04 June 2025 Artforum, "Diana Anselmo" | 16 April 2025 Frieze, "Must-See: The Tears of Karl Lagerfeld" | 16 April 2025 Süddeutsche Zeitung Magazin, "Mit welcher Haltung kommt man in der Kunstwelt am weitesten, Maurizio Cattelan?" | 09 April 2025 The Berliner, "Consider Listening: An exhibition urging calm amidst outrage" | 02 April 2025 Wallpaper, "Aboard Gio Ponti's colourful Arlecchino train in Milan, a conversation about design with Formafantasma" | 26 March 2025 Frieze, "Diego Marcon’s Films Conjure a Familiar, Grotesque World" | 19 March 2025 Arts Hub, "1500-degree molten steel installation, inspired by Caravaggio, to drip from the ceiling of Mona" | 15 May 2024 Frieze, "Silvia Rosi Gives Voice to Her Parents’ Migration Story" | 30 March 2024 The Korea Times, "Foreigners Everywhere: Artist duo who inspired this year's Venice Biennale lands in Seoul" | 07 February 2024 Artnet News, "Ceramics Are as Contemporary as a Smartphone: Chiara Camoni on Her Tactile Sculptures"
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last update 07 February 2024
Federica Di Carlo participates in Art D'Égypte
From October 24
to November 16, 2024
Art D'Égypte – Forever is Now .04
Al Haram, Giza Governorate 3512201, Egypt
Italian artist Federica Di Carlo – already winner of the 10th edition of the Italian Council, promoted by the Ministry of Culture with the project “I Will Watch You Burn” – will be one of the 12 protagonists of the 2024 international Art of Egypt exhibition, held from October 24 to November 16 in the evocative UNESCO heritage site of the Giza Plateau, among the iconic pyramids of Khufu, Khafre, and Menkaure.
The only Italian woman selected for this edition of Art D'Égypte, Federica Di Carlo will present “I See, I See”, a monumental installation which, at the foot of the pyramids, combines phenomenology, myth, and science, leading the audience into a profound dialogue between the ancient and the contemporary with a visionary site-specific work that traverses time and space to look beyond the visible, explore the universe above and below us, and rediscover the wonder of the world through new eyes.
“I See, I See” (an Anglo-Saxon phrase meaning “I see, I understand”) is a work that challenges the boundaries of traditional perception, creating a bridge between ancient Egyptian knowledge and contemporary explorations through the use of optical physics. Inspired by the Egyptian myth recounting the birth of humanity from the tears of the eye of the Sun God, with “I See, I See” Federica Di Carlo brings to life a device of other visions, rising like a gigantic observatory on the Giza Plateau, capable of exploiting the laws of physics and light to offer new points of view on the world.
Composed of a complex network of optical lenses, the structure interacts with the desert light, transforming the viewers’ visual experience and inviting them to rediscover the pyramid landscape through a new gaze. A meeting point of art, physics, and myth, but also an invitation to look beyond, Federica Di Carlo’s work becomes not only a tribute to the ancient Egyptian civilization but also an inquiry into our relationship with the natural and cosmic world.
Federica Di Carlo thus brings contemporary Italian art to the heart of Egypt’s UNESCO heritage, supported by a prominent exhibition resume including participations in prestigious contexts both in Italy and abroad. Indeed, many artistic and research contexts have hosted her works—artistic investigations between phenomenology, physics, science, and the human soul to explore and narrate man and humanity by “playing” with ancestral and universal dimensions: the MAXXI Museum in Rome, where she presented the trailer for her project “I Will Watch You Burn” in 2023; the National Gallery of Modern and Contemporary Art in Rome, where in 2022 she exhibited “I Wanted the Sun”; the Triennale di Milano during the event “The Time of Women” in 2018, where she presented the work “Flow”; We Lost The Sea, collateral of Manifesta 12 in Palermo, 2018; the Tour de la Babote in Montpellier, France, 2017, with the work “The Sea is Blue Because You Want to Know Why the Sea is Blue”; the Serlachius Museum in Mänttä, Finland, 2019, with the exhibition “The Quest of Happiness”; the Museum De Domijnen, Sittard, Netherlands, 2017, for the exhibition “Encovention Europe: Art to Transform Ecologies, 1957-2017”.
Thanks to decades-long collaborations with internationally renowned scientists and physicists, such as those at MIT, ESO, INAF, and CERN, Federica Di Carlo’s art skillfully blends scientific research with the poetic and symbolic dimension of art, investigating humanity’s relationship with nature, boundaries, environment, power, and the unknown, measuring their reciprocal connections and disconnections poetically. The artist adopts a vertical gaze constantly oscillating between the most intimate human dimension and its cosmic relevance. Her works often present themselves as complex systems characterized by a wide range of natural elements, inanimate things, physical phenomena, and technologies. Her work cycles on a theme may last several years; they are conceived as interconnected worlds where each work is a continuation, implementation, or implosion of previous ones. These are permeable symbolisms, sometimes contingent and often with a part of the work entrusted to nature’s control rather than the artist’s. The viewers assist through their senses to complete the artwork’s process.
The fourth edition of Forever Is Now, Egypt’s flagship art exhibition, returns this October under the aegis of the Ministry of Culture, the Ministry of Tourism and Antiquities, and the Ministry of Foreign Affairs, with the patronage of UNESCO. Scheduled from October 24 to November 16, 2024, Forever Is Now.04 brings together a selected group of 12 international artists, each contributing their unique voice to a collective dialogue that transcends time and cultural boundaries. Founded by Franco-Egyptian curator Nadine Abdel Ghaffar, Art D’Égypte has become a reference point for the Egyptian and international cultural scene, committed to enhancing and promoting the country’s rich artistic scene and bridging the gap between Egyptian artists and the international art panorama. Forever Is Now.04 takes place under the aegis of the Egyptian Ministry of Culture, Ministry of Tourism and Antiquities, and Ministry of Foreign Affairs, with UNESCO patronage. Federica Di Carlo’s work “I See, I See” was realized with the support of the Ministry of Foreign Affairs, the Italian Cultural Institute of Cairo, Gestione Silo, and Collezione Motta.
“I See, I See” will be publicly inaugurated on October 24, 2024, and will remain on display at the Giza Plateau for the entire duration of the event, until November 16.
(From the press release)
to November 16, 2024
Art D'Égypte – Forever is Now .04
Al Haram, Giza Governorate 3512201, Egypt
Italian artist Federica Di Carlo – already winner of the 10th edition of the Italian Council, promoted by the Ministry of Culture with the project “I Will Watch You Burn” – will be one of the 12 protagonists of the 2024 international Art of Egypt exhibition, held from October 24 to November 16 in the evocative UNESCO heritage site of the Giza Plateau, among the iconic pyramids of Khufu, Khafre, and Menkaure.
The only Italian woman selected for this edition of Art D'Égypte, Federica Di Carlo will present “I See, I See”, a monumental installation which, at the foot of the pyramids, combines phenomenology, myth, and science, leading the audience into a profound dialogue between the ancient and the contemporary with a visionary site-specific work that traverses time and space to look beyond the visible, explore the universe above and below us, and rediscover the wonder of the world through new eyes.
“I See, I See” (an Anglo-Saxon phrase meaning “I see, I understand”) is a work that challenges the boundaries of traditional perception, creating a bridge between ancient Egyptian knowledge and contemporary explorations through the use of optical physics. Inspired by the Egyptian myth recounting the birth of humanity from the tears of the eye of the Sun God, with “I See, I See” Federica Di Carlo brings to life a device of other visions, rising like a gigantic observatory on the Giza Plateau, capable of exploiting the laws of physics and light to offer new points of view on the world.
Composed of a complex network of optical lenses, the structure interacts with the desert light, transforming the viewers’ visual experience and inviting them to rediscover the pyramid landscape through a new gaze. A meeting point of art, physics, and myth, but also an invitation to look beyond, Federica Di Carlo’s work becomes not only a tribute to the ancient Egyptian civilization but also an inquiry into our relationship with the natural and cosmic world.
Federica Di Carlo thus brings contemporary Italian art to the heart of Egypt’s UNESCO heritage, supported by a prominent exhibition resume including participations in prestigious contexts both in Italy and abroad. Indeed, many artistic and research contexts have hosted her works—artistic investigations between phenomenology, physics, science, and the human soul to explore and narrate man and humanity by “playing” with ancestral and universal dimensions: the MAXXI Museum in Rome, where she presented the trailer for her project “I Will Watch You Burn” in 2023; the National Gallery of Modern and Contemporary Art in Rome, where in 2022 she exhibited “I Wanted the Sun”; the Triennale di Milano during the event “The Time of Women” in 2018, where she presented the work “Flow”; We Lost The Sea, collateral of Manifesta 12 in Palermo, 2018; the Tour de la Babote in Montpellier, France, 2017, with the work “The Sea is Blue Because You Want to Know Why the Sea is Blue”; the Serlachius Museum in Mänttä, Finland, 2019, with the exhibition “The Quest of Happiness”; the Museum De Domijnen, Sittard, Netherlands, 2017, for the exhibition “Encovention Europe: Art to Transform Ecologies, 1957-2017”.
Thanks to decades-long collaborations with internationally renowned scientists and physicists, such as those at MIT, ESO, INAF, and CERN, Federica Di Carlo’s art skillfully blends scientific research with the poetic and symbolic dimension of art, investigating humanity’s relationship with nature, boundaries, environment, power, and the unknown, measuring their reciprocal connections and disconnections poetically. The artist adopts a vertical gaze constantly oscillating between the most intimate human dimension and its cosmic relevance. Her works often present themselves as complex systems characterized by a wide range of natural elements, inanimate things, physical phenomena, and technologies. Her work cycles on a theme may last several years; they are conceived as interconnected worlds where each work is a continuation, implementation, or implosion of previous ones. These are permeable symbolisms, sometimes contingent and often with a part of the work entrusted to nature’s control rather than the artist’s. The viewers assist through their senses to complete the artwork’s process.
The fourth edition of Forever Is Now, Egypt’s flagship art exhibition, returns this October under the aegis of the Ministry of Culture, the Ministry of Tourism and Antiquities, and the Ministry of Foreign Affairs, with the patronage of UNESCO. Scheduled from October 24 to November 16, 2024, Forever Is Now.04 brings together a selected group of 12 international artists, each contributing their unique voice to a collective dialogue that transcends time and cultural boundaries. Founded by Franco-Egyptian curator Nadine Abdel Ghaffar, Art D’Égypte has become a reference point for the Egyptian and international cultural scene, committed to enhancing and promoting the country’s rich artistic scene and bridging the gap between Egyptian artists and the international art panorama. Forever Is Now.04 takes place under the aegis of the Egyptian Ministry of Culture, Ministry of Tourism and Antiquities, and Ministry of Foreign Affairs, with UNESCO patronage. Federica Di Carlo’s work “I See, I See” was realized with the support of the Ministry of Foreign Affairs, the Italian Cultural Institute of Cairo, Gestione Silo, and Collezione Motta.
“I See, I See” will be publicly inaugurated on October 24, 2024, and will remain on display at the Giza Plateau for the entire duration of the event, until November 16.
(From the press release)
other exhibitions
all the exhibitions
exhibition05 June 2025
Francesco Simeti in the group show Material Witnesses at the American College of Greece in Athens
Francesco Simeti is taking part in the group exhibition Material Witnesses, curated by Tamara Chalabi, at the American College of Greece in Athens, from June 5 to July 12.
Clay and textile—two of humanity’s most ancient and eloquent materials—serve as profound witnesses to human experience. Through impression, weave, and mark, these materials preserve intimate traces of touch and intention, creating permanent records of gesture across time. This exhibition brings together ten contemporary artists from the Mediterranean, Middle East, and their diasporas who harness these materials’ inherent capacity for memory and testimony.
Francesco Simeti’s deeply layered works draw on social, philosophical, and environmental discourses, particularly exploring water’s dual nature through site-specific digital collages and textile installations. Through layered imagery that incorporates historical and contemporary sources, his works map the transformation of natural landscapes, using fabric’s inherent mutability to reflect on ecological shifts and human intervention. exhibition26 May 2025
Geneva art gallery L'Appartement presents Claudio Massini at June Art Fair in Basel
For the June Art Fair 2025, L’Appartement is pleased to present a solo exhibition of rare paintings made between 2004 and 2010 by the Italian artist Claudio Massini. These historical works showcase his hallmark technique across various media: intimate panel pieces rendered in mixed pigments on marine plywood are shown alongside expansive compositions on double-boiled, triple-washed linen, all painted with his signature palette of ground mineral, vegetable, and organic pigments. Recurring motifs—stars, chalices, garlands, and other symbolic forms—appear throughout the works, often elaborated and repeated in obsessive but never-identical series. Together, they offer a compelling view of Massini’s immersive, meditative visual language.
Born in Trieste in 1955, Massini relocated to Naples in the mid-1970s to pursue studies at the Academy of Fine Arts. He now lives and works in Treviso, Italy. His early exposure to both classical traditions and modernist movements laid the groundwork for his innovative approach to painting and mixed media. His art is characterised by rhythmic patterning, intricate surfaces, and a meticulous layering of pigments and materials, resulting in paintings that verge on the sculptural—rich in both visual and tactile depth.
Massini’s style defies easy classification. Describing his approach as “meta-historical,” he conjures a visual realm that fuses timeless iconography with contemporary material processes. Ethereal church spires, blossoms, maritime vessels, vials, amphorae, and antique goblets appear against matte, lacquered backdrops, transforming everyday or folkloric subjects into enchanted forms. His compositions pulse with energy, drawing the viewer into a dialogue between simplicity and complexity, repetition and variation, chaos and order.
Central to Massini’s artistic philosophy is his meditative process. He engraves fine, repetitive lines and curves into each surface with near-trance-like focus, reflecting on universal symbols that transcend time and space. This deep engagement with the physicality of the medium produces works that feel experiential as much as visual—compositions that echo natural cycles and invite quiet contemplation.
Massini’s work has been featured in numerous international exhibitions, including Cassina Projects, Milan (November 2025); Forma Gallery, Paris (2023); Kunsthalle Budapest, Hungary (2005); MAMbo – Museo d’Arte Moderna di Bologna, Italy (2003); and the Museum der Moderne, Salzburg, Austria (2000), among others.
This presentation at the June Art Fair offers a rare opportunity to encounter Massini’s early 21st-century works in a focused context—revealing the continuity of his vision and reaffirming his position as a singular voice in contemporary Italian painting.
(press release) exhibition14 May 2025
Gian Maria Tosatti and Adji Dieye at the 24th Paiz Art Biennial in Guatemala City
Gian Maria Tosatti and Adji Dieye are among the participating artists at the 24th Paiz Art Biennial in Guatemala City. The event is curated by Italian curator and Artistic Director of the MAMBO (Museo de Arte Moderno de Bogotá), Eugenio Viola.
"The World Tree" is the title of the Biennial. “The World Tree” is conceived as a polyphonic project that engages with the artistic ecosystem of Guatemala and Mesoamerica, reaffirming art’s ability to bridge distant worlds. In a global context marked by tensions and conflicts, this Biennial stands as a symbol of art’s potential to cultivate understanding, celebrate diversity, and promote unity and inclusion.
A pioneer in the advancement and development of art in Central America, the Paiz Art Biennial is one of
the region’s most significant contemporary art event since 1978, making it the sixth oldest Biennial
in the world and the second oldest in Latin America. The Biennial is a cultural
project of Fundación Paiz, a non-profit organization that, for over forty years, has supported the
development of education and culture in Guatemala, with the conviction that art is an essential tool
for social development.
Additional participants will be announced in the coming months. exhibition13 May 2025
Why Look at Animals? A Case for the Rights of Non-Human Lives
Elisabetta Benassi, Rossella Biscotti, Denicolai & Provoost, Tiziana Pers, and Marta Roberti are the Italian artists participating in the group exhibition "Why Look at Animals? A Case for the Rights of Non-Human Lives" at the EMST Museum in Athens, curated by Katerina Gregos, from May 16, 2025, to February 15, 2026.
The exhibition focuses on animal rights and welfare, highlighting the need to recognize and defend the lives of non-human animals in an anthropocentric world that marginalizes, oppresses, and brutalizes them. The show draws inspiration from John Berger’s seminal text of the same name, “Why Look at Animals?” (1980), which explores the human-animal relationship in modernity and how animals have been marginalized in human societies. Featuring over 60 artists from four continents and more than 200 works occupying all floors of the museum, Why Look at Animals? is the largest exhibition ever organized by EMST and the first major international exhibition on non-human animal rights.
In the image: Tiziana Pers, Saut dans le vide (still), 2016, Courtesy of the artist.
Francesco Simeti in the group show Material Witnesses at the American College of Greece in Athens
Francesco Simeti is taking part in the group exhibition Material Witnesses, curated by Tamara Chalabi, at the American College of Greece in Athens, from June 5 to July 12.Clay and textile—two of humanity’s most ancient and eloquent materials—serve as profound witnesses to human experience. Through impression, weave, and mark, these materials preserve intimate traces of touch and intention, creating permanent records of gesture across time. This exhibition brings together ten contemporary artists from the Mediterranean, Middle East, and their diasporas who harness these materials’ inherent capacity for memory and testimony.
Francesco Simeti’s deeply layered works draw on social, philosophical, and environmental discourses, particularly exploring water’s dual nature through site-specific digital collages and textile installations. Through layered imagery that incorporates historical and contemporary sources, his works map the transformation of natural landscapes, using fabric’s inherent mutability to reflect on ecological shifts and human intervention. exhibition26 May 2025
Geneva art gallery L'Appartement presents Claudio Massini at June Art Fair in Basel
For the June Art Fair 2025, L’Appartement is pleased to present a solo exhibition of rare paintings made between 2004 and 2010 by the Italian artist Claudio Massini. These historical works showcase his hallmark technique across various media: intimate panel pieces rendered in mixed pigments on marine plywood are shown alongside expansive compositions on double-boiled, triple-washed linen, all painted with his signature palette of ground mineral, vegetable, and organic pigments. Recurring motifs—stars, chalices, garlands, and other symbolic forms—appear throughout the works, often elaborated and repeated in obsessive but never-identical series. Together, they offer a compelling view of Massini’s immersive, meditative visual language.Born in Trieste in 1955, Massini relocated to Naples in the mid-1970s to pursue studies at the Academy of Fine Arts. He now lives and works in Treviso, Italy. His early exposure to both classical traditions and modernist movements laid the groundwork for his innovative approach to painting and mixed media. His art is characterised by rhythmic patterning, intricate surfaces, and a meticulous layering of pigments and materials, resulting in paintings that verge on the sculptural—rich in both visual and tactile depth.
Massini’s style defies easy classification. Describing his approach as “meta-historical,” he conjures a visual realm that fuses timeless iconography with contemporary material processes. Ethereal church spires, blossoms, maritime vessels, vials, amphorae, and antique goblets appear against matte, lacquered backdrops, transforming everyday or folkloric subjects into enchanted forms. His compositions pulse with energy, drawing the viewer into a dialogue between simplicity and complexity, repetition and variation, chaos and order.
Central to Massini’s artistic philosophy is his meditative process. He engraves fine, repetitive lines and curves into each surface with near-trance-like focus, reflecting on universal symbols that transcend time and space. This deep engagement with the physicality of the medium produces works that feel experiential as much as visual—compositions that echo natural cycles and invite quiet contemplation.
Massini’s work has been featured in numerous international exhibitions, including Cassina Projects, Milan (November 2025); Forma Gallery, Paris (2023); Kunsthalle Budapest, Hungary (2005); MAMbo – Museo d’Arte Moderna di Bologna, Italy (2003); and the Museum der Moderne, Salzburg, Austria (2000), among others.
This presentation at the June Art Fair offers a rare opportunity to encounter Massini’s early 21st-century works in a focused context—revealing the continuity of his vision and reaffirming his position as a singular voice in contemporary Italian painting.
(press release) exhibition14 May 2025
Gian Maria Tosatti and Adji Dieye at the 24th Paiz Art Biennial in Guatemala City
Gian Maria Tosatti and Adji Dieye are among the participating artists at the 24th Paiz Art Biennial in Guatemala City. The event is curated by Italian curator and Artistic Director of the MAMBO (Museo de Arte Moderno de Bogotá), Eugenio Viola. "The World Tree" is the title of the Biennial. “The World Tree” is conceived as a polyphonic project that engages with the artistic ecosystem of Guatemala and Mesoamerica, reaffirming art’s ability to bridge distant worlds. In a global context marked by tensions and conflicts, this Biennial stands as a symbol of art’s potential to cultivate understanding, celebrate diversity, and promote unity and inclusion.
A pioneer in the advancement and development of art in Central America, the Paiz Art Biennial is one of
the region’s most significant contemporary art event since 1978, making it the sixth oldest Biennial
in the world and the second oldest in Latin America. The Biennial is a cultural
project of Fundación Paiz, a non-profit organization that, for over forty years, has supported the
development of education and culture in Guatemala, with the conviction that art is an essential tool
for social development.
Additional participants will be announced in the coming months. exhibition13 May 2025
Why Look at Animals? A Case for the Rights of Non-Human Lives
Elisabetta Benassi, Rossella Biscotti, Denicolai & Provoost, Tiziana Pers, and Marta Roberti are the Italian artists participating in the group exhibition "Why Look at Animals? A Case for the Rights of Non-Human Lives" at the EMST Museum in Athens, curated by Katerina Gregos, from May 16, 2025, to February 15, 2026.The exhibition focuses on animal rights and welfare, highlighting the need to recognize and defend the lives of non-human animals in an anthropocentric world that marginalizes, oppresses, and brutalizes them. The show draws inspiration from John Berger’s seminal text of the same name, “Why Look at Animals?” (1980), which explores the human-animal relationship in modernity and how animals have been marginalized in human societies. Featuring over 60 artists from four continents and more than 200 works occupying all floors of the museum, Why Look at Animals? is the largest exhibition ever organized by EMST and the first major international exhibition on non-human animal rights.
In the image: Tiziana Pers, Saut dans le vide (still), 2016, Courtesy of the artist.