The New York Times profiles Prada Foundation’s new Milan arts complex, designed by Rem Koolhaas and serving as the arts foundation’s permanent location.  “After more than 20 years of staging exhibitions around the world, my husband said he thought it was about time we do something permanent in Milan,” Miuccia Prada says. (more…)

Björn and Dieter Roth, Selbstturm (1994-2013), via HangarBiocca

HangarBicocca, Milan’s 12,000 square meter former industrial space turned gallery, is the perfect place for Björn and Dieter Roth’s Islands exhibition. The huge interactive installation, curated by HangarBicocca’s Artistic Advisor Vicente Todolí (the former Director of the Tate Modern in London), interacts with the space beautifully, creating a unique environment defined by the artists. Visitors are drawn into the artwork as they walk through the several “islands” created by groupings of work: walls of paintings and prints, sculptures, an installation of repurposed materials, musical instruments, furniture, screens and household items that visitors are encouraged to interact with, including the 131 screens of Dieter Roth’s well-known video diary, the floors from the artists’ studio, and their sculptures: Zuckerturm (Sugar Tower), 1994-2013 and Selbstturm (Self Tower), 1994-2013. (more…)

Michelangelo’s unfinished sculpture, La Pietà Rondanini, is being temporarily installed in a Milanese prison while its original home undergoes some much-needed renovations.  The work’s temporary home at Carcere di San Vittore has raised both criticism and praise from art historians, and is being applauded by foreign prison officials.  “It is welcome to see an example of high culture being moved into a prison. There is a long tradition of art projects aiding the journey of long-term prisoners as they serve their sentence.”  Says Andrew Nelson, of the Howard League for Penal Reform. (more…)

Disbelief over the authenticity of the recovered ‘Caravaggio‘ drawings is further expressed by Italian scholars with a negation from Maria Teresa Fiorio, the former director of Milan’s Castello Sforzesco, stating “how can you attribute [so many of] Peterzano’s drawings to his young apprentice and how can you trash all previous research? That archive has been studied by many academics before me, and none of them ever detected Caravaggio’s hand.”

(more…)

All photos by Gautier Pellegrin  for Art Observed unless otherwise noted