Every feature, every guide, every encounter. The complete editorial record.
84 entries
001Inside Massimo Scognamiglio’s interactive artwork: seventeen experiences linking solitude, memory, cinema and computers. An illustrated journey and a map of digital art institutions worldwide.
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002Primary market, auctions, a €1,000 first work, documentation, editions, inheritance and resale: twelve practical modules with more than forty verifiable links.
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003From David Salle to Massimo Scognamiglio: eight practices show how AI can enter painting, drawing, video and installation without becoming one style.
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004A long interview with Massimo Scognamiglio on his new ROOMS cycle: solitude, love, adolescence, digital painting, AI, torn paper and gold leaf.
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005From 1990s digital photography to Floramagnifica, Intermundia and Lumen et Ombra.
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006Generative error, latent space, copyright and responsibility.
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007Thirteen films from 2023 to 2026: synthetic figures, surveillance, memory and psyche.
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008In Rome from 15 to 31 October 2026: a group exhibition curated by Andrea Iezzi and conceived by Alberto D’Amico, Paolo Bielli and Stefania Fabrizi.
Read the story ↗009From Beeple’s record to the speculative crash: what remains of NFTs, why a token is not a digital artwork, and what may come next for blockchain, AI and generative art.
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010Career, art, money and persona: a critical guide to Hirst and Burn’s book-length interview.
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011Why does contemporary art reach extreme prices? Bibliography, thesis and practical lessons from Don Thompson.
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012The pamphlet challenging Hirst and conceptual art: arguments, limits and reasons to read it before buying.
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013A progressive collection from €500 to €5,000: annual budgets, mistakes, insurance, documentation and criteria for selling or holding.
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014Critical profiles and market evidence for ten European women artists: works, museums, galleries, documented prices and cultural reasons to follow them.
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015How to use Solo Show, New Entries and Photography to discover new practices in Rome.
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016Artist-run spaces, collectives, young galleries and non-profits beyond the standard booth.
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017Basel’s fair for young galleries and focused presentations by emerging artists.
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018A guide to Academy, awards and young practices during Berlin Art Week.
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019Young galleries, non-profits, nomadic architecture and free entry: how to read the programme.
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020How to navigate NADA members, Projects and international galleries without buying on fair pressure.
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021How to read an open artist marketplace: three different practices, public budgets, real costs and a method for building a collection without buying blind.
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022Artsy aggregates galleries, auctions and viewing rooms. Three accessible examples show how to read price, seller and documents.
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023A marketplace built around direct contact with artists: three price levels and a checklist for quality, returns and documentation.
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024Global delivery, certificate and returns: how to compare three artists and understand what the published price really includes.
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025Three highly visible artists, different price ranges and a method for separating multiple, unique work, gallery and secondary market.
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026From Ai Weiwei multiples to unique works on paper: how to read releases, sold-out status, editions and prices in the digital primary market.
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027Acquistare Arte recommends Punk Aristocracy · 10 years by Massimo Scognamiglio, opening on 9 October 2026 at BlackShedBar in Cosenza.
Read the story ↗028How to find the right channel, write to a studio, check documents and build a collection with 20 mid-career artists and transparent budget questions.
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029Italy, France, England, Germany and Switzerland: five galleries active for at least sixty years and the ways they turn archives, exhibitions and digital tools into public relationships.
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030The new Via dei Narcisi 21 venue, an artists’ archive and fifteen years of exhibitions, installations and collaborations across Rome and Italy.
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031From High Line Plinth to Brick House: how a curator builds space, duration and audiences around a monumental work.
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032More than 150 works across three floors: how Massimiliano Gioni and Margot Norton turned a survey into an argument about gender, desire and power.
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033At Ca’ Corner della Regina, more than sixty works reconstructed Kounellis’s practice through material, architecture and exhibition memory.
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034Triumphant Scale crossed fifty years of work and showed how dimension, material and postcolonial history can redraw a museum.
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035Mastry framed thirty-five years of painting as a history of Black representation without separating visual pleasure from political responsibility.
Read the story ↗036One anchor work, three mid-career artists, six emerging names or a hybrid model: complete budgets, hidden costs, artists to research and a method for building a coherent collection.
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037Body, political violence and memory: what remains collectible after the action, from photographs and video to editions and documentation.
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038Endurance, trans identity and matter: photographs, films, sculptures and physical traces show how a Cassils performance enters a collection.
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039From The Visitors to Woman in E: how musical and durational actions become video installations, editions and works with precise protocols.
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040How to begin collecting contemporary art: choose a focus, compare works, keep documentation and care for what you acquire.
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041A complete 2026 guide to major contemporary art: blue-chip artists, editions, authentication, provenance, costs, risks and ten mid-career practices to study.
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042From Shkodër to Milan, Luli uses video, print, LED and installation to question how we construct reality.
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043The Buenos Aires-born artist turns celebration into a shared space through reflective materials, performance and temporary structures.
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044The Milan-based artist moves from editorial illustration to kinetic sculpture, ceramics, books and the official Milano Cortina 2026 poster.
Read the story ↗045Massimo Scognamiglio: a Roman visual artist with a documented career from 1998, from Palazzo delle Esposizioni and Centro Pecci to the LÌMEN collection, MACRO Asilo and The Gold Standard.
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046Lawrence Amoo · Africa · US$5.000 · olio unico pubblicato.
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047Takashi Murakami · Asia · US$5.000–7.500 · serigrafia.
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048Juan Roberto Diago · Americas · US$5.000 · fotografia pubblicata.
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049Fiona Omeenyo · Oceania · US$650 · dipinto unico pubblicato.
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050From Pasolini and Rossellini to contemporary studios: the people who turned Pigneto into a form of storytelling.
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051A cultural guide to San Lorenzo: the 1943 bombing, Pastificio Cerere and the work of Monitor, Matèria and Numero Cromatico.
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052Curated by Claire Shiying Li, the exhibition brings together seven artistic practices and reads the Silk Road as a living space of exchange, identity and change.
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053Six clear questions about museum editions, prints, posters, multiples, provenance, framing and value.
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054Photography, video and installation ask where an image begins and what remains of the physical print in digital circulation.
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055Public auction results show how to read this market band without turning evidence into an investment promise.
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056A sentence became an artwork: creation did not erase torment for Bourgeois, but gave it form, rhythm and distance.
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057Dubuffet’s idea of a “positive madness” meets Carlo Zinelli’s ordered and irreducible visual language.
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058In his essay on Van Gogh, Artaud treats creation as a way out and indicts a society that reduces difference to illness.
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059Aelita Andre, Andres Valencia and Mikail Akar: three rapid rises and documented entry points below €5,000, without turning youth into a guarantee of value.
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060A clear guide to recognising a well-printed art poster, distinguishing it from a fine-art edition and buying Gilbert & George for visual quality rather than financial expectations.
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061Documentary practice, reconstruction and imagination reveal the choices hidden inside photographic truth.
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062Colour, social tension and everyday strangeness shape an American landscape that keeps its contradictions open.
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063Long-form reporting shows how climate, landscape and isolation shape human life.
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064Symbol, light and intervention address fractured communities, disappearance and memory without turning pain into spectacle.
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065Found photographs, embroidery, paint and geometry: Julie Cockburn turns anonymous images into layered, unique objects.
Read the story ↗066Drawing, writing, print, sculpture and animation: David Shrigley uses humour to turn the obvious into something unexpectedly ambiguous.
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067From OBEY to political images, Shepard Fairey uses posters, murals and screenprint to question power, consent and access.
Read the story ↗068Edition, process, signature, provenance and care, with Cristina de Middel, Gregory Halpern, Nanna Heitmann and Yael Martínez as international examples.
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069Elena Ketra, Massimo Scognamiglio, Marco Réa, David Shrigley, Julie Cockburn and Shepard Fairey: documented prices, unique works, editions and practical questions.
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070A focus on Francesco Arena and Exibart’s weekly Other Identity column: photography, video and performance as tools for reading identity, self-representation and public space.
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071Autobiographical painting, resin-sealed books, words and collage: the Italian artist’s path through memory, nature and art history.
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072Philosopher, artist and writer: a practice using generative errors, latent spaces and artificial intelligence to question identity and authorship.
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073The collective initiated by Marco “Canz52” Cantarelli leaves artworks in cities for passers-by to take and complete the performance.
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074Seven documentary signals for reading continuity, sources, exhibitions, language, provenance and price without predicting financial returns.
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075Criticism, curating and independent publishing: art a part of cult(ure) as a space for depth, relationships and memory.
Read the story ↗076Photographer and gallerist: a view on independent mediation, relationships with artists and transparency for collectors.
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077From female empowerment to sologamy, a multidisciplinary practice transforms symbols and stereotypes into acts of self-determination.
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078Painting and photography meet around portraiture, fashion and identity, from torn magazine works to Tales of Humans in a Landscape.
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079Stencil, line and altered advertising surfaces: melancholic figures emerge when public images lose their seductive function.
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080Cesare Biasini Selvaggi’s Exibart volume: 222 profiles, methods, data, prices and the limits of a map of emerging art in Italy.
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081Affordable contemporary art is not a minor category: data, media and responsible questions for a first acquisition.
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082A clear first-acquisition guide covering certificate, signature, provenance, medium, condition, edition, shipping and additional costs.
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083Original, edition, technique and conservation: how to compare two different economies of the artwork.
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084Why a lower price does not define cultural quality, ambition or the seriousness of an artist’s research.
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