Robert Mapplethorpe (New York, 1946–1989) was one of the most prominent contemporary photographers in the late twentieth century. He used his Hasselblad not just to photograph subjects, but also to create space via the lens, imbuing each shot with an atmosphere of pure classicism, a geometric vision, and a never-ending pursuit of perfection. Denis Curti’s exhibition “The Forms of Beauty”, at the Ara Pacis Museum in Rome, comprises over 200 pictures that take visitors on a journey examining the concept of beauty according to one of the masters of twentieth-century photography. The exhibition allots a significant amount of space to the theme of the male and female nude, drawing comparisons to ancient statuary. Two first-century AD sculptures from the Capitoline Museums, the Statue of Aphrodite and the Statue of an Athlete, are also on display. One section is dedicated to Mapplethorpe’s “muses”: Patti Smith, his companion and confidante, and Lisa Lyon, a bodybuilder and model who played important roles in his life and visual images. Among the best-known portraits on display are also those of David Byrne, Richard Gere, Yoko Ono, and Robert Rauschenberg.

News Source: 9Colonne

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The 61st International Art Exhibition of the Venice Biennale runs from May 9th to November 22nd, and the Holy See Pavilion is one of the most anticipated and unique installations this year. The project is coordinated by Hans Ulrich Obrist and Ben Vickers in partnership with the Soundwalk Collective under the title “The Ear is the Eye of the Soul”. The basic concept is as simple as it is counterintuitive: in an age characterized by immediacy and background noise, the pavilion opts to slow down and rely on listening as a form of knowledge. The initiative is inspired by Hildegard of Bingen, a 12th-century Benedictine mystic and abbess, composer, healer, and thinker who was named Doctor of the Church in 2012. A medieval character, yes, but with a decidedly contemporary voice capable of highlighting current issues, as Cardinal José Tolentino de Mendonça, the pavilion’s commissioner, highlighted. The pavilion spans two Venetian venues: the Mystical Garden of the Discalced Carmelites in Cannaregio, a green space buried within a 17th-century monastery, and the Santa Maria Ausiliatrice complex in Castello, which has been turned into a modern scriptorium. Visitors to the Mystical Garden can use headphones to listen to 20 modern artists’ compositions in dialogue with Hildegard’s songs and visions. The list of names is impressive: Brian Eno, Patti Smith, Jim Jarmusch, Terry Riley, Meredith Monk, FKA Twigs, and many more. The Santa Maria Ausiliatrice complex houses a multilingual library of Hildegard’s books, the liturgical voices of the Bingen nuns, and the final major work of filmmaker Alexander Kluge, who died on March 25 at the age of 94, which unfolds in 12 parts as a strong creative testament. Pope Leo XIV’s words—”to return to serving the rhythm of life, the harmony of creation, and to heal its wounds”—serve as the project’s spiritual compass. A pavilion to be experienced rather than looked at.

News Source: 9Colonne

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From 18th-century Naples to international theaters, their work blends theater, movement, music, and light, transforming the stage into a living artist’s workshop before the audience’s eyes. Now, after years of touring across Europe and Asia, Teatri 35 is coming to the United States with Chiaro Scuro, a performance inspired by the masterpieces of Caravaggio.

How did your artistic project begin and evolve into the show you’re bringing to America?
Gaetano Coccia: This project started quite a while ago. Our company was founded in 2010, and since then we’ve been developing a project based on the technique of tableaux vivants, a theatrical practice that dates back to the 18th century. We didn’t invent anything new—this form already existed and was particularly popular in Naples at the end of the 19th century. What we did was reinterpret it, giving it a different artistic direction.
Originally, tableaux vivants were static images: actors recreated a painting and remained still for an extended time while the audience admired them as a living artwork. We wanted to transform that stillness into movement—into performance. On stage, the audience doesn’t just see the finished painting; they witness its creation. The actors use fabrics and materials to suggest shapes and colors, and the image comes to life before their eyes. We don’t wear period costumes or pre-made outfits: we build the composition live with drapes and cloth, as if we were the painter’s own palette.

How did the opportunity to bring this show to the United States come about?
Gaetano Coccia: Completely by chance. Lia Adelfi, president of the Dante Alighieri Society of Michigan, is Neapolitan like us and had heard about our company. She reached out to propose bringing our show to the U.S. From that first contact came the idea of including us in the Institute’s November program. So, almost by accident, we ended up organizing this American tour.

This will be your first U.S. tour, right?
Gaetano Coccia: Yes, our first. We’ve traveled extensively, especially in Eastern Europe and more recently in India, but never to the United States. It’s a thrilling moment for us—an important and completely new experience.

Returning to your work, would you say your performance is more an interpretation than a faithful recreation of the paintings?
Gaetano Coccia: Absolutely, it’s an interpretation. We’re never identical to the original—both for technical and artistic reasons. Some poses are physically impossible to hold for long on stage; other times, we simplify the composition to focus on a detail. For instance, in Saint Francis in Ecstasy, the saint is held up by an angel in a complex pose: we preserve the essence of the scene but adapt it to the realities of live performance. Sometimes we also reduce the number of figures to help the audience focus their attention.

How do you develop your performances? Is it a collective process or more director-driven?
Francesco Ottavio De Santis: It’s very much a shared process. As in any creative endeavor, there’s discussion—and sometimes disagreement—but that’s part of the dynamic. We decide together which artist to work on, and everything develops around a musical structure, which is fundamental for us. The music guides the movements, defines timing, the pauses, the moments when the scene freezes into a painting. We don’t script everything on stage—many gestures arise spontaneously—but that spontaneity comes from years of shared understanding. And yes, sometimes we argue, but that’s a sign the creation is alive.

Why did you choose this artistic form, and why Caravaggio in particular?
Francesco Ottavio De Santis: It happened almost by accident. We didn’t set out to create a show of tableaux vivants. It grew out of our work in physical theater—exploring the body, its relationship with music and space. During some stage exercises, working with a few props and pieces of cloth, we began to play with Caravaggio’s images. We were struck by his ability to capture the precise moment when an action is happening—or has just happened. In that sense, Caravaggio was a director before directors existed: his painting is already theater.

The title of your show, Chiaro Scuro, recalls Caravaggio’s signature use of light and shadow. How important is lighting in your performances?
Gaetano Coccia: It’s essential. Caravaggio’s entire visual identity is defined by his use of side lighting, and that’s something we recreate on stage. A single spotlight, set just two meters off-center, can instantly evoke his atmosphere.
We often use a black velvet backdrop to cancel out depth and restore the two-dimensional quality of his paintings. Then there are the colors—red, white, and black—the three dominant tones in his palette. Together, these elements recreate the visual sensation we want the audience to feel. It’s like stepping into Caravaggio’s workshop, where, as legend has it, a beam of light entered from the ceiling to illuminate the scene. Our goal is to bring that same magic to life.

Does your show also explore Caravaggio the man—his troubled life and personality?
Gaetano Coccia: No, we don’t go into his biography. This isn’t a historical or biographical play about the “tormented” artist. We tell Caravaggio’s story through his paintings, not through his life. Of course, those who know his story might recognize certain echoes—like in The Death of the Virgin—but that’s not our focus. We aim to convey the visual and emotional power of his art, not the narrative of his existence.

How would you define your artistic style?
Francesco Ottavio De Santis: Ours is a theater of mimesis, but not of imitation. We don’t recreate a “fake” reality—we create a real effect of truth. We reconstruct what might have happened in Caravaggio’s studio, without tricks or illusions, and that’s what gives the image its emotional impact.
We’re not chasing visual resemblance alone, but the emotional charge Caravaggio embedded in his canvases. We want to bring back the life within those images—the vibration of the creative moment, the tension between light and shadow.

What are your expectations for this American tour?
Gaetano Coccia: We’re very curious and excited. The first performance will be on November 8 at the Marygrove Theater in Detroit, followed by another on November 10 in Indianapolis. We can’t wait to see how American audiences respond to our work.
We’ve toured extensively, but bringing our show to America has a special allure. Every time I’ve been here, I’ve felt a deep enthusiasm for Italian culture, and that makes me think our show will be warmly received. Expectations are high—but in a good way, the kind that gives you energy and pushes you to give your best.

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A new voice has emerged in the world of cinema: N41 Studios, an independent film production company founded in Los Angeles, is setting out to rewrite how Italian and Italian-American stories are told—boldly, truthfully, and far from cliché.

Born from the collaboration between producers Emanuele Scamardella and Davide Ippolito, with the extraordinary support of Oscar-winning producer Jonathan Sanger (The Elephant Man, Vanilla Sky, Cabrini), N41 Studios aims to shine a light on a new generation of authentic, culturally rich storytelling. Their latest work Cabrini, centered on America’s first Italian-born saint, has been acclaimed by critics and is already generating Oscar buzz.

The name N41 pays homage to the 41st parallel—an invisible line that connects Naples and New York, symbolizing the cultural bridge between two worlds that share deep roots. The mission is clear: to produce films and series that elevate Italian identity and Italian-American culture, moving beyond worn-out tropes of organized crime and exaggerated nostalgia.

“We want to bring fresh, powerful stories to the screen—stories of excellence, resilience, creativity, and identity—without resorting to distorted narratives or outdated stereotypes,” says Emanuele Scamardella, a social innovator and cultural designer. “It’s time to build a network of talent that shares a common vision: bringing Italian values back to global cinema—not as folklore, but as substance.”

“A people’s reputation is shaped in part by the stories they tell—and how the world sees them on screen,” adds Davide Ippolito, founder of ilNewyorkese, a media outlet serving the Italian community across the U.S. “N41 Studios marks a personal homecoming: back to storytelling, back to cinema, back to the passion that first brought me here. After years of independent projects, we’re entering the Hollywood landscape with clarity of purpose: to give voice to an Italy that inspires, surprises, and transcends stereotypes.”

With offices in Los Angeles and New York, and a creative soul rooted in Italian heritage, N41 Studios is poised to become a new home for filmmakers and audiences who believe that telling meaningful stories is not only possible—but necessary.

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Designed and developed by Boeri Studio (Stefano Boeri, Gianandrea Barreca, Giovanni La Varra), and built and managed by COIMA in the Porta Nuova district of Milan, the Bosco Verticale was inaugurated in the autumn of 2014 and has now reached its tenth year of life. Ten years of awards, recognition, research, and work have made it a symbol of Milan, an icon not only of green architecture but also a pop icon featured in films, TV series, game shows, jewelry, fashion, advertisements, and songs.

“I realized the Bosco Verticale would become important not when it won the award for Best Skyscraper in the World, but when, a few months later, I received from the great Giuseppe Montanari an illustration of Dylan Dog and Groucho staring perplexed at this strange, bizarre, tall house for trees, humans, and birds in the heart of Milan.”

— Stefano Boeri

To mark this anniversary, Stefano Boeri Architetti (Stefano Boeri, Francesca Cesa Bianchi, Marco Giorgio, and Pietro Chiodi), in collaboration with Rizzoli, curated the English-language book “BOSCO VERTICALE Morphology of a Vertical Forest”, which retraces the history of the project—from an impossible challenge to the realization of the Porta Nuova district—analyzing all its defining aspects. The book features contributions by Beatriz Colomina, Emanuele Coccia, Paul Hawken, Vittorio Lingiardi, Manuel Orazi, Matilda van den Bosch, and James Wines, along with an unpublished photographic portfolio by Iwan Baan created specifically for the book, as well as photographs by Paolo Rosselli, Giovanni Nardi, Dimitar Harizanov, Elisa Galluzzo, and Laura Cionci, plus the extraordinary graphic works of comic artist Enrico Pinto.

The book follows a unique narrative path that evokes the growth of a tree, starting from its roots, moving through the trunk, and extending to the branches. The roots represent the intuition behind an innovative idea, generated from creative and artistic inspirations. The trunk represents the genesis of the project, the challenges faced in terms of structure, technology, and the environment, the construction site, and the impact of the Bosco Verticale on the transformation of the area and the urban landscape.

Finally, the branches outline the life of the Bosco Verticale: on one hand, its place within the context of international architecture, marking a shift towards integrating living nature into the urban environment; on the other hand, its autonomous journey as a symbol and catalyst of biodiversity—even in the collective popular imagination.

In the section dedicated to the “trunk”, the book includes an actual herbarium describing the main plant species (geranium, campanula, periwinkle, ornamental apple, etc.) that populate the Bosco Verticale, also graphically illustrating their placement on the different facades of the building.

In the chapter Voices of the Bosco Verticale, comic artist Enrico Pinto tells the story of the building’s vibrant world through his illustrations, representing the voices that surround it—human tenants, plants, animals, and passersby commenting on it.

In the opening pages, dedicated to the Bosco Verticale as a manifesto, Stefano Boeri writes:

“Sometimes I like to think that the Bosco Verticale might be considered, like Italo Calvino’s novel, both a political and fantastic work. Capable of making the impossible plausible.

[…] The politics of the Bosco Verticale is that of a simple and popular message: living nature must return to inhabit spaces conceived for humans. No more, no less. The reasons are countless: environmental, health-related, aesthetic. But what really matters is that the words of this political manifesto are made of earth, concrete, steel, glass, and 21,000 plants, 360 human beings, 20 bird species, and countless insects. They don’t disappear on a screen or fade in the sun; rather, they constantly change because they grow, age, die, and are reborn from their seeds.

[…] Since its creation, the Bosco Verticale has been inhabited by fairy tales and legends in the collective and retrospective imagination. The Bosco Verticale is fantastic for what it offers its inhabitants: the experience of looking at the city from above, filtered through the leaves and branches of trees and shrubs whose roots are one hundred meters high. In recent years, I have received dozens of drawings and messages from children; their wonder, their curiosity—sometimes gentle, sometimes mischievous—are both the greatest gift the Bosco has given us and the reason for its success, at least so far.”

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Rome’s iconic New Year’s Eve concert at the Circus Maximus is now at risk of cancellation following the city’s decision to exclude rapper Tony Effe from the lineup. The move came after widespread criticism of his lyrics, which some deem misogynistic, violent, and inappropriate for a publicly funded event. In solidarity with Effe, fellow performers Mahmood and Mara Sattei, both under the same label, have withdrawn from the event, calling the exclusion an act of censorship. Singer Emma Marrone also defended the rapper, describing him as a “good person” and condemning the backlash.

The controversy has reignited debates over the content of modern rap and trap music, which often reflect gritty realities of urban life but are criticized for perpetuating problematic themes like sexism and violence. Critics argue that Effe’s lyrics reflect the genre’s excesses, while supporters emphasize the broader narratives of love, friendship, and joy embedded in his work. The decision has also raised questions about the city’s vetting process, as officials invited Effe before realizing the potential backlash. Meanwhile, the rapper is still slated to perform at the upcoming Sanremo Festival, where organizers promise “surprises.”

The fallout has proven counterproductive for the city. Effe’s exclusion has amplified his music’s reach, sparking curiosity and further popularizing his work. Critics suggest that instead of damage control, institutions should focus on promoting and funding music that inspires positive cultural and educational impact. The mishandling of the event underscores the delicate balance between artistic freedom, public accountability, and the influence of popular music on youth culture. For now, Tony Effe seems to be the unintended beneficiary of this very public debacle.

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This evening, December 7, Milan’s Teatro alla Scala marks its traditional season opening with Giuseppe Verdi’s La Forza del Destino, a melodrama directed by Riccardo Chailly and staged by Leo Muscato. Held annually on Saint Ambrose’s Day, the city’s patron, this iconic event boasts a star-studded cast including Anna Netrebko as Donna Leonora and Brian Jagde as Don Alvaro. Tickets for this celebrated night range from €3,200 for orchestra seating to €50 for gallery spots.

Premiering in 1862 in Saint Petersburg, La Forza del Destino reached its definitive version at La Scala in 1869 and has been absent from the venue’s repertoire since 2001. The opera tells a story of love, tragedy, and revenge, as Donna Leonora seeks sanctuary in a monastery following the accidental death of her father during her attempted elopement with Don Alvaro. Pursued by her vengeful brother Don Carlo, played by Ludovic Tézier, Leonora’s journey unfolds against the dramatic backdrop of Verdi’s masterful score.

Ticket prices reflect the exclusivity of the event. Orchestra seats uniformly cost €3,200, regardless of location, while boxes vary by level and visibility, ranging from €900 to €3,200 for first-row seats. The gallery offers more affordable options, with prices starting at €50 for lateral spots and increasing to €450 for premium views. Despite the range in cost, the La Scala opening remains an unmatched cultural highlight for opera enthusiasts worldwide.

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On Thursday, the Regional Administrative Court (TAR) of Liguria ruled that the municipality of Sanremo can no longer directly assign the organization of the Sanremo Music Festival to Rai, the Italian public broadcaster. This annual event, held every February at the Ariston Theatre, is trademarked by the municipality. Starting in 2026, the court mandated that a public tender must be initiated to determine the organizer of the festival. However, the 2025 edition will still be organized and broadcast by Rai as scheduled, taking place from February 11 to 15.

The court’s decision stems from an appeal filed by Just Entertainment (JE), an association focused on producing events and musical works. It is highly anticipated that Rai will appeal this ruling, as the Sanremo Festival represents the most significant television event of the year, generating tens of millions of euros in advertising revenue. In 2021, the municipality had established an exclusive agreement with Rai for the rights to produce the 72nd and 73rd editions of the festival, specifically those for 2022 and 2023. As the contract neared its end in March 2023, JE expressed interest in acquiring the rights to the festival and its brand for the 2024 edition.

Prior to the expiration of the agreement, the municipality approved a resolution to once again award the organization of the 74th and 75th editions (for 2024 and 2025) to Rai without a public tender, prompting JE to file their appeal. A key aspect of the dispute involves the technical distinction between the festival’s format—its structure and characteristics—and the trademark owned by the municipality. Rai contends that it is the sole holder of the Sanremo Festival format, arguing that it is inseparable from the trademark and thus, the trademark can only be licensed to Rai. However, the TAR did not accept this identification of trademark and format, stating explicitly that “the municipality owns the trademark and is, therefore, free to associate it (following a public evidence procedure) with formats different from those of Rai.” Sanremo’s Mayor Alessandro Mager described the ruling as “unexpected” and indicated that further examination is needed.

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The highly anticipated 2025 edition of the Pirelli Calendar has been unveiled, signaling a return to its original ethos: sensual, provocative imagery featuring celebrities such as singer Elodie and actress Hunter Schafer—alongside male counterparts. Photographer Ethan James Green emphasized a “classic sexy” approach, with Pirelli fully embracing this direction. Reflecting on recent cultural shifts, Green remarked, “The MeToo movement gave us a much-needed pause,” but added his desire to return to what the Pirelli Calendar traditionally represents. His work, however, raises broader questions about the evolving portrayal of femininity in fashion and advertising.

The Pirelli Calendar’s history mirrors the cultural zeitgeist. While it gained fame in the 1960s for its risqué aesthetic, recent editions, such as Annie Leibovitz’s 2016 feminist-themed calendar, explored introspective and socially conscious narratives. These changes paralleled broader movements, including MeToo, which sought to dismantle the male gaze and challenge systemic objectification in creative industries. However, critics argue that such efforts often leaned into temporary trends rather than fundamental progress. Green’s framing of MeToo as a “pause” rather than a lasting shift drew criticism, with some viewing it as an indication of superficial change within the industry.

Pirelli is not alone in navigating this shift. Victoria’s Secret, long criticized for its hyper-sexualized branding, recently attempted a rebranding with inclusive campaigns. However, the lingerie giant ultimately revived its iconic fashion show, showcasing both traditional supermodels like Carla Bruni and transgender and plus-size figures such as Valentina Sampaio and Ashley Graham. Critics, including Vanessa Friedman of The New York Times, described the effort as clumsy, prioritizing fame over genuine body diversity. This broader “post-MeToo creep,” as coined by The Guardian‘s Barbara Ellen, reflects a cultural tension between preserving progressive strides and reclaiming older aesthetics.

Green’s contribution to the Pirelli Calendar notably includes a nude self-portrait, breaking conventional norms by placing the observer in the position of the observed. In his words, his approach “has always been collaborative with the person photographed,” signaling an effort to balance sensuality with respect for individual agency. While this year’s calendar harkens back to its glamorous roots, it simultaneously underscores the ongoing debate within the creative world about how to reconcile past and present in a rapidly shifting cultural landscape.

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This week, the Philippe Labaune Gallery introduced “Together” to the art district’s community. Critics and art lovers packed the small gallery to take in the 16 acrylic paintings in Ponzi’s new collection. A traditional medium for a not-so-traditional process.

Ponzi’s process began with pen and paper: “I began by writing some diary pages, as if two people had written them in secret and I had stolen them and read them and made paintings of them.” Then, explained Ponzi, he constructed his works digitally through Adobe Photoshop, playing around with shapes and colors. Once each image was finalized, he painted it by hand on canvas. A unique process that combines the flexibility of digital experimentation with traditional painting techniques. 

In one painting, titled “The First Time,” a young couple meets in an empty park, bathed in a glow of green light as sunshine gushes in from above through the thick foliage. The story told is that of two young people “taking measure of each other’s intimate speace, trying to decifer each word, each gesture to understand whether there will be a relationship or whether it will just be a meeting like many others.” Though initially hesitant to admit it, Ponzi says he crowned this piece as his favorite.

“The First Time” embodies the spirit of the entire collection: “The goal of the exhibition is to tell the story of a relationship between two people…the emotions you feel while living in a relationship,” said Ponzi.

In another piece, “Circular Path,” Ponzi tells a much bleaker story. The overwhelmingly gray painting shows a dejected young man holding a bouquet of pink flowers close to the wet asphalt as rain pools around his feet and a few petals float to the ground. The woman in the background appears to be walking away from him.

“We continually fall into the same repeated mistakes, our unhealed weaknesses ever present,” states the painting’s description.

“Together” took only 6 months to complete from start to finish. Each individual piece, on average, was created in 3-7 days. The accelerated timeline is part of Ponzi’s process: “I believe in throwing yourself into a project and doing it very intensely in order to be able to keep alive the propulsive energy that moves you at the beginning.”

This propulsive energy, says Ponzi, was at its core very simple: “After all, I’m talking about emotions that we all feel and have felt.”

The exhbition will be open to the public until December 21st.

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