Viva la vida!

Milan, Fabbrica del Vapore. It is a journey around the life of Frida Kahlo, one of the most emblematic female characters of the 20th century and queen of Mexican art told by the curators Arèvalo, Matiz, Ancheita and Rosso. Her demons, obsessions, mental flows and the tormented relationship with the husband Diego Rivera are described through her letters and diary.

Casa Azul, her mansion in Coyoacán, is faithfully reproduced with the large canopy bed and the mirror used to portray herself even when laying in bed due to illness and where she died on July 13th, 1954. Paintings and photographs, books, and her personal crutches. Her studio is reproduced with her desk and all the little bottles, filled with colors and brushes, Frida’s diary, the stuffed red chair, the wheelchair and the large easel.

Her art is the background of the Mexican Revolution, a historical period that brings her into contact with intellectual figures of the time related to the communist party, such as the Russian revolutionary Lev Trotsky and the poet André Breton.

Her paintings according to Diego: “Communicated a vital sensuality to which was added a spirit of ruthless observation, but sensitive… It was clear that she was a true artist”. Within those images, the themes most dear to her, including music, death, Christian iconography and martyrdom. Her recurring themes were music, death, Christian iconography, and martyrdom.

A section that forces us to enter into the depth of her magnetic personality well portrayed in the work of renowned Columbian photographer Leonet Matiz Espinoza, with his inseparable Rolleiflex, who created iconic images of Frida, with an exclusive and close-up perspective. This was not granted to many, he could spontaneously grasp the expressive nuances of his friend.

She has remained so attached to her life that people may think Frida has never really left this earth, every time they come into contact with her work.

Photo & production Miriam De Nicolo’ @miriam_denicolo
Fashion Editor & production Rosamaria Coniglio @rosamaria_coniglio
Artwork Maria Angela Lombardi @_mariaalombardi_
Hairstyling Angelo Rosauliana @angelorosauliana
MakeUp Valeria Iovino @valeriaiovino_pro
Model Giorgia Cappellotto @calamarata Agency @pop_models_milano
Special project with Navigare Srl e Fabbrica del Vapore and
Quotes from Pino Cacucci’s book “Viva la Vida!” published by Feltrinelli

Total look Etro, handmade paper necklaces, in unique pieces, by Ana Hagopian at Ladiosa Atelier Milano @Ladiosa_atelier rings of Radà

Frida was “A bomb wrapped in silk ribbons,” called her André Breton. She was rebellious in every gesture, subversive in every thought, and convulsively beautiful. Frida, with a deep voice and a disruptive laugh, with piercing eyes that have never closed and have remained fixed on us who look at her in self-portraits.

TPN lace shirt, Reamerei flower vest, Radà ring

Diego Rivera was 36 years old and Frida Kahlo was only 15, when they first met while he worked in the Bolivar amphitheater. Of that first encounter with Frida, Diego recalls: «…she had a dignity and a self-confidence that was completely unusual and in her eyes, a strange fire shone».

Ethnic sculpture necklace handmade in shells and seeds Ladiosa Atelier Milano @Ladiosa_atelier

Frida had her spine broken in three, two ribs, her shoulder, and left leg shattered… excessive and indecent devastation. In spite of everything, Frida grabbed life and kept it inside.

Dress in tulle with velvet embroidery by Tiziano Guardini, maxi scarves in wool Made in Italy by Fiorio

Frida’s sensuality is legendary in a thousand testimonies of men and women, a sensuality impulsive and never studied. Her sunny irony fascinated those who frequented her. An irony that could be caustic, sometimes as ruthless as the Mexican nature. Frida did not want to live, but lived in spite of fate, with the daily consciousness of being consumed quickly, like a blaze that burns brighter than the slow embers.

Chemisier vichy Tiziano Guardini, necklace and bracelet in paper, handmade, in unique pieces, by Ana Hagopian at Ladiosa Atelier Milano @Ladiosa_atelier rings of Radà

And yet everything was so intense and so convoluted! We took ourselves inside a new world, a new concept of society, a different way of conceiving politics! Art was politics! Muralists fought against the concept of work to be relegated to private collections or museums. They painted the walls of public buildings so that everyone could enjoy them. I, I don’t know. I paint myself, my pain. I fight and defeat the Pelona every day, every hour, every moment.

Artist Eben Haines Builds “Shelter In Place” Gallery Space In Boston

As the world keeps rolling in the calamity of the pandemic, the creative sphere might face serious repercussions in showcasing work as serious social distancing measures have been put into place.

On that note, for artists hoping to exhibit their craft during lockdown, Boston’s Shelter In Place gallery has been mounting exhibitions of brand-new work over the past month. Built by artist Eben Haines, the miniature 20 by 30-inch gallery showcases scaled-down works in a model structure that encompasses foam, mat board, balsa wood and plexiglass.

The condensed space is extremely realistic, with high ceilings and skylights that allow light to enter the space and radiate the works.

Artists can submit works at a one-inch scale, which allows them to create and show seemingly[co1]  impressive pieces while traditional exhibition spaces remain close. Each exhibition at Shelter In Place is based on submissions selected by Haines, his painter and gallery assistant, Delaney Dameron.

Haines and Dameron then capture the installation views and share them on the gallery’s Instagram. To avoid possible contamination during shipping, Shelter In Place has only been able to show works in the local Boston area. Haines hopes to eventually extend the opportunity to a larger group of artists.

Local artists who can easily transport their work can review submission guidelines on Shelter In Place’s Instagram.

“I’m hoping that artists are able to get more eyes on their work and even sell some work during the pandemic and beyond,” said Haines.

“One of my ambitions for this project, besides urging people to step outside of their crisis mode for a little bit, is for artists to be able to use their submission proposals and photographs of their installed work to send to galleries, residencies, or grant programs, and have some momentum when the country opens back up.”

Banksy’s Bathroom Art Is Your Ultimate Lockdown Pleasure (And No, Don’t Feel Sorry)

In times seeped by global disruptions caused by the coronavirus pandemic, the sphere of the arts acquires a whole new peep that tackles creativity through ground-breaking styles. From tik-tok’s dancing queens (and kings) to fawning avenues to nurture craftsmanship, there’s always something for everyone. Though social distancing might have well been a source of embracing quarantine in our respective homes, consider Banksy’s confinement idea your ultimate mood booster – that’s when you’re in the loo. 

The graffiti mogul shared on Instagram a photograph of stencilled rats on the wall – becoming an exclusive insight for his fans, as he never shares images of his home. Humorously titled My wife hates I work from home; the work shows the gang of spray-painted rodents making a mess with one swaying from a light fixture and another clomping on a tube of toothpaste until it spurts. 

Rats are pervasive attribute in Banksy’s art practice, serving-up political satire as a ballot of rebellion and heroism.

magnus. accidental artist

cover_i’d rather be happy baron, i’d rather be happy than dignified (2017);
24 ct gold leaf, silk screen & giclÉe on 308 gsm cotton rag archival paper.

Magnus Gjoen is a new kind of artist, a liquid artist (he calls himself accidental and after he explains why). Liquid, because today there is no need for attributions anymore. He Born in London to Norwegian parents, and grew up in Switzerland, Denmark, Italy as well as in the UK. He mix street and pop aesthetic into a fine art approach. Gjoen studied fine art and fashion design , he had work for brands such as Vivienne Westwood. Thought provoking and often emotional art, he offers a modern vision on classical masterpieces, or manipulates powerful and strong objects into something brittle, but always beautiful.

How did you become interested in the History of Art, which highly affects your production?
My passion for art and history comes from my childhood. I grew up in different places around the world and travelled a lot, and with that came countless visits to museums as well as my family being avid collectors of art. I studied fine art before I went onto studying fashion design and have come full circle back to art. I would say the thirst for discovery and beauty and the stories behind them is what has always driven me.

How would you explain the definition “accidental artist”?
It all came about as an accident when I wanted artwork to put on the walls of my new flat in London. I had no intention of going into art, but looking around at art I thought to myself ‘I can do that’, and so I did.

What should call forth in the public the view of your works?
An emotion. When creating a piece of art you always want to evoke a memory or emotion which the viewer is able to associate with. It can be anything but if it doesn’t do this you have failed in my post of view.

Are your creations more provocative or irreverent?
I think both. It sometimes surprises me what offends people in this day and age. I don’t set out to create a work that provokes, but rather that re-evaluates the norm and beauty associated with something. It’s about commenting on things which people don’t want to see.

How would you define beauty nowadays?
I would define beauty as one always has; something pleasing to the eye. Different people have different perspectives which makes some people see beauty where others don’t. Beauty is everywhere, one just has to look hard enough and choose to want to see it.