Mazzoleni was founded in Turin in 1986 and opened a Mayfair-based London gallery in October 2014. Over the past three decades Mazzoleni has organised solo and group exhibitions of more than 150 prominent Italian and international artists from across the 20th century. Recent critically acclaimed exhibitions have included the major Alberto Burri solo exhibition in 2015, Piero Manzoni. Achromes: Linea Infinita, curated by Gaspare Luigi Marcone in collaboration with the Piero Manzoni Foundation, Fontana/Melotti. Angelic Spaces and Infinite Geometries, curated by Daniela Ferrari, Pittura Analitica: Then and Now, curated by Alberto Fiz, Colour in Contextual Play, an installation by Joseph Kosuth, curated by Cornelia Lauf and Joseph Kosuth, UnComfort Zone with Dimore Gallery, Light in motion: Balla Dorazio Zappettini, curated by Elena Gigli, Michelangelo Pistoletto: Origins and Consequences, curated by Alberto Fiz and Equilibrium. An idea for Italian sculpture curated by Giorgio Verzotti. All exhibitions are accompanied by fully illustrated monographs, often featuring newly commissioned research contributing to current critical and art historical discourse. Mazzoleni participates at international art fairs, including London, Paris, Basel, Hong Kong, New York and Miami.
The 34th Bienal de São Paulo speculates on art's role in a challenging and uncertain present.
Artworks will appear in unusual locations, including the dock, terraces overlooking the Gulf of Naples, and the Chapel of Santissima Purità.
The biennale is hoping audiences will grant them a do-over after the initial launch was marred by the ousting of curator Théo-Mario Coppola.
Artist Biraaj Dodiya and collector Udit Bhambri on the different ways that art can be experienced.
Marinella Senatore established herself on the international scene thanks to the spectacular interdisciplinarity of her practice often flowing into events in the public sphere. Her work bears a strong
The paintings of Giorgio de Chirico invariably call to mind a cluster of adjectives: haunting, enigmatic, evocative, poetic. But unlike many artists whose poetry remains wordless and confined to the c
MILAN, Italy — The aesthetician Richard Wollheim summarized the way that traditional historians understand visual style. In his essay "Style Now," published in the anthology Concerning Contemporary A
IN JUNE, NEW YORK'S MUSEUM OF MODERN ART WENT DARK to put the finishing touches on its contentious five-year expansion, which promised to put $450 million and 47,000 square feet of Diller Scofidio + R
Panel Discussion with Enrico Crispolti (Art critic, Curator and Art historian), Luca Massimo Barbero (Director of Fondazione Cini in Venice) and Edward Lucie-Smith (Art critic, Curator and poet).
Moderated by Tim Marlow (Artistic Director of the Royal Academy), with Luca Massimo Barbero (Director of the Istituto di Storia dell’Arte at the Fondazione Cini), Bernard Blistène (Director of the Ce