Cesare Bignotti’s Post

From Museums to Cities: How Urban Art Transforms Landscapes Public art has undergone a cultural migration in the past 50 years, from museums to city streets, transforming urban landscapes and engaging directly with the public. Works like Maurizio Cattelan’s The Finger in Milan, Anish Kapoor’s Cloud Gate in Chicago, and Jeff Koons' sculptures in Bilbao exemplify this shift. These pieces are not just art—they are symbols of identity, public engagement, and urban renewal. It’s about creating spaces for everyone, where art blends seamlessly with the environment. Discover more about the evolution of public art here: https://lnkd.in/eFkJaKcU #Webuild

From Museums to Cities: How Urban Art Transforms Landscapes Public art has undergone a cultural migration in the past 50 years, from museums to city streets, transforming urban landscapes and engaging directly with the public. Works like Maurizio Cattelan’s The Finger in Milan, Anish Kapoor’s Cloud Gate in Chicago, and Jeff Koons' sculptures in Bilbao exemplify this shift. These pieces are not just art—they are symbols of identity, public engagement, and urban renewal. It’s about creating spaces for everyone, where art blends seamlessly with the environment. Discover more about the evolution of public art here: https://lnkd.in/ddrt39PF #Webuild

From Museums to Cities: How Urban Art Transforms Landscapes Public art has undergone a cultural migration in the past 50 years, from museums to city streets, transforming urban landscapes and engaging directly with the public. Works like Maurizio Cattelan’s The Finger in Milan, Anish Kapoor’s Cloud Gate in Chicago, and Jeff Koons' sculptures in Bilbao exemplify this shift. These pieces are not just art—they are symbols of identity, public engagement, and urban renewal. It’s about creating spaces for everyone, where art blends seamlessly with the environment. Discover more about the evolution of public art here: https://lnkd.in/dj9w6KXG #Webuild

From Museums to Cities: How Urban Art Transforms Landscapes Public art has undergone a cultural migration in the past 50 years, from museums to city streets, transforming urban landscapes and engaging directly with the public. Works like Maurizio Cattelan’s The Finger in Milan, Anish Kapoor’s Cloud Gate in Chicago, and Jeff Koons' sculptures in Bilbao exemplify this shift. These pieces are not just art—they are symbols of identity, public engagement, and urban renewal. It’s about creating spaces for everyone, where art blends seamlessly with the environment. Discover more about the evolution of public art here: https://lnkd.in/gYdWPr2n #Webuild

I am beyond thrilled to be participating at Diversity Contemporary II, Rossocinabro Gallery, Rome, Italy,10 December 2024 – 31 January 2025. Read the curator Joe Hanson introduction: ”This exhibition celebrates artistic diversity and cultural interconnectedness, transcending geographical and stylistic boundaries. Born from a desire to make a selection of artworks accessible to the public, many of which have never been exhibited or only for brief periods, this show offers a unique opportunity to discover hidden treasures and admire the richness and variety of contemporary artistic production. Through this exhibition, Rossocinabro reaffirms its commitment to internationalization, a path it has been following since its early years. The aim is to build a bridge between artists from different cultures and to offer the public an increasingly rich and varied artistic experience. A collection without borders, with a completely different perspective, mirroring an increasingly interconnected world. Artistic boundaries have dissolved with the acceleration of cultural exchange, the mobility of people, and the circulation of information. It has become difficult, if not impossible, to define the boundaries of artworks and the individuals who have made art a universal language. The works on display here are a testament to this: a collection of heterogeneous stimuli that we can recognize as carrying out a certain research, without there being a specific geography or reference style associated with them. Read more:

From Museums to Cities: How Urban Art Transforms Landscapes Public art has undergone a cultural migration in the past 50 years, from museums to city streets, transforming urban landscapes and engaging directly with the public. Works like Maurizio Cattelan’s The Finger in Milan, Anish Kapoor’s Cloud Gate in Chicago, and Jeff Koons' sculptures in Bilbao exemplify this shift. These pieces are not just art—they are symbols of identity, public engagement, and urban renewal. It’s about creating spaces for everyone, where art blends seamlessly with the environment. Discover more about the evolution of public art here: https://lnkd.in/eZqeTUJ3 #Webuild

From Museums to Cities: How Urban Art Transforms Landscapes Public art has undergone a cultural migration in the past 50 years, from museums to city streets, transforming urban landscapes and engaging directly with the public. Works like Maurizio Cattelan’s The Finger in Milan, Anish Kapoor’s Cloud Gate in Chicago, and Jeff Koons' sculptures in Bilbao exemplify this shift. These pieces are not just art—they are symbols of identity, public engagement, and urban renewal. It’s about creating spaces for everyone, where art blends seamlessly with the environment. Discover more about the evolution of public art here: https://lnkd.in/dk2sPdDh #Webuild

Koyo Kouoh’s appointment as the Director of the Visual Arts Department for the 61st International Art Exhibition of La Biennale di Venezia is a significant milestone, not only for Cape Town and women in the arts industry, but also for the ongoing reconfiguration of power and representation in the global art world. As Executive Director and Chief Curator of Zeitz MOCAA, Kouoh has consistently demonstrated how art can serve as both a mirror and a tool for societal change, blending curatorial excellence with bold political activism. Through her leadership at Zeitz MOCAA, she has redefined what it means to center African and diaspora voices in the global arts landscape, carving out spaces for stories that challenge, provoke, and inspire. This appointment reflects a growing recognition of the intellectual and political frameworks African leaders bring to global cultural institutions. Kouoh’s trajectory exemplifies how female leadership can reshape institutions—not through adaptation to established norms, but by challenging and redefining them. Her career reminds us that art is not just a medium of beauty but a weapon of resistance and transformation, capable of shaping the narratives of history and the futures we imagine. Her role at La Biennale will undoubtedly extend this impact, positioning art as a site of both reflection and action in an increasingly polarized world. #ArtAndSociety #LeadershipInTheArts #ZeitzMOCAA #KoyoKouoh #LaBiennaleDiVenezia

A leaf from a journey's diary - Rethinking museums We understand museums as having a determinate form and recognise them as containers with contents inside. For the historic European museum this is even more so the case. Can’t it be different and, if we can change it, how might it look? The splendidly beautiful porcelain works of Chinese artist Lei Xue would be a good analogy to explain possible or likely futures for the historic European museum. Lei Xue has created a contemporary blend of tradition and modern consumption aesthetics by combining traditional Chinese porcellain techniques with soda-can forms. As tradition is grafted onto everyday consumption objects so can our understanding of the past be shaped by contemporary values. As traditional craftsmanship and materials are shaped into objects inspired by throw-aways from every day life so can the historic European museum reinvent intself in the contemporary. Let’s not forget that museums need artists not just to present them to their publics but to help them reinvent themselves. #innovatingthepast #historicmaterials #contemporarynarratives

"Urban space is by nature a fertile ground for artistic expression. This is where is both the critical mass interest for creation - potentiating the offer - and who enjoys it, in a conjugation between the artist / creator and the audience / citizens. Urban space is also a privileged place for community, assuming a sense of a gathered inheritance of knowledges and of tangible and intangible testimonies that require constant molding, adapting and respect between the legacy, the memory and the innovation understood as agents of the dynamic and development of that same territory. At a time when public and urban art are highly expressive and produce a shocking reaction in the public, proliferating in unusual places as well as in others that are properly planned, it also has the potential to mobilize touristic flows and the capacity to generate new destinations, causing new demands and challenges to territorial management which concur with creative freedom and artistic innovation, opening up a privileged field of experimentation on and in public space. This point of contact between the artist [individual or collective] and the community, broadly understood as representative of both the citizen and the entities that manage the territory, is the core motif of the CreArt encounter held in Aveiro in June 2019." Pedro Soares Neves https://lnkd.in/eH2kAsmQ