All events of 8 April

All events of 9 April

9 apr H. 20:00
Climate Injustice is an independent graphic journalism project. A form of journalism that arises from the journalist-cartoonist duo and which combines, in a hybrid mode, illustrations and narration of real events. The project, unpublished and presented to the public for the first time, was born from a current article written by the journalist Federica Biffi and from which Ale Martoz, cartoonist, illustrator and street-artist was inspired to transpose it into a comics key. The comic will be the starting point for a conversation on the working - exploitation - situation of migrant people, particularly in the Gulf countries. For example at COP28 or World Cup 22, where the people who employed their workforce were put to the test due to high temperatures. During the talk, together with Laura Silvia Battaglia al-Jalal, professional journalist and documentary filmmaker, Andrea Coccia, journalist, co-founder of Slow News, managing director of La Revue Dessinée Italia and Federica Russo, sociologist and co-founder of Malegaleco, will current issues such as economic migration and climate change were addressed. And how art reads and interprets them. Followed by: informal discussion/Q&A and background music. Participants: Laura Silvia Battaglia al-Jalal, journalist and documentary maker, voice of Radio3 Federica Biffi, journalist and co-founder of Malegaleco Andrea Coccia, journalist, co-founder of Slow News, managing director of La Revue Dessinée Italia Ale Martoz, cartoonist, illustrator and street-artist Federica Russo, sociologist and co-founder of Malegaleco
#OPENING
Tempio del Futuro Perduto location
9 apr H. 18:00
On the occasion of Milano Art Week 2024, the A arte Invernizzi gallery, in collaboration with ICONE – European Research Center in History and Theory of the Image (Università Vita-Salute San Raffaele, Milan), organizes an evening talk dedicated to the work of François Morellet curated by Francesca Pola, which will be followed by a visit to the exhibition. Since his initial engagement with concrete and programmed art during the 1950s and 1960s, the French artist François Morellet has revolutionized geometric abstraction, becoming a pioneer of a generative and immersive vision of the image. Incorporating elements of movement and chance, his works activate the viewer's gaze, fostering engagement in a complex space of experience. His work is characterized by significant variability, achieved through the use of diverse materials and techniques, which result in the creation of endless images exploring the minimal coordinates of human experience. The talk will explore Morellet’s pioneering role for contemporary artistic practices, especially in their digital form, and his profound influence on the field of generative art. Francesca Pola is associate professor of contemporary art history at the Faculty of Philosophy of the Università Vita-Salute San Raffaele in Milan, where she teaches in the Master's Degree Program in Theory and History of Arts and Image. She is also member of the executive committee of ICONE - European Research Center in the History and Theory of the Image and CRISI - Interdisciplinary Research Center in History of Ideas.
#TALK
A arte Invernizzi location

All events of 10 April

All events of 11 April

11 apr H. 14:45
Human Image Recognition di Alessandro Sambini è la prima mostra fotografica promossa da La Galleria BPER Banca, che avrà luogo a Milano, nella nuova sede di BPER Banca Private Cesare Ponti, realizzata in collaborazione con lo Studio Legale Pavesio e Associati with Negri-Clementi. Curata da Andrea Tinterri e Luca Zuccala, founder di Galleria Indice, e con il contributo della consulente d’arte Giorgia Ligasacchi, l’esposizione vuole far riflettere sul rapporto tra l’uomo e le nuove tecnologie, tra l’uomo e l’Intelligenza Artificiale. Sambini propone tre tipologie diverse di opere in cui si sostituisce all’algoritmo modificando le immagini e trasformandole in generatori di altre visioni, anche a partire dalle collezioni di BPER Banca. Da giovedì 11 aprile a giovedì 27 giugno 2024, tutti i martedì e i giovedì pomeriggio, dalle ore 14,45 alle ore 16,15, esclusi i giorni festivi, sono previste visite guidate.“Human Image Recognition” by Alessandro Sambini is the first photographic exhibition promoted by La Galleria BPER Banca, which will take place in Milan, in the headquarters of th new BPER Banca Private Cesare Ponti, created in collaboration with Pavesio e Associati with Negri-Clementi law firm. Curated by Andrea Tinterri and Luca Zuccala, founder of Galleria Indice, and with the contribution of art consultant Giorgia Ligasacchi, the exhibition aims to make us reflect on the relationship between man and new technologies, between man and Intelligence Artificial. Sambini proposes three different types of works in which he replaces the algorithm by modifying the images and transforming them into generators of other visions, also from BPER Banca's collections.
#ARTINSTALLATION
BPER Banca Private Cesare Ponti location
11 apr H. The i
Women are the common thread to which Fabbrica del Vapore dedicates many of its activities this year. Gender equality is in fact the thermometer of every democracy. Feminicides, lack of wage equity, female unemployment are symptoms of a malaise that must otherwise be turned into widespread social well-being. Even within Vapore d'estate, Art and Design Week, there is no shortage of insights into a theme that must be pervasive. Mezzadri's work presents itself as a threshold and connective tissue between the different programs that characterize the month of April in Fabbrica del Vapore. His contribution is welcome, like Crespi's painting "Revolution is woman", it is a useful contribution, because males being spokespersons for a need for equality is an indispensable part of change." (Maria Fratelli) With "The garden of Artemisia", a site-specific installation, curated by Matteo Pacini in collaboration with Jessica De Simone, Matteo Mezzadri addresses the theme by reflecting on a historical episode that will end up having many repercussions on the disadvantaged condition of women in society, a theme still dramatically relevant today. This is the lawsuit filed in 1612 by the painter Artemisia Gentileschi against Agostino Tassi, which went down in history as the first rape trial of which written memory is preserved through trial records. Artemisia Gentileschi spent her life fighting to assert her freedom of expression in a world that left very little space for women, especially in the artistic field, and publicly denouncing her rapist was an act of great courage which, as still too often happens today, saw the defendants take the stage accused of having had provocative attitudes towards the accused. Artemisia never recanted, not even under torture; “It's true, it's true, it's true” is the cry of pain recorded in the State Archives of Rome that Artemisia addressed to the accused while her fingers were broken, irrefutable proof, according to the legislation of the time, of the veracity of the his accusations. Although Tassi's sentence to exile proved to be a farce since, thanks to his position, he never left Rome, unlike Artemisia who was forced to do so due to the uproar of the trial, this courageous denunciation remained in history as the first true act of rebellion against the suffocating patriarchal culture. In dealing with the complex topic, especially as faced by a man, Mezzadri makes use of materials, language and visual grammar typical of his poetics, therefore no didactic or narrative quotation, but an under-the-radar evocation that brings into dialogue, or rather , the materials and structural geometries that will give shape to the work are in conflict. The large cube of fired bricks, severe and absolute, hides and confines something inside with the excuse of protecting it; it is the paradigm of a system of power and rigid, unchangeable social conventions, a mechanism decoded by men for the benefit of men which for too long has left no room for women to affirm their freedom and dignity as human beings. The Artemisia garden symbolizes resilience, the continuous rebirth that starts from the bottom like all the greatest revolutions in the history of humanity. A break in the pattern that overturns the physical space and, as in the case of Artemisia, also the historical one.
#ARTINSTALLATION
Fabbrica del Vapore location

All events of 12 April

12 apr H. 18:00
On Friday 12 April with the inauguration of TALAMO – an installation by Lemonot, a duo of Italian architects resident in London (Sabrina Morreale and Lorenzo Perri) – BASE Milano kicks off a series of initiatives created for the program of the city's Art Week and miart 2024. The performative sculpture, created in collaboration with Xavier Madden and Katja Banović, introduces the theme of conviviality, the protagonist of WE WILL DESIGN – The Convivial Laboratory, a program that brings together the projects and initiatives that will take place during the Milan Design Week 2024. Drawing inspiration from the archaic or scientific meanings of "Talamo" - the wedding bed, the stage for representing liturgical dramas in the Middle Ages, the part of the brain for the transmission of sensory signals to the rest of the body - the Lemonot wanted to synthesize them in a mobile installation , creating a convivial architecture composed of an immense but light bed, which becomes a stage in dynamic suspension between floor and ceiling. To accompany the inauguration of the installation, an in-depth meeting will take place at 7pm: The Convivial Laboratory with Lemonot. At 9pm, the Greek performers arisandmartha (Aris Papadopoulos and Martha Pasakopoulou) will activate Lemonot's installation with Talamo in a restless state, four actions in which animate and inanimate elements will merge with its habitable forms - familiar but at the same time otherworldly. The performers' bodies will seem to emerge from TALAMO, shaped by the structure itself, intertwining, seeking and reinventing their own space within it. The configurations of the work and the fantastic configurations of the duo - whose work lies halfway between on-stage and site-specific dance performances - will involve the audience in a ritual of lights, sounds and exceptionally ordinary gestures, leading to the surreal and progressively erasing the boundary between matter and the human body.
#OPENING
BASE Milano location
12 apr H. The i
Women are the common thread to which Fabbrica del Vapore dedicates many of its activities this year. Gender equality is in fact the thermometer of every democracy. Feminicides, lack of wage equity, female unemployment are symptoms of a malaise that must otherwise be turned into widespread social well-being. Even within Vapore d'estate, Art and Design Week, there is no shortage of insights into a theme that must be pervasive. Mezzadri's work presents itself as a threshold and connective tissue between the different programs that characterize the month of April in Fabbrica del Vapore. His contribution is welcome, like Crespi's painting "Revolution is woman", it is a useful contribution, because males being spokespersons for a need for equality is an indispensable part of change." (Maria Fratelli) With "The garden of Artemisia", a site-specific installation, curated by Matteo Pacini in collaboration with Jessica De Simone, Matteo Mezzadri addresses the theme by reflecting on a historical episode that will end up having many repercussions on the disadvantaged condition of women in society, a theme still dramatically relevant today. This is the lawsuit filed in 1612 by the painter Artemisia Gentileschi against Agostino Tassi, which went down in history as the first rape trial of which written memory is preserved through trial records. Artemisia Gentileschi spent her life fighting to assert her freedom of expression in a world that left very little space for women, especially in the artistic field, and publicly denouncing her rapist was an act of great courage which, as still too often happens today, saw the defendants take the stage accused of having had provocative attitudes towards the accused. Artemisia never recanted, not even under torture; “It's true, it's true, it's true” is the cry of pain recorded in the State Archives of Rome that Artemisia addressed to the accused while her fingers were broken, irrefutable proof, according to the legislation of the time, of the veracity of the his accusations. Although Tassi's sentence to exile proved to be a farce since, thanks to his position, he never left Rome, unlike Artemisia who was forced to do so due to the uproar of the trial, this courageous denunciation remained in history as the first true act of rebellion against the suffocating patriarchal culture. In dealing with the complex topic, especially as faced by a man, Mezzadri makes use of materials, language and visual grammar typical of his poetics, therefore no didactic or narrative quotation, but an under-the-radar evocation that brings into dialogue, or rather , the materials and structural geometries that will give shape to the work are in conflict. The large cube of fired bricks, severe and absolute, hides and confines something inside with the excuse of protecting it; it is the paradigm of a system of power and rigid, unchangeable social conventions, a mechanism decoded by men for the benefit of men which for too long has left no room for women to affirm their freedom and dignity as human beings. The Artemisia garden symbolizes resilience, the continuous rebirth that starts from the bottom like all the greatest revolutions in the history of humanity. A break in the pattern that overturns the physical space and, as in the case of Artemisia, also the historical one.
#ARTINSTALLATION
Fabbrica del Vapore location

All events of 13 April

13 apr H. The i
Women are the common thread to which Fabbrica del Vapore dedicates many of its activities this year. Gender equality is in fact the thermometer of every democracy. Feminicides, lack of wage equity, female unemployment are symptoms of a malaise that must otherwise be turned into widespread social well-being. Even within Vapore d'estate, Art and Design Week, there is no shortage of insights into a theme that must be pervasive. Mezzadri's work presents itself as a threshold and connective tissue between the different programs that characterize the month of April in Fabbrica del Vapore. His contribution is welcome, like Crespi's painting "Revolution is woman", it is a useful contribution, because males being spokespersons for a need for equality is an indispensable part of change." (Maria Fratelli) With "The garden of Artemisia", a site-specific installation, curated by Matteo Pacini in collaboration with Jessica De Simone, Matteo Mezzadri addresses the theme by reflecting on a historical episode that will end up having many repercussions on the disadvantaged condition of women in society, a theme still dramatically relevant today. This is the lawsuit filed in 1612 by the painter Artemisia Gentileschi against Agostino Tassi, which went down in history as the first rape trial of which written memory is preserved through trial records. Artemisia Gentileschi spent her life fighting to assert her freedom of expression in a world that left very little space for women, especially in the artistic field, and publicly denouncing her rapist was an act of great courage which, as still too often happens today, saw the defendants take the stage accused of having had provocative attitudes towards the accused. Artemisia never recanted, not even under torture; “It's true, it's true, it's true” is the cry of pain recorded in the State Archives of Rome that Artemisia addressed to the accused while her fingers were broken, irrefutable proof, according to the legislation of the time, of the veracity of the his accusations. Although Tassi's sentence to exile proved to be a farce since, thanks to his position, he never left Rome, unlike Artemisia who was forced to do so due to the uproar of the trial, this courageous denunciation remained in history as the first true act of rebellion against the suffocating patriarchal culture. In dealing with the complex topic, especially as faced by a man, Mezzadri makes use of materials, language and visual grammar typical of his poetics, therefore no didactic or narrative quotation, but an under-the-radar evocation that brings into dialogue, or rather , the materials and structural geometries that will give shape to the work are in conflict. The large cube of fired bricks, severe and absolute, hides and confines something inside with the excuse of protecting it; it is the paradigm of a system of power and rigid, unchangeable social conventions, a mechanism decoded by men for the benefit of men which for too long has left no room for women to affirm their freedom and dignity as human beings. The Artemisia garden symbolizes resilience, the continuous rebirth that starts from the bottom like all the greatest revolutions in the history of humanity. A break in the pattern that overturns the physical space and, as in the case of Artemisia, also the historical one.
#ARTINSTALLATION
Fabbrica del Vapore location

All events of 14 April

14 apr H. 14:00
Laboratorio di Cromografia location
14 apr H. The i
Women are the common thread to which Fabbrica del Vapore dedicates many of its activities this year. Gender equality is in fact the thermometer of every democracy. Feminicides, lack of wage equity, female unemployment are symptoms of a malaise that must otherwise be turned into widespread social well-being. Even within Vapore d'estate, Art and Design Week, there is no shortage of insights into a theme that must be pervasive. Mezzadri's work presents itself as a threshold and connective tissue between the different programs that characterize the month of April in Fabbrica del Vapore. His contribution is welcome, like Crespi's painting "Revolution is woman", it is a useful contribution, because males being spokespersons for a need for equality is an indispensable part of change." (Maria Fratelli) With "The garden of Artemisia", a site-specific installation, curated by Matteo Pacini in collaboration with Jessica De Simone, Matteo Mezzadri addresses the theme by reflecting on a historical episode that will end up having many repercussions on the disadvantaged condition of women in society, a theme still dramatically relevant today. This is the lawsuit filed in 1612 by the painter Artemisia Gentileschi against Agostino Tassi, which went down in history as the first rape trial of which written memory is preserved through trial records. Artemisia Gentileschi spent her life fighting to assert her freedom of expression in a world that left very little space for women, especially in the artistic field, and publicly denouncing her rapist was an act of great courage which, as still too often happens today, saw the defendants take the stage accused of having had provocative attitudes towards the accused. Artemisia never recanted, not even under torture; “It's true, it's true, it's true” is the cry of pain recorded in the State Archives of Rome that Artemisia addressed to the accused while her fingers were broken, irrefutable proof, according to the legislation of the time, of the veracity of the his accusations. Although Tassi's sentence to exile proved to be a farce since, thanks to his position, he never left Rome, unlike Artemisia who was forced to do so due to the uproar of the trial, this courageous denunciation remained in history as the first true act of rebellion against the suffocating patriarchal culture. In dealing with the complex topic, especially as faced by a man, Mezzadri makes use of materials, language and visual grammar typical of his poetics, therefore no didactic or narrative quotation, but an under-the-radar evocation that brings into dialogue, or rather , the materials and structural geometries that will give shape to the work are in conflict. The large cube of fired bricks, severe and absolute, hides and confines something inside with the excuse of protecting it; it is the paradigm of a system of power and rigid, unchangeable social conventions, a mechanism decoded by men for the benefit of men which for too long has left no room for women to affirm their freedom and dignity as human beings. The Artemisia garden symbolizes resilience, the continuous rebirth that starts from the bottom like all the greatest revolutions in the history of humanity. A break in the pattern that overturns the physical space and, as in the case of Artemisia, also the historical one.
#ARTINSTALLATION
Fabbrica del Vapore location