Description
In this issue
Monia Ben Hamouda (1991, Milan) remains firmly anchored, despite being part of that generation of artists who grew up in the technological era. Her family history places her between two cultures (Italian and Tunisian), bringing her closer to traditional practices such as her father’s calligraphic art, and the use of powders as pigments to create installations. By Elena Solito
Marika Marchese discusses the activism in the work of Ai Weiwei, who uses provocative artworks to critique censorship, human rights violations, and the clash between tradition and modernity. The article also explores related exhibitions, such as Zhanna Kadyrova’s reflections on war and the Todolì Citrus Foundation, which highlight the cultural and historical significance of citrus fruits as symbols of resilience and global heritage.
Benedetta D’Ettorre interviewing Karen Watson and Jonathan Orlek, co-curators of “No Going Back” an archival exhibition presented at East Street Arts, Leeds, in April 2024. In conversation with them, we explored the curatorial strategies to exhibit the archive through the documentation of key projects and their echoes from the future.
As in Eastern culture, emptiness implies a territory of possibility. It is in this theoretical framework that T-yong Chung (Tae-gu, South Korea, 1977) works. He sculpts shapes with different materials, which have their own physical and historical weight. He leaves traces that are delicate and layered, both in terms of modality and narratives. In subtraction, he returns a (new) form that results in the praise of absence, lightness and elegance.
We traverse the research of Andrea Granchi, a multifaceted artist, director, curator and professor, who has significantly shaped the panorama of experimental and artistic cinema. A reflection on the profound legacy he has left us in the life and work of an extraordinary figure.
