as an archive to be consulted and enhanced by actualizing the cultural identity of a complex and multiform decade. It all begins at Carnaby Street, in the first room, with two looks created and curated by Guillermo Mariotto, co-curator of the performance, that stand out in the center of the room. Here are the passers-by, whose outfits reproduce the look of young women grappling with a shopping session in London’s cult boutiques. The second chapter, on the other hand, aims to reflect on free clothing associations: on the one hand, naturalistic prints, lush even through Ken Scott’s colorful plumage, on the other hand, denim and Fiorucci’s avowedly pop angels. Thus we arrive at the third room, a reality in which it is the lunar atmospheres of Courrèges, Pierre Cardin, Paco Rabanne, and Valentino Garavani that are rediscovered in the form of metal, pvc, and helmet-like hats. Then it was the turn of the colors and embroidery with which haute couture dressed the bourgeois for grand occasions. Bold hues, glamour and iridescent sequins come alive thanks to a selection of archival gowns, including those from Battilocchi tailoring, Jole Veneziani, Gattinoni, Lancetti, Mila Schön and Carosa. Finally, in the Optical room, the pace of the Sweet Sixties slows down and lingers on the geometric juxtaposition of the two colors (not colors) par excellence: black and white. It ends by celebrating art ( Giuseppe Capogrossi ’s creative testament and the work of the Pittori maledetti of Rome are cited) and by recalling the extraordinary evocative power of fashion, which this project-in-progress uses as a system of investigation and research with shifting and blurred contours to reread an era suspended between a thousand possibilities.
CANOVA L'ultimo Principe da venerdì 16 dicembre 2022 a sabato 15 luglio 2023 Accademia Nazionale di San Luca, Roma Mostra promossa e organizzata dall'Accademia Nazionale di San Luca nel quadro delle celebrazioni per il bicentenario della morte di Antonio Canova (1757-1822) sotto l’Alto Patronato del Presidente della Repubblica Cura e organizzazione Claudio Strinati, Serenita Papaldo, Francesco Cellini, Laura Bertolaccini, Carolina Brook, Elisa Camboni, Fabrizio Carinci, Giulia De Marchi, Fabio Porzio. Nell’ambito delle celebrazioni nazionali per i duecento anni dalla morte di Antonio Canova, l’Accademia Nazionale di San Luca dedica una mostra allo scultore e al legame indissolubile che ebbe con l’Istituzione romana. Eletto accademico di merito nel 1800, acclamato principe nel 1810, nel 1814 ricevette il titolo di principe perpetuo per il suo straordinario ruolo. Vivendo un’epoca travagliata dai rivolgimenti politici, la Rivoluzione prima, l’impero napoleonico e la Restaurazione dopo, Canova seppe coniugare l’impegno istituzionale in difesa del patrimonio monumentale di Roma con la promozione delle arti contemporanee. In questo quadro pose l’Accademia di San Luca al centro delle molteplici attività artistiche, archeologiche e di riassetto urbano, in un intreccio di competenze finora inedito. Le otto sezioni tematiche in cui si articola la mostra ripercorrono gli anni canoviani, dall’ingresso in Accademia nel 1800 alla morte nel 1822, descrivendo la compagine artistica e il contesto culturale nel quale lo scultore agì e testimoniano del profondo rinnovamento che Canova seppe imprimere all’istituzione, riformandone la didattica artistica attraverso la creazione di nuovi concorsi per i giovani, attualizzando le pratiche legate al restauro e alla tutela del patrimonio monumentale antico e al riassetto urbano di Roma e promuovendo l’arte contemporanea. “Intento della mostra – scrive Claudio Strinati nell'introduzione alla guida breve alla mostra – è quello di mettere bene in luce quanto Canova sia stato importante per l’Accademia e quanto il ruolo da lui svolto in questo alto consesso degli artisti sia stato rilevantissimo per la città di Roma, per l’Italia tutta e per la storia delle Belle Arti nel mondo intero consacrando al massimo livello l’autorevolezza e la conseguente autorità dell’Accademia stessa. Rifulge il prodigioso lavoro del Canova promotore appassionato delle Belle Arti e insieme conservatore del patrimonio artistico antico e moderno, culminante nell’eroica impresa del recupero dei beni trafugati dalle armate napoleoniche. Vediamo la vicenda dei Concorsi indetti dal Canova rinnovando mirabilmente una felice tradizione. Comprendiamo il ruolo di Bertel Thorvaldsen verso comuni strategie creative. Focalizziamo meglio alcune opere cruciali del Canova medesimo. Emerge dalla mostra la peculiarità precipua del Canova accademico di San Luca, quella di imprescindibile punto di riferimento per la politica culturale, dalla creazione del nuovo alla tutela dell’antico senza una vera cesura o discontinuità tra l’uno e l’altro ambito di azione. Un ideale ed una prassi che hanno ancora molto da insegnare anche alle attuali generazioni”. Orari sino al 19 aprile 2023 da martedì a venerdì, ore 14.00 e 16.00 sabato, ore 10.00, 11.30, 14.00 e 16.00 domenica e lunedì chiuso Dal 20 aprile al 15 luglio 2023 da martedì a sabato, ore 10.00, 11.30, 13.00, 14.30, 16.00 domenica e lunedì chiuso Apertura straordinaria la prima domenica del mese (7 maggio, 4 giugno, 2 luglio) con visite accompagnate alle ore 17.00 e alle 18.30
National Academy of San Luca
77 Piazza Accademia di S. Luca
CANOVA L'ultimo Principe da venerdì 16 dicembre 2022 a sabato 15 luglio 2023 Accademia Nazionale di San Luca, Roma Mostra promossa e organizzata dall'Accademia Nazionale di San Luca nel quadro delle celebrazioni per il bicentenario della morte di Antonio Canova (1757-1822) sotto l’Alto Patronato del Presidente della Repubblica Cura e organizzazione Claudio Strinati, Serenita Papaldo, Francesco Cellini, Laura Bertolaccini, Carolina Brook, Elisa Camboni, Fabrizio Carinci, Giulia De Marchi, Fabio Porzio. Nell’ambito delle celebrazioni nazionali per i duecento anni dalla morte di Antonio Canova, l’Accademia Nazionale di San Luca dedica una mostra allo scultore e al legame indissolubile che ebbe con l’Istituzione romana. Eletto accademico di merito nel 1800, acclamato principe nel 1810, nel 1814 ricevette il titolo di principe perpetuo per il suo straordinario ruolo. Vivendo un’epoca travagliata dai rivolgimenti politici, la Rivoluzione prima, l’impero napoleonico e la Restaurazione dopo, Canova seppe coniugare l’impegno istituzionale in difesa del patrimonio monumentale di Roma con la promozione delle arti contemporanee. In questo quadro pose l’Accademia di San Luca al centro delle molteplici attività artistiche, archeologiche e di riassetto urbano, in un intreccio di competenze finora inedito. Le otto sezioni tematiche in cui si articola la mostra ripercorrono gli anni canoviani, dall’ingresso in Accademia nel 1800 alla morte nel 1822, descrivendo la compagine artistica e il contesto culturale nel quale lo scultore agì e testimoniano del profondo rinnovamento che Canova seppe imprimere all’istituzione, riformandone la didattica artistica attraverso la creazione di nuovi concorsi per i giovani, attualizzando le pratiche legate al restauro e alla tutela del patrimonio monumentale antico e al riassetto urbano di Roma e promuovendo l’arte contemporanea. “Intento della mostra – scrive Claudio Strinati nell'introduzione alla guida breve alla mostra – è quello di mettere bene in luce quanto Canova sia stato importante per l’Accademia e quanto il ruolo da lui svolto in questo alto consesso degli artisti sia stato rilevantissimo per la città di Roma, per l’Italia tutta e per la storia delle Belle Arti nel mondo intero consacrando al massimo livello l’autorevolezza e la conseguente autorità dell’Accademia stessa. Rifulge il prodigioso lavoro del Canova promotore appassionato delle Belle Arti e insieme conservatore del patrimonio artistico antico e moderno, culminante nell’eroica impresa del recupero dei beni trafugati dalle armate napoleoniche. Vediamo la vicenda dei Concorsi indetti dal Canova rinnovando mirabilmente una felice tradizione. Comprendiamo il ruolo di Bertel Thorvaldsen verso comuni strategie creative. Focalizziamo meglio alcune opere cruciali del Canova medesimo. Emerge dalla mostra la peculiarità precipua del Canova accademico di San Luca, quella di imprescindibile punto di riferimento per la politica culturale, dalla creazione del nuovo alla tutela dell’antico senza una vera cesura o discontinuità tra l’uno e l’altro ambito di azione. Un ideale ed una prassi che hanno ancora molto da insegnare anche alle attuali generazioni”. Orari sino al 19 aprile 2023 da martedì a venerdì, ore 14.00 e 16.00 sabato, ore 10.00, 11.30, 14.00 e 16.00 domenica e lunedì chiuso Dal 20 aprile al 15 luglio 2023 da martedì a sabato, ore 10.00, 11.30, 13.00, 14.30, 16.00 domenica e lunedì chiuso Apertura straordinaria la prima domenica del mese (7 maggio, 4 giugno, 2 luglio) con visite accompagnate alle ore 17.00 e alle 18.30