Atelier of Carlos Cruz-Diez in París.

Carlos Cruz-Diez, born in Caracas in 1923, is one of the great exponents of kinetic art. He moved to Paris on October 12, 1960 with a view to making it his permanent base. He set up a studio on rue Pierre Sémard and gradually went about expanding it to include other spaces on the same street.

Interview with Alex Israel Gagosian Gallery, Rome

Portrait of Alex Israel Foto: Maxime Ballesteros ©

Written by our friends at ATPdiary.com in colaboration with Matteo Mottin

Interview with Alex Israel Gagosian Gallery, Rome

Tristan und Isolde at the Teatro Real. Wagner and Bill Viola.

Wagner’s magnificent opera, performed at the Teatro Real, saw the composer’s intensity and passion merged with Bill Viola’s beauty and subtlety, greatly enhancing the work.

Of particular note were Marc Piollet’s music direction, the Lithuanian Violeta Urmana’s powerful voice (in the role of Isolde) and Franz-Josef Seling’s masterful performance as King Marke. Bill Viola's video-art played a prominent role, thanks to director Peter Sellars' understated scenery and the seamless integration of his video-art into the opera.

Interview with Henrik Olai Kaarstein

HENRIK OLAI KAARSTEIN, ‘MOTHERS’, INSTALLATION AT T293 NAPLES, 

COURTESY T293, ROME-NAPLES FOTO: MAURIZIO ESPOSITO

 Written by our friends at ATPdiary.com in colaboration with Matteo Mottin

Interview with Henrik Olai Kaarstein in occasion of his exhibition ‘Mothers’ at T293 Gallery (Naples)

Biographical forms. Construction and individual mythology

Martin Kippenberger.1985. Photo: Alejandra de Argos

The relationship between the artist’s biography and his work has been a constant in art history. It is considered that art history itself, in literary form, was born in the Renaissance period when Giorgio Vasari wrote Lives of the Most Excellent Painters, Sculptors, and Architects from notes, anecdotes and other material collected on his travels, a series of artist biographies ranging from Cimabue to Michelangelo. Vasari’s methodology is not put into question until the second half of the 20th century, when structuralism and Derrida’s deconstructivism offer new theoretical tools with which to understand the analysis and linguistics of art.