The child in time

Edward Hopper, Soir Bleu, 1914 Oil on canvas, 91,4 × 182,9 cm

«One night I had an idea while I was at the movies: to photograph the film itself. I tried to imagine photographing an entire feature film with my camera. I could already picture the projection screen making itself visible as a white rectangle. In my imagination, this would appear as a glowing, white rectangle; it would come forward from the projection surface and illuminate the entire theater. This idea struck me as being very interesting, mysterious, and even religious.» Hiroshi Sugimoto

El Greco, Fabula, 1580 Oil on canvas, 50,5 x 63,5 cm, Museo Nacional del Prado

“The installation unidisplay offers an examination of semiotics and the laws of perception. the work operates with a number of modules of different visual effects that interfere with the viewers' perception, through optical illusion, jitter, flicker, after-image, movement, complementary colour effect, and so on. the installation unfolds against a long projection wall with two mirror walls on the side thus visually expanding like a universe. the basic visual, made up of sequences, motifs and graphic translations of various units of time measurement acts as a world clock and evokes the intertwining of time, between past, present and future. the installation is created with derivative's touchdesigner software which has been used for alva noto live performances with a triple-screen projection.” (Carsten Nicolai official website)

Full map here: https://www.google.com/maps/d/viewer?mid=zfQOJsHHJaWw.khr9-_irnDpw

Before and after the bombing of via dei Georgofili (27 May 1993), which caused the death of five people, the destruction of three paintings of the Gallery and severely damaged more than 100 other artworks.

Agnolo Bronzino, Portrait of Lucrezia Panciatichi (detail), 1541 Oil on panel, 102 x 85 cm,

Dry pigment and resin on paper laid on canvas, 63,5x51,5 cm

The work won the ICONA 2013 Prize during ArtVerona art Fair.

Chromogenic print

1991 was also the year in which the artist's beloved companion, Ross Laycock, died, and his presence is evoked in this work through the subtitle March 5th, the date of his birthday. The two bulbs hang intertwined, indicating an aura of inseparable union. This devoted harmony is, nevertheless, precarious. As time moves forward both bulbs will inevitably dim, one before the other, and the mutual light that symbolizes the connection between the two entities will fade. (source: Sotheby's New York catalogue, Contemporary Art Evening Auction, 13 November 2013)

Francis Bacon, Three Studies of Isabel Rawsthorne, 1966 Oil on canvas, 35,5 x 30,5 cm each

Francesco Guardi, The Ridotto in Venice with Masked Figures Conversing, before 1768 Oil on canvas, 77.5 x 107.5 cm The scene takes place in the salone centrale of the ridotto in Palazzo Dandolo at San Moisè. The ridotti were public spaces, usually located close to theaters, where the wealthy upper classes would engage in gambling. Since most visitors wore masks, the ridotto soon became the obvious location for conspirational plots and illicit amorous encounters, fueling the imagination of artists and writers in the 18th century Venice: Francesco Guardi, Pietro Longhi and Giambattista Tiepolo all painted numerous scenes of the ridotti and the writings of Giacomo Casanova and Carlo Goldoni were appreciated and inspired by these surroundings.

Michelangelo Pistoletto, Lei e Lui - Maria e Michelangelo, 1968 painted tissue paper on polished stainless steel 230x120 cm

Helen Frankenthaler  Blue Territory, 1955, oil and enamel on canvas, 291,6 x 150,3 cm Robinson's Wrap, 1974, acrylic on canvas, 177,8 x 238,8 cm Helen Frankenthaler was initially influenced by Jackson Pollock’s action painting and inspired to learn his pouring technique. She soon combined it with her love for watercolors to use transparent layers of very thin oil paints that she poured onto unprimed sailcloth attached to the floor. She used sponges and tools to manipulate the paint, unlike Pollock, and because the canvas was unprimed, the paint soaked into the surface, rather than resting on top, inventing a new style – STAIN painting, and strongly influencing the birth of Color Field painting.