Born and raised just a stone’s throw from the foothills of the world’s largest rainforest, the Brazilian designer draws inspiration from its plant and animal species to create furniture and complements that are both contemporary and soaked in local culture.
Growing trees that are more suited that others to cope with climate change and, together, raise a new generation of citizens to take care of them: this is the two-fold challenge faced by a project run by the Tuscan-Emilian Apennine National Park with Fondazione Iris Ceramica Group.
Only fifty-six of the hundred wooden books made in the 19th century by the gardener Eugenio Trevisan to classify trees have survived, and are kept at the University of Padua. Restored and on display to the public, these are the central focus of Xilogenesi, the project involving contemporary artists.
Constructed as tableaux vivants or based on found and recontextualised photographs, the works of the Algerian-born French artist on show at Fondazione MAST in Bologna as part of his largest solo exhibition ever put on in Italy bring communities back to the forefront, with all their problems and integrations.
How have the inhabitants of the European Union changed since the Schengen Agreement dissolved our internal barriers? And how has the idea of borders evolved in young Europeans? The museum concept by Migliore+Servetto for the new Schengen Museum responds to these and other questions.
The Villard network explores migrations as a device for urban and territorial transformation. From its works comes A.M.A.R.E. – Atlante delle Migrazioni. Attraversamenti e Radicamenti Europei (“Atlas of Migrations. Crossings and European Roots”), now on show at the Architecture Biennale in Venice
As old as Arab calligraphy and as modern as the hip hop culture, both abstract and figurative, the works of the Franco-Tunisian artist celebrate the dual cultural identity of their creator, spreading messages of peace.
Repeated border crossings, from one side of the Atlantic to the other and on the American continent, are one of the privileged keys for interpreting the works of the Italo-Brazilian artist leading an exhibition in the museum in Paris dedicated to Pablo Picasso, another great “migrant” of art.
One, ten, eighty càntirs: the traditional terracotta jug with two mouths, famous for its ability to cool liquids and an emblem of the typical conviviality of Barcelona, is the focus of a series of artistic works. The curator Júlia Esqué tells us all about it.
In the northern French region scarred also physically by mining activities, the local antenna of the famous museum went “20,000 leagues below the earth”, investigating the artists’ relationship with the real and imagined universes hidden beneath our feet.
