The Italian Art Guide

The Italian Art Guide Always keeping you in the loop with the curated selection of Italy's best art exhibitions 🇮🇹

Scorri per leggere in italiano 👇🏼Sometimes it's not easy to tell what's real and what's digital, what's created by a hum...
06/08/2026

Scorri per leggere in italiano 👇🏼

Sometimes it's not easy to tell what's real and what's digital, what's created by a human and what's generated by AI.
As more of our work, creativity, and entertainment move online, being transparent about the origin of content matters more than ever.

That's why we've partnered with HUMAVE. Our website has been verified with HUMAVE's Human-Made label, confirming that the content we create is genuinely human-made.

If you'd like to verify your own work and show your audience it's created by a human, we'd be happy to help.
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A volte non è facile distinguere ciò che è reale da ciò che è digitale, ciò che è creato da una persona da ciò che è generato dall'intelligenza artificiale.

Man mano che lavoro, creatività e intrattenimento si spostano sempre di più online, essere trasparenti sull'origine dei contenuti diventa più importante che mai.

Per questo abbiamo scelto di collaborare con HUMAVE. Il nostro sito web è stato verificato con il marchio Human-Made di HUMAVE, che certifica che i contenuti che realizziamo sono autenticamente creati da esseri umani.

Se anche tu desideri verificare il tuo lavoro e dimostrare al tuo pubblico che è stato creato da una persona, saremo felici di aiutarti.
Grazie alla nostra partnership con HUMAVE, la nostra community può accedere a condizioni esclusive. Scrivici in DM per saperne di più.

We're getting ready for a little summer break, but before we do, here's the last article of the season: "5,700 Finished ...
04/08/2026

We're getting ready for a little summer break, but before we do, here's the last article of the season: "5,700 Finished Bodies. Miriam Cahn at MACRO," a review of the exhibition “Ciò che mi guarda” ("What Looks at Me").

Article by Dobroslawa Nowak.

🔗 Click on the link in bio to read the article.

The article is available in both Italian and English for our international readers.

Ci stiamo preparando per una piccola pausa estiva, ma prima di fermarci ecco l’ultimo articolo della stagione: "5.700 corpi finiti. Miriam Cahn al MACRO", una recensione della mostra “Ciò che mi guarda”.

Articolo di Dobroslawa Nowak.

🔗 Clicca sul link in bio per leggere l’articolo.

Editorial copy and graphic design: Dobroslawa Nowak

Images: Miriam Cahn, “das hausmeinesvaters / my father’s house,” 1975 + 05.09.2003, oil on canvas, 60 x 74 cm/ FAMILIENRAUM, Ph. Meyer Riegger (1); Miriam Cahn, “atombombe / atomic bomb,” 07.09.1991, watercolour on paper, 248 x 195 cm, Courtesy the artist, Meyer Riegger and Galerie, Jocelyn Wolff, Paris, Ph. MarkusMuehlheim (2); Miriam Cahn, “am strand / on the beach,” 2006 + 13.08.2019 + 01.08.2020, oil on canvas, 40 x 52 cm, Private collection, Berlin, Karlsruhe, Ph. OliverRoura (3); Miriam Cahn, “hierliegtmeinewahlmutter / here lies my chosen mother,” 07.10.2005, pencil on paper, 21 x 30 cm/ FAMILIENRAUM, Ph. Meyer Riegger (4);

Ora orientarsi è ancora più facile: scegli la tua città! Non è una novità che The Italian Art Guide includa nel suo arch...
30/07/2026

Ora orientarsi è ancora più facile: scegli la tua città!

Non è una novità che The Italian Art Guide includa nel suo archivio, in continuo aggiornamento, non solo le grandi città, ma anche — e forse soprattutto — i piccoli centri italiani.
Per questo abbiamo deciso di renderli tutti accessibili direttamente dalla homepage, così da rendere ancora più semplice esplorare le mostre, ovunque vi troviate in Italia.

Stiamo lavorando per includerle tutte!

🗺️

Finding your way is now even easier: choose your city!
It's nothing new that The Italian Art Guide features not only major cities, but also—perhaps especially—smaller Italian towns in its ever-growing exhibition archive.
That's why we've decided to feature them all on the homepage, making it easier for everyone to explore exhibitions wherever they are in Italy.

More cities are coming soon!

artexhibitions

"Le dimensioni dell'equilibrio"Gustavo VélezCurated by Francesca Sborgi and with the contribution of Eike SchmidtChiostr...
29/07/2026

"Le dimensioni dell'equilibrio"
Gustavo Vélez
Curated by Francesca Sborgi and with the contribution of Eike Schmidt
Chiostro di Sant'Agostino, Via Sant' Agostino, 1, 55045, Pietrasanta LU
11.06-20.09.2026

Read the complete text on theitalianartguide.com web platform (🔗 in stories).



The heart of the exhibition is Piazza Duomo, where the sculptures interact with the public space and historic architecture, generating new perspectives and viewpoints. (from pr)

Images: "Le dimensioni dell'equilibrio" exhibition views, courtesy the artist and the gallery;

Italy - italiano - contemporary art - exhibition - artist - artista -

"Caravanserraglio. Una zona franca."Bacco Artolini, Irene Baita, Dissenso Cognitivo, Francesco Feltri, Jingzhu Zhuang Ba...
27/07/2026

"Caravanserraglio. Una zona franca."
Bacco Artolini, Irene Baita, Dissenso Cognitivo, Francesco Feltri, Jingzhu Zhuang Bacco Artolini dopo 2025 Irene Baita .cognitivo Francesco Feltri
Curated by Miriana Carradorini in collaborazione con Giorgia Baroncelli (Residenze EVA | Economie di Vicinanza Artistica) 𝕋𝕒𝕟𝕒 Giorgia Baroncelli
Saletta espositiva in Vicolo degli Ariani, Vicolo degli Ariani 4/A, Ravenna
04-18.07.2026

Read the complete text on theitalianartguide.com web platform (🔗 in stories).



One of the typical places of transit along the Via della Seta (transl. Silk Road) were caravanserais, inns located along the main crossroads of trade routes (including Ravenna), where travelers could find rest and refreshment. They were intermediate spaces in which people from different worlds and cultures temporarily shared the same environment. In these places, exchanges took place that were not only economic but also involved knowledge and experiences. [...] Today, in order to facilitate international exchange, there are free-trade zones, areas of territory in which economic regulations are more flexible and customs duties or taxes do not apply. [...] One did not settle permanently in the Caravanserai, just as, in the Free-Trade Zone, one never entirely escapes the rules of the outside world. In both cases, an intermediate space opens up, in which stopping produces exchanges and possibilities for transformation.
The exhibition takes shape as an intermediate space in which the artists engage with one another and with a place free from dominant constraints and hierarchies.[...] The place chosen for the exhibition serves as a point of contact between the frenzy of urban life and a moment of suspension and attentiveness: between the city's main square and the maritime landing of the Darsena, it becomes a place of passage and pause, a temporary point of connection for rest, contemplation, and relationships. [...] (from pr, English transl. Dobroslawa Nowak)

Images: "Caravanserraglio. Una zona franca." exhibition views, courtesy the artist and the gallery;

Italy - italiano - contemporary art - exhibition - artist

"Ghost Software"Jakub Czyszczoń Text by Ilaria Monti Supported by Co-financed by the Ministry of Culture and National He...
23/07/2026

"Ghost Software"
Jakub Czyszczoń
Text by Ilaria Monti
Supported by Co-financed by the Ministry of Culture and National Heritage of the Republic of Poland and the Adam Mickiewicz Institute Instytut Adama Mickiewicza (IAM) / Adam Mickiewicz Institute
DISPLAY, Vicolo al Leon d'Oro 4/A, Parma, Italy DISPLAY
11.07-30.08.2026

Read the complete text on theitalianartguide.com web platform (🔗 in stories).



Painting and clothing are ambivalent media: both “make bodies” through surfaces that cover, figure and let them appear. In Czyszczoń’s works, the framed image loosens its boundaries and moves outward, while a shirt, stripped of its function, becomes a broken architecture for an absent body. Moving between garment, painting and object, he enacts a form of organic evocation, gathering clues, folds, seams, stains and voids; deconstructed shirt-forms and garment fragments mounted on the wall like partial shrouds, infuse the space with an uncanny tenderness. A silent cruelty clings to clothes that have been worn and then discarded, still charged with the intimacy of the body and with the social codes once imposed upon it. Garments dress the body into roles, gestures, hierarchies and forms of social visibility. Czyszczoń recovers these familiar codes and unsettles them through cuts, stains, stitches and exposure. What was once a surface of social appearance becomes an injured support, handled with a care that borders on aggression, where contact continues to work through absence. [...] (from pr, text by Ilaria Monti)

Images: "Ghost Software" exhibition views, ph DISPLAY DISPLAY, courtesy the artist and the gallery;

Italy - italiano - contemporary art - exhibition - artist - artista -

"Fiori e tramonti"Tommaso Pandolfi Tommaso PandolfiCurated by Esposizione Sud EstText by Matteo Binci Matteo BinciEsposi...
22/07/2026

"Fiori e tramonti"
Tommaso Pandolfi Tommaso Pandolfi
Curated by Esposizione Sud Est
Text by Matteo Binci Matteo Binci
Esposizione Sud Est, Corso Umberto I, 18 Conversano (BA) Esposizione Sud Est ☼
29.05-26.07.2026

Read the complete text on theitalianartguide.com web platform (🔗 in stories).



“Fiori e tramonti” is a new series of drawings by Tommaso Pandolfi, created using collage, pastel, and watercolor. These pared-down images restore the act of drawing to a mode of serious play, where elementary forms and colors once again speak directly to the eye. The exhibition is accompanied by a limited edition by the artist, along with texts by Matteo Binci and Filippo Perfetti. (from pr, English transl. Dobroslawa Nowak)

Images: "Fiori e tramonti" exhibition views, courtesy the artist and the gallery;

Italy - italiano - contemporary art - exhibition - artist - artista -

Nella sua rubrica “Controcorrente” su TIAG, Maria Vittoria Pinotti scrive oggi dell’errore come forma di libertà creativ...
21/07/2026

Nella sua rubrica “Controcorrente” su TIAG, Maria Vittoria Pinotti scrive oggi dell’errore come forma di libertà creativa.

Ci sofferma sulla pratica di Ugo La Pietra e sulla sua mostra attualmente in corso, “Alla finestra”, a cura di Giacinto Di Pietrantonio, alla Fondazione La Rocca di Pescara, visitabile fino al 3 ottobre 2026.

🔗 Link in bio

In her “Offbeat” (“Controcorrente”) column for TIAG, Maria Vittoria Pinotti writes today about error as a form of creative freedom.

She turns her attention to the practice of Ugo La Pietra and his current exhibition, “Alla finestra” (“At the Window”), curated by Giacinto Di Pietrantonio at Fondazione La Rocca in Pescara, on view until 3 October 2026.

The article is available in both Italian and English for our international readers.

Editorial copy and graphic design: Dobroslawa Nowak

Images: “Alla finestra” Ink and pencil drawing on paper. 1970s. © courtesy Archivio Ugo La Pietra, Milano (1), Ugo La Pietra, “Alla finestra”, installation view, © Iacopo Pasqui/Courtesy Fondazione La Rocca Pescara e Archivio Ugo La Pietra (2, 3); 

"Settanta metri di rete rossa disposti attorno a settantanove pali di abete a formare un quadrato"Elia Varini .variniArt...
20/07/2026

"Settanta metri di rete rossa disposti attorno a settantanove pali di abete a formare un quadrato"
Elia Varini .varini
Arte Urbana Lugano (AUL), Parco Ciani, Riva Albertolli, 6900 Lugano, Switzerland
09-26.07.2026

Read the complete text on theitalianartguide.com web platform (🔗 in stories).



Elia Varini’s ephemeral artwork, conceived for the LongLake Festival 2026 as part of Arte Urbana Lugano (AUL), takes the form of a life-size, walk-through parallelepiped (3.5 × 3.5 meters): a red space where the public can enter and linger. The structure consists of seventy meters of red netting arranged around seventy-nine fir poles, which define a square open at the top and accessible through a side opening.
Varini’s artistic practice revolves around the construction of minimalist, modular spatial structures that define traversable perimeters rather than enclosed volumes. Through interventions that interrelate body, space, light, and color, his work explores an introspective dimension generated by formal minimalism. Rigorous geometric structures are paired with raw and imperfect materials, which introduce a sensory and tactile dimension. From this perspective, space becomes a device that separates without isolating and filters the outside world, transforming our perception of it. [...] (from pr)

Images: "Settanta metri di rete rossa disposti attorno a settantanove pali di abete a formare un quadrato" exhibition views, ph Emanuele Finardi Emanuele Finardi, courtesy the artist and the gallery;

Italy - italiano - contemporary art - exhibition - artist - artista -

Dal giudizio estetico alla legittimazione etica, “La Biennale di Venezia e la banalità del bene” esplora il modo in cui ...
17/07/2026

Dal giudizio estetico alla legittimazione etica, “La Biennale di Venezia e la banalità del bene” esplora il modo in cui l’arte contemporanea affronta il linguaggio della virtù.

Da oggi online il saggio di Nicola Bigliardi, uno degli autori selezionati attraverso la nostra open call internazionale dedicata ai saggi critici sulla Biennale di Venezia. Nicola Bigliardi

L’articolo è disponibile in italiano e in inglese per i nostri lettori internazionali.

Questa settimana abbiamo pubblicato due nuovi saggi su “In Minor Keys”, la 61ª Esposizione Internazionale d’Arte della Biennale di Venezia, offrendo due prospettive critiche sulla mostra. La Biennale di Venezia

🔗 Clicca sul link in bio per leggere entrambi.

From aesthetic judgment to ethical legitimacy, “The Venice Biennale and the Banality of Virtue” explores how contemporary art approaches the language of virtue.

Online today: the essay by Nicola Bigliardi, one of the authors selected through our international open call for critical essays on the Venice Biennale.

The article is available in both Italian and English for our international readers.

This week, we published two new essays on “In Minor Keys,” the 61st International Art Exhibition of the Venice Biennale, offering two critical perspectives on the exhibition.

🔗 Click on the link in bio to read both.

Editorial copy and graphic design: Dobroslawa Nowak

Images: Èric Baudelaire, installation view of “Death Passed My Way and Stuck This Flower in My Mouth” (2026), at the 61st International Art Exhibition – La Biennale di Venezia, “In Minor Keys,” ph Luca Zambelli Bais. (cover) Tabita Rezaire, “Mother Sun” (2023), embroidered by Trefena Boekoe, installation view, Venice Biennale, 2026, ph Luca Zambelli Bais. (2) Installation view of terracotta sculptures by Seyni Awa Camara at the Central Pavilion, Giardini, "In Minor Keys," Venice Biennale, 2026. ph Andrea Avezzù. (3); All images: Courtesy of La Biennale di Venezia.

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