Eight hectares of monumental trees along with stunning flowers and plant-life surround an art collection that spans several centuries. Where else but Villa Carlotta, the historic abode overlooking Lake Como. It’s no surprise that Britain’s famed newspaper The Telegraph listed it as one of the reasons to travel to Italy after the pandemia - since the 1600s, the prestigious residence of Tremezzo has been a dream of beauty caressing the senses. Without the Clerici family of Milan it would not exist, but it was an official in service to Napoleon, Giovanni Battista Sommariva, who really embellished it with magnificent works of art. Its name comes from Princess Carlotta of Prussia who was given the villa as a wedding gift when she married the Grand Duke Georg II of Saxony. It is considered one of Italy’s most beautiful parks - a kingdom of camellias and azaleas, rhododendrons and roses, citrus fruit and centuries-old trees. Here, every stroll is a botanical journey around the world and a glimpse at the history of Europe’s gardens - there is an Italian section, a romantic section, a rock garden, a tropical garden, all to be discovered along with the cool valley of ferns, the olive grove or the vegetable garden, cultivated as early as the 1800s. Inside the villa, pastel walls, stucco mouldings and precious furnishings are the backdrop to treasures like The Last Kiss of Romeo and Juliet by Francesco Hayez, the Frieze of Alexander the Great by Bertel Thorvaldsen, as well as the Palamede and the Musa Tersicore by Antonio Canova.
The unconventional approach to the world of luxury of the D&G duo in an elegant, fun and eclectic journey to rediscover the history of one of the most celebrated brands in the Milanese fashion world.
The exhibition reflects on the traditional concept of the vitrine and its centrality in exhibition projects. In relation to the "classical museum display", the display case separates and at the same time exposes the object, offering it for viewing, but creating a barrier for the viewer.
Through a series of installation interventions, spanning works of art and exhibition elements, Haris Epaminonda presents a symbolic journey in comparison with the historical avant-gardes of Futurism.
Adrian Piper. Adrian Piper and racism in contemporary visual culture traitor
The first European retrospective in over twenty years dedicated to Adrian Piper, conceptual artist, minimalist and performer in the New York art scene of the late Sixties.