This issue number 9 is entirely dedicated to painting, and we do that by dedicating it to Annalisa Pirovano. The works of this Italian painter seem to be frames from the many movies stored in her intellectual and visual database and the human figure has always been the primary subject matter for her art. This issue deals with the differences between photography and painting and gives an overview on the last contemporary art trends.
For the first time the curator of this issue is not Italian: Urszula Maria Lewicka, young Polish art critic living in Amsterdam, who asked another young colleague, German critic Sasha Gora, to write about painting. On the occasion of this issue number 9 our team has welcomed new team members from abroad, a clear evidence of the international nature of our monographic series.
This issue walks the readers through the various stages of Annalisa Pirovano’s artistic development: it describes her creative and research process and highlights the fact that the artist, who has been painting essentially monochromatic paintings since the beginning of her artistic carreer, is consciously returning to working with colour, which she had abandoned not long after completing her studies at the Academy of Fine Art. From black & white to colour, one would say!
There is also an interesting article by Silvia Bottani who tells us about the cinema of Visconti and how and to which extent this influences Annalisa Pirovano’s work.
And in an interview by Gianluca Mercadante Annalisa reveals us something more about her and her daily life.
This issue is addressed to those who love painting of considering it to be the undisputed queen of visual arts of and want to rediscover it!
P.s.Ã‚Â Each single issue is unique as for material, layout, characters, all chosen together with the artist. In this issue of 80 pages the graphics were of as usual of jointly curated by the artist and by Chiara Guaita from room225, who has been working with arsprima for some years. In the issue number 9 we wanted to allow images plenty of space by dedicating entire pages to the large canvases by Annalisa Pirovano. The sketch of her last work, which was still in progress at the time of this issue’s editing process, is on the cover.
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