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10/08/25

David Lynch Exhibition in Prague @ DOX Centre for Contemporary Art - "Up in Flames"

David Lynch: Up in Flames

DOX Centre for Contemporary Art, Prague

Through 8 February 2026

David Lynch in Prague, 1996

Photo by Karel Cudlin

David Lynch

Man Laughing, 2013

DOX, Up In Flames Exhibition

David Lynch

Playing with Fire, 2015

DOX, Up In Flames Exhibition

The DOX Centre for Contemporary Art in Prague, the Czech Republic’s largest institution dedicated to contemporary art, presents the exhibition event of the year in its main hall: artistic work of American master of cinema DAVID LYNCH.

The project, on which DOX is collaborating with the David Lynch Estate, Pace Gallery, and Item éditions, is curated by Otto M. Urban. David Lynch: Up in Flames is the first presentation of Lynch’s art in the Czech Republic.

In the main spaces of DOX over four hundred works of art are on display – from drawings, photographs, lithographs, woodcuts, and watercolours to short experimental and animated films created by the director. The works span all of Lynch’s creative periods, from his early days in the late 1960s all the way to 2024.

“I consider it a small miracle that we are finally opening the exhibition. Without the enthusiastic cooperation of everyone involved, we could not have pulled off a project like this. Unfortunately, David Lynch, who oversaw the preparations for the exhibition from the very beginning, will not see the final result. Nevertheless, I hope that he would be satisfied with the exhibition, which I see as a tribute to a great artist and a great man,” says Otto M. Urban, the curator of the exhibition.

David Lynch

View into the exhibition Up in Flames, DOX, Prague

Photo Jan Slavik © DOX

David Lynch

View into the exhibition Up in Flames, DOX, Prague

Photo Jan Slavik © DOX

David Lynch

View into the exhibition Up in Flames, DOX, Prague

Photo Jan Slavik © DOX

Deliberations regarding the project gradually developed over many years, and an important condition for its realisation was establishing direct contact with the artist himself. The first serious discussions about a David Lynch exhibition at DOX took place in the spring of 2024, when the David Lynch Studio (now the David Lynch Estate) and Pace Gallery joined the project. Patrice Forest of Item éditions in Paris was instrumental in facilitating this connection.

However, the preparations were unexpectedly interrupted by the news of David Lynch’s sudden passing on 16 January.

“David and I spoke about this show the day before he passed. He loved the images he’d seen of DOX and was looking forward to seeing his art in that space. He had confidence in Otto, and he was excited to share his work with the people of Prague. When he died, it seemed like the world stopped turning,” says Michael T. Barile from the David Lynch Estate.

David Lynch

My House is on Fire - Modern Device, 2013

DOX, Up In Flames Exhibition

David Lynch

View into the exhibition Up in Flames, DOX, Prague

Photo Jan Slavik © DOX

David Lynch

View into the exhibition Up in Flames, DOX, Prague

Photo Jan Slavik © DOX

David Lynch

View into the exhibition Up in Flames, DOX, Prague

Photo Jan Slavik © DOX

David Lynch - Works on paper

The main axis of the exhibition consists of works on paper, which Lynch considered to be autonomous artworks in their own right. He said that drawing helped him to capture ideas that he could later develop into films, paintings, or objects.

David Lynch studied painting at the Pennsylvania Academy of the Fine Arts. It was there that he had a vision of a moving painting, and in 1967 this vision became the basis for his first film, Six Men Getting Sick (Six Times). Lynch drew throughout his career, and in his artistic work he was fascinated by all manner of different materials and surfaces.

A major part of the exhibition consists of works on loan directly from the David Lynch Estate in Los Angeles, but the project also includes a number of works (lithographs and photographs) which he created at Item éditions in Paris.

David Lynch

Small Stories, 2014

DOX, Up In Flames Exhibition

David Lynch

Small Stories, 2014

DOX, Up In Flames Exhibition

David Lynch

View into the exhibition Up in Flames, DOX, Prague

Photo Jan Slavik © DOX

Artist David Lynch

David Lynch (1946–2025) had a prolific nearly six-decade-long career, which spanned an extensive range of artmaking, including painting, drawing, photography, printmaking, sculpture, music, and film.

He wrote and directed critically acclaimed films such as Eraserhead (1977), The Elephant Man (1980), Blue Velvet (1986), Lost Highway (1997), Mulholland Drive (2001), Inland Empire (2006), and the television series Twin Peaks (1990–91) and Twin Peaks: The Return (2017). While studying painting at the School of the Museum of Fine Arts in Boston and the Pennsylvania Academy of the Fine Arts in Philadelphia in the late 1960s, David Lynch envisioned his first “moving painting”, a multidimensional composition beneath a moving projection titled Six Men Getting Sick (Six Times) (1967). This multimedia work marked Lynch’s first foray into video and filmmaking. His remarkable career touched on subjects of the organic body and industrial sites in various states of decay, describing a deeper human experience both beyond and within the everyday. Often depicting scenes with an eye towards surrealism and mystery, Lynch’s work balanced on the porous divide between the body and the world it inhabits.

Lynch’s work has been the subject of numerous exhibitions. Retrospectives of his work include The Air Is on Fire: 40 years of Paintings, Photographs, Drawings, Experimental Films, and Sound Creations at Fondation Cartier in Paris (2007), which then travelled to La Triennale di Milano (2008), the Ekaterina Cultural Foundation in Moscow (2009), and Gammel Strand in Copenhagen (2011); Between Two Worlds at QAGOMA in Brisbane, Australia (2015); Silence and Dynamism at the Centre of Contemporary Art in Toruń, Poland (2017–18); and Someone Is in My House at the Bonnefanten in Maastricht, Netherlands (2018–19). In 2014, a survey of Lynch’s work entitled The Unified Field was presented at the Pennsylvania Academy of the Fine Arts, where the artist previously studied painting.

David Lynch: Up in Flames - Organisational Team

The exhibition Up in Flames is curated by Otto M. Urban. The organisational team consists of Leoš Válka, Michaela Šilpochová, Jan Slavík, and Anna Bárová from DOX, Anna Skarbek and Michael T. Barile from the David Lynch Estate, and Genevieve Day from Pace Gallery.

Michael T. Barile and Anna Skarbek from the David Lynch Estate and Patrice Forest from Item éditions in Paris made significant contributions to the exhibition. Michael T. Barile, Anna Skarbek, and Patrice Forest were the guests of honour at the exhibition’s opening ceremony. The graphic design of the exhibition and the accompanying catalogue was entrusted to Robert V. Novák. The music was arranged by Marcel Bárta.

Authors of the exhibition David Lynch: Up in Flames

Curator Otto M. Urban

DOX, Exhibition David Lynch, Up in Flames

Photo Jan Slavík © DOX

Otto M. Urban – Head curator of the DOX Centre for Contemporary Art in Prague, where he has prepared numerous exhibitions, including his latest project, David Lynch: Up in Flames. Since the early 1990s O tto M.Urban has focused on Czech and international art from the turn of the twentieth century, especially symbolism and decadence, as well as contemporary art.

Michael T. Barile

DOX, Exhibition David Lynch, Up in Flames

Photo Jan Slavík © DOX

Michael T. Barile – Executive assistant to David Lynch and employee at Asymmetrical Productions from 2008 to 2025. Michael T. Barile is an American film producer and writer who worked on several of Lynch’s projects, including Twin Peaks: The Return (2017), Twin Peaks: Missing Pieces (2014), and What Did Jack Do? (2017) as well as numerous other commercials, music videos, and short films. He currently works for the David Lynch Estate.

Anna Skarbek

DOX, Exhibition David Lynch, Up in Flames

Photo Tomáš Cindr © DOX

Anna Skarbek – An American visual artist and educator who began working with David Lynch as assistant art director on his 2006 film INLAND EMPIRE. She subsequently worked with him on commercials, music videos, and experimental films, and she built and maintains the database that inventories all of Lynch’s artworks. Anna Skarbek has organised fifteen international museum exhibitions of Lynch’s work, overseen forty gallery exhibitions, and co-edited twelve accompanying exhibition catalogues.

Patrice Forest

DOX, Exhibition David Lynch, Up in Flames

Photo Tomáš Cindr © DOX

Patrice Forest – A close friend of David Lynch and director of the Item éditions lithographic studio in Paris. In 2007 Patrice Forest initiated David Lynch into the secrets of lithography during the time that Lynch was creating nearly three hundred works in the studio. Item éditions is the oldest lithographic studio in Paris, with presses used in the past by Picasso, Matisse, and Giacometti, to name just a few. The exhibition includes not only a large set of lithographs from Lynch’s production at Item éditions but also two photographic series of gelatin silver prints on Baryta paper titled Small Stories.

DOX Centre for Contemporary Art

Poupětova 1, Prague 7

www.dox.cz

David Lynch: Up in Flames

DOX Centre for Contemporary Art, Prague, 19 june - 8 February 2026

27/07/25

41 British Artists Exhibition @ Maya Frodeman Gallery, Jackson Hole - "One Thing Touches Another" Curated by Emma Hill and Tom Hammick

One Thing Touches Another

Maya Frodeman Gallery, Jackson Hole

July 31 - September 14, 2025

Ken Kiff

Untitled - After Domenichino, 1996

Encaustic on paper, 40 1/8 x 59 7/8 inches

Lorna Robertson

Portrait of a Lazy Woman, 2024

Oil, linseed oil and varnish on paper, 20 5/8 x 18 ¾ inches

Prunella Clough

Black Flower, 1993

Oil on canvas, 44 x 48 3/4 inches

Maya Frodeman Gallery presents One Thing Touches Another, a group exhibition curated by Emma Hill and Tom Hammick.

The ideas behind One Thing Touches Another began from a simple premise which was to ask whether the language of painting has agency in an increasingly turbulent world. The exhibition offers a view of painting as an essential language of connection – as the physical manifestation of another’s thoughts. A form of invitation – a reaching towards.

Artists: Eileen Agar, Remi Ajani, Karolina Albricht, Ned Armstrong, Charles Avery, Basil Beattie, Maria Chevska, Prunella Clough, Denise de Cordova, Andrew Cranston, Martyn Cross, Joseph Dilnot, Peter Doig, James Fisher, Nick Goss, Phil Goss, Susie Hamilton, Tom Hammick, Marcus Harvey, Celia Hempton, Roger Hilton, Paul Housley, Andrzej Jackowski, Merlin James, Ken Kiff, Deborah Lerner, John Maclean, Elizabeth Magill, Kathryn Maple, Scott McCracken, Jeff McMillan, Margaret Mellis, Roy Oxlade, Carol Rhodes, Dan Roach, Lorna Robertson, William Scott, Myra Stimson, Graeme Todd, Phoebe Unwin, and Alice Walter.

Martyn Cross

Way Yonder Trouble, 2021

Oil on canvas, 12 x 18 inches

John Maclean

Swamp Things, 2025

Watercolor on board, 11 3/4 x 9 1/2 inches

The exhibition brings together work by 41 British artists, from internationally established figures to emerging young contemporaries. It reveals connections and currents in British art that span 75 years, with work by significant artists of the Modern British era, including Eileen Agar, Prunella Clough, Roger Hilton and William Scott, historic paintings by Ken Kiff and Roy Oxlade (whose influence as teachers travels into the present time), and recent work by artists including Basil Beattie RA, Andrew Cranston, Peter Doig and Marcus Harvey.

Though not bound by any one formal aesthetic, a prevailing aspect of the selection is the exploration of ideas expressed through depictions of landscape, both real and imaginary. The rich diversity of current practice in the UK is reflected in examples by contemporary artists including Charles Avery, Denise de Cordova, James Fisher, Tom Hammick, Nick Goss, John Maclean, Elizabeth Magill, Merlin James and Phoebe Unwin. The show also introduces a number of young painters to the US for the first time, selected by Tom Hammick, who worked for many years as a teacher.

The title of the exhibition is premised upon the words of painter Maria Chevska, writing in 2023:

The common factor—one thing touches another thing
Using the language of small gestures... tenuous, empathic, transforming,
holding, listening,
and the tensions held between bodies and spaces...

Thematic strands run through One Thing Touches Another that relate to landscape, still life, mythmaking, and folklore, but what connects all the work is a sense of the artist approaching painting as a site of perception. Axiomatically the exhibition also examines the materiality of paint as a medium.

Within the exhibition there are numerous meeting points: historic artists who have influenced, artists who have taught other artists, friends, partners, siblings. Conceived by an artist and a curator who have known and worked together in London since the late 1980s, One Thing Touches Another presents eloquent evidence of the value of painting as a vital language in the contemporary world.

This exhibition is accompanied by a physical catalogue featuring an essay by Emma Hill.

Guest-curator Emma Hill founded Eagle Gallery / EMH Arts in London in 1991. Throughout her career, she has championed emerging artists through innovative exhibitions, artist publications and off-site installations. Renowned as one of London’s pioneering alternative art spaces in the early 1990’s Eagle Gallery has nurtured talents now celebrated globally. Hill is currently a guest curator at Turps Gallery, London and has curated institutional exhibitions including Ken Kiff: The Sequence at the Sainsbury Centre for Visual Art (2018) and Stephen Chambers: The Court of Redonda for the 57th Venice Biennale (2017). Her visionary initiatives have fostered collaborations with esteemed institutions including Aldeburgh Music, Sadler’s Wells Theatre, the Scuola Internazionale di Grafica, Venezia, and now Maya Frodeman Gallery.

Hill’s co-curator Tom Hammick is an artist living and working in London and East Sussex in the UK. He studied art history at the University of Manchester and later fine painting at Camberwell College of Art and NSCAD, Nova Scotia College of Art and Design in Canada. He has an MA in printmaking, also from Camberwell, and until recently taught fine art painting and printmaking for many years at The University of Brighton. Hammick is the proud father of three grown children as well as a lover of music, theater, film, opera and poetry, all of which informs his work in a profound and tangible way. His work is held in various public and private collections worldwide, including the British Museum, London; Victoria and Albert Museum, London; Pallant House Gallery, Chichester, U.K.; Towner Eastbourne, U.K.; Yale Centre for British Art, New Haven, CT; Library of Congress, Washington, D.C.; New York Public Library, NY; Minneapolis Institute of Art, Minneapolis, MN; Bibiothèque National de France, Paris; and The Art Gallery of Nova Scotia. Tom Hammick was selected to join the Josef and Anni Albers Foundation in New Haven, CT as an artist-in-residence in 2023.

MAYA FRODEMAN GALLERY

66 South Glenwood Street, Jackson Hole, Wyoming 83001

www.mayafrodemangallery.com

15/03/25

Pinta Lima 2025 - Curators - Galleries

PINTA LIMA 2025 - 12th Edition

Casa Prado, Lima, Peru

April 24 - 27, 2025

Casa Prado, Lima, Peru

Photo courtesy of Pinta Lima

Pinta Lima 2025 is part of the international Pinta platform, a leader in promoting Latin American and Central American art, along with other contemporary art fairs such as Pinta Miami and Pinta BAphoto. It also includes special initiatives like Pinta Asunción Art Week and, this year, Pinta Panama Art Week. Supported by Arte al Día, its editorial founded in 1980, Pinta continues to expand its global network, celebrating the art and culture of the region.

Pinta Lima is the most important contemporary art fair in Peru, presenting in its 12th edition a solid program that celebrates the diversity of the Latin American artistic and cultural scene. Located at Casa Prado in Miraflores, Lima, the fair is an essential event where a network of artists, galleries, curators, and collectors from the region connect with the international scene.

In 2025, after 12 years of trajectory, Pinta PArC - Perú Arte Contemporáneo - evolves into Pinta Lima, highlighting the city and consolidating itself as the largest contemporary art fair in Peru. With this change, Pinta positions Lima as a key epicenter of Latin American contemporary art.

Under the Global Curatorship of Irene Gelfman, Pinta Lima 2025 will feature the Main Section, hosting over 30 galleries from various cities worldwide. The NEXT Section, curated by Emiliano Valdés, will showcase emerging projects, while the RADAR Section, curated by Florencia Portocarrero, will exhibit works addressing current issues. A prominent space will be the Sculpture Garden, with special curatorship by Giuliana Vidarte.

Pinta Lima will be a hub for exchanging ideas and debates with invited specialists at FORO, coordinated by Giuliana Vidarte, which will also include the Collection Talks cycle, coordinated by Pablo León de la Barra, addressing different collecting dynamics in Latin America. Additionally, special sections and initiatives such as awards and acquisitions will encourage the promotion of Latin American art on an international level.

PINTA LIMA 2025 - CURATORS

IRENE GELFMAN

Photo courtesy of Pinta Lima

Irene Gelfman is the Global Curator of Pinta. Her curatorial approach covers all Pinta events, with the goal of promoting Latin American art through a variety of initiatives. Among these, she selects renowned experts for the fair sections and coordinates their curatorial proposals, which undergo a careful selection and validation process, ensuring high-level projects in the field of Latin American art. Additionally, she is responsible for the Video Project and Special Project at each fair, which highlight the diversity and innovation of Latin American art.

Graduate and teacher of Middle and Higher Education in Arts (FFyL - UBA); Irene Gelfman attended the # 11 Artists Program at UTDT (Critic and Curator). She is the winner of the first prize New Curators of the AMALITA Collection and the Argentine Association of Art Critics. She works in curation, management, and art criticism. She is the founder and director of Minerva Universos Visuales, an art studio focused on the dissemination of Art History content for diverse audiences, giving a clinic for artists and consulting for cultural projects. She writes for various media, publications and catalogs (Otra Parte, Colección de Artistas, among others). With more than seven years of experience in different areas of cultural management, both public (national and local) and private (foundations and NGOs), she coordinates and produces content. In addition, she put together the programming in areas such as theater, visuals, and music for different festivals, fairs, and international events in which Argentina was invited as a guest country. She developed and coordinated an aid program to promote Argentine artists abroad (APEX-Ministerio de Cultura Nación) and was a strategic advisor for the Barrios Creativos program.

EMILIANO VALDES

Photo courtesy of MAMM / Pinta Lima

Emiliano Valdés is a Guatemalan curator and strategic advisor based in Guatemala City. Until December, he served as the Chief Curator at the Museum of Modern Art in Medellín, Colombia, where over the past decade he developed a program that amplified the voices resonating within the museum and positioned it internationally. He is currently advising the Guatemalan Institute of Tourism on exhibitions, culture, and international fairs, with an emphasis on artisanal and community-based processes. Until 2015, he was the Associate Curator of the 10th Gwangju Biennale (South Korea) and co-director of Proyectos Ultravioleta (Guatemala City). Previously, he was the curator and head of visual arts at the Cultural Center of Spain in Guatemala, where he also founded the space (Ex)Céntrico. Valdés has also worked with institutions such as dOCUMENTA(13) (Kassel), with a fellowship from the Patricia Phelps de Cisneros Collection, the Museo Nacional Centro de Arte Reina Sofía (Madrid), and Contemporary Magazines (London). He has curated, among others, the following international art events: the XVII Paiz Art Biennial in Guatemala, the VIII Nicaraguan Visual Arts Biennial-2011, the Costa Rican Visual Arts Biennial 2013, and the First Tamaulipas Border Biennial, Mexico-2015. He has written for international magazines, catalogs, and books. Valdés is an architect from the Istituto Universitario di Architettura di Venezia (Italy), holds a postgraduate degree in the history of art and Hispanic literature from the Ministry of Culture of Spain and the Duques de Soria Foundation (Spain), and a Master's degree in Urban and Environmental Processes from EAFIT University (Colombia).

FLORENCIA PORTOCARRERO

Photo courtesy of Pinta Lima

Florencia Portocarrero (Lima, 1981) is an interdependent curator. Inside and beyond institutions, her cultural practice intertwines writing, teaching and the organization of exhibitions and public programs. Her research interests focus on how to rewrite art history from a feminist perspective, the questioning of hegemonic forms of knowledge and the processes of subjectivization within the neoliberal economy. Originally trained as a clinical psychologist with a psychoanalytic orientation, between 2012 and 2013, Portocarrero participated in the Curatorial Program at de Appel Arts Centre in Amsterdam, and in 2015 she completed a second MA in Contemporary Art Theory at Goldsmiths University in London. She has lectured at various international institutions and her writings on art and culture appear regularly in specialized magazines and publications. In Lima, she has worked as curator of proyectoamil's public program (2015-2019), was curatorial advisor to the Contemporary Art Acquisitions Committee of the Museo de Arte de Lima-MALI (2018-2020) and is a professor in the Masters in Art History and Curatorship at the PUCP. Since 2014 she is co-director of Bisagra: an art collective in which she has worked in collaboration with artists and professionals from different fields and backgrounds to carry out politically engaged and socially sensitive art projects.

MIGUEL A. LOPEZ

Photo courtesy of Pinta Lima

Miguel A. López (Lima, 1983) is a writer and currently Chief Curator of Museo Universitario del Chopo in Mexico City. He was a co-curator for the 2024 Toronto Biennial of Art. From 2015 to 2020, he worked as Chief Curator, and later Co-director at TEOR/éTica, Costa Rica. In 2019, he curated the retrospective exhibition Cecilia Vicuña: Seehearing the Enlightened Failure at the Witte de With (now Kunstinstituut Melly), Rotterdam, which traveled to Mexico City, Madrid, and Bogota. Between 2023 and 2024, a second retrospective Cecilia Vicuña. Dreaming Water, curated by López, was presented at the Fine Art Museum (MNBA) in Chile, MALBA in Argentina, and Pinacoteca de São Paulo in Brazil. Recent curatorial projects include Sila Chanto & Belkis Ramírez: Aquí me quedo / Here I Stay en el ICA-VCU, Richmond (2022), Hard to Swallow. Anti-Patriarchal Poetics and New Scene in the Nineties at ICPNA, Lima (2021), and And if I devoted my life to one of its feathers? at the Kunsthalle Wien, Vienna (2021).

PABLO LEON DE LA BARRA

Photo courtesy of Pinta Lima

Pablo León de la Barra was born in Mexico City in 1972 and lives in Rio de Janeiro. He earned his Ph.D. in Histories and Theories from the Architectural Association in London. Since 2013, he has been the Curator for Latin America at the Guggenheim Museum in New York, where he curated the exhibitions Under the Same Sun: Art from Latin America Today (2014–16), Cecilia Vicuña: Spin Spin Triangulene (2022), and Gego: Measuring Infinity (2023), and where he is responsible for the acquisition of works by Latin American artists for the museum's collection. He was Chief Curator of the Museo de Arte Contemporáneo de Niterói, Rio de Janeiro (2016–2020) and Director of Casa França-Brasil in Rio de Janeiro (2015–2016), and founder and co-curator of the 1st and 2nd Tropical Biennial, San Juan, Puerto Rico (2011 and 2016). Over more than two decades of curatorial career, he has curated countless exhibitions internationally, in addition to having co-curated the Santa Fe Biennial, New Mexico (2017) as well as the Mexican Pavilion at the 2017 Venice Biennale showcasing the work of Carlos Amorales. In 2012, he received the inaugural Independent Curators International / Colección Patricia Phelps de Cisneros Travel and Research Grant for Central America and the Caribbean in honor of Virginia Pérez-Ratton. He serves on the advisory boards of the Luis Barragán Foundation, Mexico; the Nasher Sculpture Prize, Dallas; the Caribbean Art Initiative, Basel; and is president of the jury for the Prince Claus Fund Impact Awards, Netherlands.

PINTA LIMA 2025 - EXHIBITING GALLERIES

Acacia - La Habana, Cuba

ALA Projects - Miami, USA

Aninat Galería - Santiago de Chile, Chile

Azart Gallery - Woodstock, USA

Beatriz Gil Galería - Caracas, Venezuela

BLOC Art - Lima, Peru

Collectio - Santiago de Chile, Chile

Crisis - Lima, Peru

Departamento 112 - Buenos Aires, Argentina

Espacio Líquido - Gijón, Spain

Galería Daniel Cuevas - Madrid, Spain

Galería de arte La Sala - Santiago, Chile

Galería del Paseo - Lima, Peru

Galería Martín Yepez - Lima, Peru

Galerie Younique - París, France

Imaginario - Buenos Aires, Argentina

1/1 Caja de arte- Buenos Aires, Argentina

La Galería de San Isidro - Lima, Peru

La Mille - París, France

Linse Galería - Buenos Aires, Argentina

LnS Gallery - Miami, USA

LyV - Córdoba, Argentina

Marissi Campos - San Isidro, Peru

Miranda Bosch - Buenos Aires, Argentina

NAC - Santiago, Chile

NG Art Gallery - Ciudad de Panamá, Panama

Pabellón 4 - Buenos Aires, Argentina

Ponce+Robles - Madrid, Spain

Prima Galería - Santiago, Chile

Salón Comunal - Bogotá, Colombia

Sammer Gallery - Miami, USA

Segismundo - Ciudad de Guatemala, Guatemala

VAG - Florida, USA

Viedma - Asunción, Paraguay

PINTA LIMA 2025

Casa Prado - Av. 28 de Julio 878 - Miraflores, Lima, Peru

www.pintalima.art

03/02/25

Arte Fiera Bologna 2025 - International exhibition of modern and contemporary art - Sections, Curators, Galleries, artists, artworks, Awards

Arte Fiera Bologna 2025

International exhibition of modern and contemporary art

7 - 9 February 2025

Michelangelo Pistoletto

L'uomo nero, 1959

Oil on canvas, 120 x 120,5 cm

Courtesy Tornabuoni Arte

Salvatore Scarpitta

Drumer Brigade, 1963

Oil on canvas, bands and straps

61 x 61 x 12 cm

Signed, dated and titled on the back

Courtesy Studio Gariboldi

Valerio Adami

Park Avenue, 1969

Oil on canvas, 81 x 100 cm

Courtesy Studio Gariboldi

Piero Dorazio

Stop, 1972/1975

Oil on canvas, 70 x 35 cm

Courtesy Galleria Tonelli

Giuseppe Penone

Terra su terra - Tronco, 2015

Bronze and terracotta, 220,5 x 85 x 50 cm

Courtesy the artist and

Tucci Russo Studio per l'Arte Contemporanea,

Turin and Torre Pellice

Ph. Photo Archives Tucci Russo Gallery

Tony Cragg

Tommy, 2013

Bronze, 150 x 120 x 95 cm

Courtesy the artist and

Tucci Russo Studio per l'Arte Contemporanea,

Turin and Torre Pellice

Ph. Photo Archives Tucci Russo Gallery

Giacomo Balla

Progetto arredamento verde, circa 1919

Watercolor, pencil and paint on paper

38,1 x 48,4 cm

Courtesy Bottegantica

Enrico Prampolini

(1894 - 1956)

Bozzetto per la sala Esportazione, Padiglione del mercury

Courtesy Bottegantica

After celebrating a half-century of activity with a fantastic 2024 edition, marked by the return of large galleries and by many collectors, Arte Fiera looks to the future and confirms its growth under the leadership of Artistic Director Simone Menegoi and Managing Director Enea Righi. The exhibition’s traditional halls (25 and 26), reconfirmed for 2025, will showcase the Italian scene: current and past artists, new and established galleries, publishers, critics and institutions. A complete panorama of which Arte Fiera is a trusted interpreter, from post-war masters to emerging artists.

Arte Fiera Bologna 2025: Exhibitors, sections and curators

After the return of galleries such as Apalazzo, Laveronica, Lia Rumma, Lorenzelli, Franco Noero, Ronchini, and Sprovieri in 2024 (confirmed for 2025 as well), Arte Fiera 2025’s 176 galleries include important new returns, such as Gió Marconi, Magazzino, Raffaella Cortese and Tucci Russo, and first-time foreign galleries such as Herald St.

Pietro Consagra

Giardino bianco, 1966

Ferro verniciato, lamiere tagliate, curvate,

saldate verniciate, 38 x 51 x 2 cm, Edition of 5

Courtesy Archivio Pietro Consagra and Cortesi Gallery

Enrico Baj

Kiss me, I'm Italian, 1972

Coloured mixed technique on paper

78 x 66 cm. Edition: 100, X

Publisher: Studio Marconi, Milan

Courtesy Gió Marconi, Milan

Man Ray

La Fortune II, 1973

Colour lithographie, 55 x 75,5 cm

Edition: 90

Andrea Romano

Cocoons, 2015

Slate, fiber, glass, rope, 35 x 25 x 25 cm

Courtesy the artist and Federica Schiavo Gallery

Photo Andrea Rossetti

Salvatore Arancio

Drip Drip, 2018

Glazed Ceramic, 34 x 43 x 44 cm

Courtesy the artist and Federica Schiavo Gallery

Photo Andrea Rossetti

Sang Woo Kim

Closer 020, 2024

Oil on canvas, artists frame, 26 x 26 x 3 cm

Courtesy the artist and Herald St, London

Photo Andy Keate

Nicole Wermers

Proposal for a monument to a

Reclaning Famale! #9, 2023

Air dry clay and found objects

41,5 x 12,5 cm

Courtesy the artist and Herald St, London

Photo Jackson White

Arte Fiera’s Main Section, divided as always into post-war and contemporary art, will be accompanied by four invitation-only curated sections: Photography and moving images, Multiples, Pittura XXI, and, making its debut, Prospettiva, devoted to emerging artists, whether represented by new or established galleries.

Photography and moving images will be curated for the third year by Giangavino Pazzola, curator of Camera - Centro Italiano per la Fotografia in Turin. For the second year, Multiples will be curated by Alberto Salvadori, critic and art historian. Davide Ferri, critic and independent curator specializing in contemporary painting, has curated Pittura XXI since its first edition. The debut of Prospettiva is entrusted to Michele D’Aurizio, curator and critic working in Italy and in the United States.

Alongside the curated sections there will again be Percorso: not really a section, but an itinerary that thematically links some of the stands in the Main Section and in the curated sections. After two years devoted to artistic forms (Ceramics in 2023 and Drawing in 2024), Percorso 2025 will also concern the content of the works: in fact, the new theme is “Community.” The format's new theme for 2025 - on which the partnership with Ducati is renewed - is the idea of "Community," as expressed by "Community: not "I" but "we."

15 exhibitors in the section dedicated to publishing and 13 exhibitors in the section dedicated to institutions complete the list of 204 exhibitors at Arte Fiera 2025.

Robert Mapplethorpe

Robert Sherman, 1983

Gelatin silver print, 63 x 61 x 3,5 cm

Courtesy Galleria Franco Noero

La Nascita, Milano Centrale, 11 avril 2024

Color photographic print, laminated on dibond,

matte plexiglass, flush frame and American box

in walnut, 123 x 183 x 6,5 cm

Unique work

Courtesy the artist and Galleria Continua

Mimmo Jodice

Venere Italica, Florence, 1990-91

Printed on baryta paper "True Black Fine-Art Giclée"

115 x 90 cm, Edition: 6

Courtesy the artist and Vistamare, Milan, Pescara

ph. Mimmo Jodice

Lucia Maria Patella

Perché il Sol ne riluca, 1991

Polaroid, 60 x 50 cm

Courtesy Galleria Il Ponte

Rosa Fosci

Double (Antonine Artaud), 1996

Composition of 9 polaroids, 10 x 10 cm each

Courtesy Galleria Il Ponte

Adelita Husni Bey

Parable #5, 2023

c-print, 101 x 131 cm

Courtesy the artist and Laveronica

Jonas Staal

94 Million Years of Collectivism, Karl Marx, 2023

Alu dibond 5mm, back printed black

109 x 174,6 cm

Courtesy the artist and Laveronica

Eva L'Hoest

One hundred staring sheep (diptych), 2024

Fine art print, 137 x 113 cm each

Courtesy the artist and Artopia Gallery

Installation view, Artopia Gallery

Photo Michela Pedranti

Arte Fiera Bologna 2025: Public program and special projects

Opus Novum #7: Maurizio Nannucci

Every year since 2019, Arte Fiera has commissioned an Italian established artist to create a work to be presented at the fair. The series, named Opus Novum, was inaugurated by Flavio Favelli, followed by Eva Marisaldi (2020), Stefano Arienti (2021), Liliana Moro (2022), Alberto Garutti (2023), and Luisa Lambri (2024).

Maurizio Nannucci

Up/Down, 1984/2024

Red and blue Murano glass neon lights/

Timed ignition in three variants, 130 x 245 x 7 cm

Courtesy Galleria Enrico Astuni

Photo Renato Ghiazza

This year, the artist invited to create a new work for the fair is Maurizio Nannucci (b. 1939), an internationally renowned Italian artist since the 1960s. The author of sound and photographic works as well as artist books, Maurizio Nannucci is known above all for his use of the word as artistic material, specifically in the form of neon writing for site-specific installations. His contribution to the “Opus Novum” series is a work in edition: a high GSM paper shopper with YOU CAN IMAGINE THE OPPOSITE printed on its two main sides. A provocation – now more urgent than ever – to consider a radical alternative. Author, exhibition curator, collector, and even publisher of multiples (with Exempla, Zona Archives, and Recorthings, which he founded), Maurizio Nannucci views serial production as a way to affirm the preeminence of the idea of the individual action and as an opportunity for the democratic propagation of art. An approach shared by Arte Fiera as demonstrated by the creation of Multiples, a specific section for works in edition.

John Giorno

NASTURTIUMS FLAUNT TRUMPETS OF FIRE

TEASINGLY DEMONIC, 2017-2023

Acrylic on canvas, 101,6 x 101,6 cm

Courtesy Thomas Brambilla

Neïl Beloufa

Silhouette 1, 2011

Wood, plastic, spray paint, 86 x 131 cm

Courtesy ZERO...

Photo © Filippo Armellin

Christian Frosi

Rice and Juice, 2007

Performative sculpture:

shopping bags with rice and fruit

70 x 50 x 50 cm

Courtesy ZERO...

Rachele Maistrello

Black Diamond The corridor #1, 2024

Pigment print on Canson satin paper,

aluminium frame, 73 x 100 cm

Courtesy the artist and Artipia Gallery

Book Talk

The 4th edition of Book Talk, the series of conversations devoted entirely to art books, realized in partnership with BPER and curated by Guendalina Piselli, portrays the lively relationship between art and publishing, and its ability to stimulate great interest not only among professionals, but in the general public as well. A full calendar of presentations during the fair offers recently published works – essays, artist books, catalogs, and monographs – presented by critics, scholars, artists.

The Talks include Marie De Brugerolle, art historian and curator, in conversation with Vincenzo Estremo, theorist of moving images, presenting “Post-Performance Future. Method/e” (delpire and co edizioni), a research project analyzing the impact and legacy of performance art on the visual arts.

A double presentation creates a dialog between the book “Rematerialization of language 1978-2022” by Cristiana Perrella, Andrea Viliani, and Vittoria Pavesi (NERO Editions), and the monograph “Tomaso Binga. Euforia” by Eva Fabbris, Lilou Vidal, and Stefania Zuliani with Anna Cuomo (Lenz press), presented by Cristiana Perrella and Eva Fabbris.

Another double presentation compares “Skank Bloc Bologna: Alternative Art Spaces since 1977” by Roberto Pinto and Francesca Spampinato (Mousse), and “Anni Novanta. Arti visive, moda e design” by Alessandra Acocella and Valentina Rossi (postmedia books). The speakers will link the history of non-profit exhibition spaces in Bologna from 1977 to today with the Italian creative scene in the 1990s.

“On Patterns” (Mousse) by Adelaide Cioni will be an opportunity to focus on the research of this artist, protagonist of Arte Fiera’s performance program in collaboration with Fondazione Furla. She will talk with Ilaria Puri Purini, author of the book’s texts, and with Daria Khan, Jennifer Higgie, Jareh Das, Agnieszka Gratza, and Cecilia Canziani.

Piero Golia

Ancora Gora #13, 2023

Sumi ink on hotel letterhead paper

26 x 18,4 cm (unframed)

Courtesy the artist and Galleria Fonti, Naples

Giorgio Morandi

Natura Morta, 1956

Pencil on paper, 19,5 x 26,4 cm

Courtesy Galleria Sprovieri

William Kentridge

Cjiesa di San Francesco Saverio,

Palermo Cash Book Drawing I, 2023

Indian ink, charcoal and coloured pencil

on found paper, 52 x 76,8 cm (not framed,

62,5 x 87 x 5 cm (framed)

Courtesy Galleria Lia Rumma, Milan, Naples

Mario Schifano

Incidente, 1964

Mixed technique on cardboard, 99 x 68,5 cm

Courtesy Galleria Tonelli

Libera Mazzoleni

Luca II, 49, 1977

Photography with typographic intervention

30,5 x 40,5 cm

Courtesy the artist and

Frittelli arte contemporanes, Florence

Lucia Marcucci

Un consiglio di moda, 1970

Collage on cardboard, 35 x 50 cm

Courtesy Frittelli arte contemporanes, Florence

Fondazione Furla

Arte Fiera renews its collaboration with Fondazione Furla for the live performance program curated by Bruna Roccasalva, the Foundation’s Artistic Director.

This year, the invited artist is Adelaide Cioni (b. Bologna,1976), who presents a performance created for the exhibition. Adelaide Cioni’s work regards the origins of the sign. Although her research covers a wide range of expressive forms - including painting, literature, music, and theater - her starting point remains drawing.

At Arte Fiera 2025, Adelaide Cioni presents Five Geometric Songs, a performance in which abstract geometric motifs become the visualization of rhythm in space by means of five costumes designed by the artist and worn by five dancers who perform to original music by Dom Bouffard. The result of Cioni’s longtime focus on abstraction and color, on the origin of shape, and on the concept of patterns, the performance is both an evolution of a previous performance, Song for a Square, a Circle, a Triangle (2023) and a response to its specific location in Bologna: the Padiglione de l’Esprit Nouveau (1977), a faithful reproduction of an original design by Le Corbusier and Pierre Jeanneret for the 1925 Exposition Internationale des Arts Décoratifs in Paris, exactly 100 years ago.

Thursday 6 February at 4, 5, 6 PM | Friday 7 February at 11 AM and 12 N | Saturday 8 and Sunday 9 February at 11 AM, 12 N, 1 PM - Piazza Costituzione, 11, Bologna

Bice Lazzari

Untitled, 1966

Acrylic and pencil on canvas, 25 x 25 cm

Courtesy Richard Saltoun Gallery,

London, Rome, New York

Nedda Guidi

Omaggio a Ebla [Homage to Ebla], 1981

Terracotta and oxydes, set of twenty

70 x 50 x 13 cm

Courtesy Richard Saltoun Gallery,

London, Rome, New York

Agostino Bonalumi

Rosso, 1977

Vinyl tempera on shaped canvas, 140 x 140 cm

Courtesy Cortesi Gallery

Ai Weiwei

Estasi di Santa Cecilia (After Raffaello), 2024

Toy bricks, 228 x 152 cm

Unique work

Courtesy AI WEIWEI STUDIO and

Galleria Continua

Ph. Ela Bialkowska, OKNO Studio

Alberto Savinio

Nascita di Venere, 1950

Tempera on mansonite, 70 x 58 cm

Courtesy Tornabuoni Arte

Alfredo Piri

Senza Titolo, 2002

Plexiglass, steel wire, enamel and acrylic,

watercolour, watercolour paper

77 x 59 x 12,5 cm

Photo Dario Lasagni

Marta Roberti

Autoritratto Come Santa Olivia Riservia

Su Giaguaro, 2024

Drawing and collage with graphit and

oil pastel from handmade carbon paper

on Taiwanese Gampi paper, 240 x 190 cm

Arte Fiera Bologna 2025: Awards

BPER Prize

The BPER Prize, devoted to enhancing feminine themes, is part of the BPER Group’s traditional efforts focused on inclusion and the fight against gender violence, united with the promotion of culture and art.

As in 2024 (the first year of the prize), BPER will acquire the winning work and display it in its exhibition spaces, thereby providing visibility to the work and to the artist after the conclusion of Arte Fiera, Bologna 2025.

The jury is composed of Serena Morgagni, Director of Communications of BPER Banca; Caterina Riva, Director of MACTE - Museo di Arte Contemporanea di Termoli; Frida Carazzato, scientific curator at Museion - Museo d'arte moderna e contemporanea di Bolzano.

Marval Acquisition Award

Addressed primarily to emerging and mid-career artists, the Marval Acquisition Award consists of an acquisition to be added to the Marval Collection, a residency offered to the winning artist, and a targeted campaign on the Collection’s network to give the artist and gallery as much visibility as possible.

The jury is composed of collectors Marco and Valeria Curina.

Pier Paolo Calzolari

Untitled [la rosée], 2024

Salt, pigments, oil pastel, gold leaf, wood,

steel and iron on canvas glued on board,

ceramics, 187 x 190 x 35 cm

Courtesy the artist and

Galleria Mazzoli, Modena, Berlin

Pier Paolo Calzolari

Studio, 1999

Salt, wax and iron on paper on board

41 x 50,4 x 10 cm

Courtesy Repetto Gallery

Lucio Fontana

Concetto spaziale, 1957

Graffiti, holes, ink and aniline on canvas paper, 65 x 80 cm

Courtesy Repetto Gallery

Paolo Serra

Untitled, 2022

Lacquer and metal leaf on panel, 122 x 122 cm

Courtesy Ronchini

Salvatore Astore

Anatomia Umana, 2023

Stainless steel, 100 x 75 x 20 cm

Courtesy the artiste and Mazzoleni, London, Turin

Marinella Senatore

There is so much we can learn from the sun, 2024

Collage and silver leaf on paper, 50 x 70 cm

Courtesy the artist and Mazzoleni, London, Turin

Officina Arte Ducati Award

Ducati confirms the Officina Arte Ducati Award, linked to Percorso, the itinerary that thematically connects a selection of galleries exhibiting at the fair. The format's new theme for 2025 - on which the partnership with Ducati is renewed - is the idea of "Community," as expressed by the sentence "Community: not "I" but "we." As in the previous edition, the jury will assign the Award to the work that best expresses Ducati’s brand values: speed, design research, innovation.

The wining work will become part of the corporate collection in Borgo Panigale, supported by the Fondazione Ducati, which, including through its involvement in Arte Fiera, confirms its commitment to the public by promoting numerous cultural, educational, and social initiatives.

The jury is composed of Stefano Tarabusi, Design Manager Ducati Motor Holding; Andrea Bruciati, Director of Istituto Villa Adriana and Villa d’Este, Tivoli; Valentina Rossi, art historian, curator and lecturer.

Francis Offman

Untitled, 2023-2024

Acrylic, paper, ink, 100% cotton, coffee arounds,

Bologna chalk on linen, 222 x 244 cm

Unique work

Courtesy the artist and P420, Bologna

Victor Fotso Myie

Veglia, 2023

Glazed ceramic and gold, 22 x 60 x 42 cm

Courtesy the artist and P420, Bologna

Lynda Benglis

Gone Gone, 2024

Ice-white onyx, 121 x 26 x 45 cm

Courtesy Thomas Brambilla

Luisa Rabbia

The Gods: Artemis, 2023

Oil on linen, 244 x 183 cm

Courtesy Galleria Giorgio Persano

Photo Nicola Morittu

Herbert Brandl

No title, 2022

Acrylic on canvas, 300 x 150 cm

Courtesy Galleria Giorgio Persano

Photo Nicola Morittu

Osvaldo Licini by Fainplast Award

The Osvaldo Licini by Fainplast Award stems from an idea by the Picena Contemporary Art Association with the collaboration of the City of Ascoli Piceno and the Fainplast Group.

The award is dedicated to Italian painting, with a selection method that involves about forty contemporary art professionals, including curators, critics, collectors, museum directors, and journalists, each of whom are requested to provide the name of two artists. In 2025, one of the five finalists will be chosen from the Pittura XXI section of Arte Fiera by a jury composed of Roberta Faraotti, collector; Bernardo Follini, Senior Curator Sandretto Re Rebaudengo Foundation, Turin; Pier Paolo Pancotto, independent curator.

Francesco Arena

Cassetta, 2023

Bronze, 63 x 31 x 45 cm

Courtesy the artist and

Galleria Raffaella Cortese, Milan, Albisola

Edi Hila

Broken circus, 2023

Oil on canvas, 95 x 141 cm

Courtesy the artist and

Galleria Raffaella Cortese, Milan, Albisola

Tanya Ling

Di Canio, 2024

Oil on canvas, 115 x 165 cm

Courtsy Ronchini

Martino Gamper

Sitzung, 59, 2023

Alpi Veneer, 82,5 x 67,5 x 50 cm

Courtesy Galleria Franco Noero

Tild Greene

Energy Tastes The Same, 2023

Bronze powder, epoxy resin, 10 x 10 x 2 cm

Courtesy the artist and Galleria Fonti, Naples

Photo Amedeo Benestante

LABINAC

Pino (model 8), 2024

Resin, bronze, steel, 41,5 x 69 x 52,5 cm

Courtesy Galleria Sprovieri

Righi Collection Award

The aim of the Righi Collection Award, in its third edition in 2025, is to acquire a work at Arte Fiera that will be added to the collections of MAMbo - Museo d’Arte Moderna di Bologna, with specific focus on the work of recent generations of Italian artists.

Currently consisting of over a thousand works of the highest quality, the Righi Collection is one of Italy’s largest private collections of contemporary art.

The jury is composed of Lorenzo Balbi, Artistic Director of MAMbo - Museo d’Arte Moderna di Bologna; Andrea Viliani, Director of Museo delle Civiltà, Rome; Bart van der Heide, Director of Museion - Museo d'arte moderna e contemporanea di Bolzano.

Rotary Award

Now in its 13th consecutive edition, the Rotary Award is presented to the most creative installation at Arte Fiera 2025, whether a creation by an artist or the overall setup of a stand.

The Award consists of the Rotary Award Arte Fiera 2025 to gallery, Special Rotaract Bologna Award, and the Special “Andrea Sapone” award by Rotary Club Bologna Valle del Samoggia.

The jury is composed of Davide Daninos, curator, critic, and Art Programme Leader, Marangoni Institute Florence; Giacomo Fontana, Chairman of Rotary Club Bologna Valle del Samoggia; Maura Pozzati, art critic and teacher at the Academy of Fine Arts, Bologna; Leonardo Regano, art historian and independent curator; Matteo Zauli, Director of Museo Carlo Zauli, Faenza.

Wael Shawky

I Am Hymns of The New Temple:

Pompeii Ceramic amphora #01, 2023

Courtesy the artist and

Galleria Lia Rumma, Milan, Naples

Maurizio Mocheti

Camouflage Natter pixel grigi, 2019

Installation (resine plane, 4 multilayer wood panels

painted in gray tones of acrylic)

208 x 208 x 40 cm (overal measurement);

100,5 x 66 x 35 cm (plane)

104 x 104 x 2 cm (each of 4 panels)

Courtesy Galleria Enrico Astuni

Photo Yosuke Kojima

Carlo Benvenuto

Untitled, 2020

Plastic-coated photographic print

on aluminium, 180 x 150 cm

Courtesy the artist and

Galleria Mazzoli, Modena, Berlin

Lorenzo Scotto Di Luzio

Tout le monde se fout des fleurs, 2024

View of the exhibition, Vistamare, Pescara

Courtesy the artist and Vestamare, Milan, Pescara

Photo Roberta Verzella

The Collectors.Chain Prize by Art Defender

With The Collectors.Chain Prize, now in its 4th edition, Art Defender confirms its collaboration with Arte Fiera as well as its special relationship with photography. This year as well, the winning work, selected from those exhibited in the Photography and Moving Images section, will become part of Art Defender’s corporate collection, emphasizing the company’s dedication to collecting and to photography in particular.

The jury, composed exclusively of collectors, will once again be chaired by Walter Guadagnini, an internationally recognized photography expert. Together with Chiara Massimello and Katia Da Ros, collectors, and with Rischa Paterlini, independent curator, Guadagnini will select the work that best interprets the history of photography in terms of either continuity or innovation.

ARTE FIERA, BOLOGNA

www.arteferia.it