conceptual fine arts

a conversation between contemporary art and the art of the past centuries

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Rodolpho Parigi: an interview with the virtuoso | Conceptual Fine Arts

Rodolpho Parigi can paint whatever he wants. But the big problem, even for him, is choosing what is really worth representing.

Born and raised in Sao Paulo, Rodolpho Parigi first came to prominence alongside a generation of painters that graduated from Fundação Armando Álvares Penteado in the late 2000s – among them, Marina Rheingantz and Ana Elisa Egreja. Through a vivid aesthetic, the artist extracts lessons from nearly all art schools and techniques to create compositions that are unmistakably contemporary. Here he chats with CFA about inspirations, virtuoses, Alter-Egos and influences.

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(via Sylvain Bellenger on the online future of museums | Conceptual Fine Arts)

What have you learned in the last two months?

Sylvain Bellenger: Only in the future will we know what really happened. For the moment we have learned that when we are confined at home, when the banality of everyday life has suddenly disappeared, our relationship with information, with culture, and with leisure changes substantially.  It is no coincidence that cultural institutions, not only museums, have felt the need to communicate about a sense of art of which they are an expression. At the same time, the public demand for culture increases exponentially and people have been looking for this sense online. The views on the website of Capodimonte have more than doubled. Virtual exhibitions have had more visitors than they would have had in the world of material reality.

Follow the link to read our interview with Museo di Capodimonte’s director.

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(via Culture will save the art market, not a viewing room)

Culture will save the art market, not a viewing room. Online art fairs still have to find their way. Galleries are suffering. But focusing on culture might be the key to recover the moribund art market. Our last editorial is now online, follow the link.

Photo credit: Mark Leckey, Installation view of GreenScreenRefrigerator, 2010-2016. Photograph by Pablo Enriquez. Courtesy the artist and MoMA PS1.

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(via Global Cows 2020 | Conceptual Fine Arts)

A collaboration with Brussels-based gallery Damien & The Love Guru, our new online exhibition presents a double digital interactive fresco companion to the fresco secco painted one year ago in Brussels by Vanessa Disler, Tiziana La Melia, Nina Royle, Lucy Stein and Charlott Weise. The show is accompanied by a new text by Sonia D’Alto. Follow the link for exploring the project.

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(via Top 10 artist websites | Conceptual Fine Arts)

Here is our (temporary) selection of 10 great personal websites of contemporary artists, chosen among both internet litterates and not.

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(via Lucy Stein: Digitalis purpurea, a re(in)trospective | Conceptual Fine Arts)

Our second online exhibition is a re(in)trospective dedicated to Lucy Stein. It gathers together 18 selected paintings and ceramics from European private collections and museums. In depth writing and a seminal interview with the artist to go deeper. Follow the link in our profile and enjoy the show. Full screen view recommended. Lucy Stein: Digitalis purpurea, a re(in)trospective | 21 April - 3 May 2020 | on Conceptual Fine Arts

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(via Lucy Stein: Digitalis purpurea, a re(in)trospective | Conceptual Fine Arts)

Our second online exhibition is a re(in)trospective dedicated to Lucy Stein. It gathers together 18 selected paintings and ceramics from European private collections and museums. In depth writing and a seminal interview with the artist to go deeper. Follow the link in our profile and enjoy the show. Full screen view recommended. Lucy Stein: Digitalis purpurea, a re(in)trospective | 21 April - 3 May 2020 | on Conceptual Fine Arts

[conceptualfinearts]

(via Lucy Stein: Digitalis purpurea, a re(in)trospective | Conceptual Fine Arts)

Conceptual Fine Arts’ second online exhibition is a re(in)trospective dedicated to Lucy Stein. It gathers together 18 selected paintings and ceramics from European private collections and museums. In depth writing and a seminal interview with the artist to go deeper. Follow the link and enjoy the show. Full screen view recommended. Lucy Stein: Digitalis purpurea, a re(in)trospective | 21 April - 3 May 2020 | on Conceptual Fine Arts

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(via Peter Saul and the importance of having a salary (an interview) | Conceptual Fine Arts)

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(via Peter Saul and the importance of having a salary (an interview) | Conceptual Fine Arts)

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(via Malevich honors laziness in his prophecy | Conceptual Fine Arts)

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Global monotone of Lombardy | Conceptual Fine Arts

A show dedicated to monotony and to the anchoring effect. Works by: Lucas Blalock, Peppi Bottrop, Francesco Gennari, Adam Gordon, Wade Guyton, Wyatt Kahn, Michael Krebber, Renata Lucas, Mathieu Malouf, Nicolas Party, Seth Price, Jonas Wood. All the pieces in the show are from private contemporary art collections based in Lombardy.

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(via Antonello da Messina's note for Mantegna is in Sebastian's navel | CFA)

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(via Lisa Dalfino & Sacha Kanah, living and non-living beings | CFA)

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(via Hanna-Maria Hammari: when nature leads elsewhere | CFA)

< There are essentially two reasons why we’re writing about Hanna-Maria Hammari’s works. The first one is of formal nature. We have been struck by the way she manages to reconcile materials which at first glance seem to be incompatible – and, as we will see, it is not about simple associations. The second reason is instead a matter of personality. More than objects to contemplate, certain works by Hanna-Maria Hammari look like living organisms. They are able to adapt to the environment. They ambitiously tend to a potential mobility which at times could remind of something oriental. There is a Chinese myth that tells about the painter Han Gan who, when asked why the horses he painted were always tethered, he replied that his horses were so alive that if he didn’t they might fly off the page… >

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(via Michael Dean at Fondazione Converso (with Campi bros) | CFA)

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James Bradburne and the anthropological revolution of Brera | CFA

We asked to James Bradburne to tell the path that led him to the original didactic approach introduced in the Pinacoteca di Brera