Uncategorized

On the walls of Via Spina in Comacchio, myth meets memory in a striking new mural that reimagines one of the city’s ancient treasures, a red-figure krater from the Museo del Delta Antico depicting Hector and Andromache’s farewell in Homer’s Iliad. Here, the classical scene is pulled into the present, transforming a moment of myth into a meditation on love, duty, and endurance. The artist bridges centuries, fusing the language of ancient pottery with the visual pulse of contemporary street art.Comacchio, a city carved by water and time, becomes both stage and subject. In this retelling, Hector and Andromache are reborn as fiocinini, the eel fishermen who once navigated the marshes under cover of night, risking punishment to feed their families. Their quiet heroism echoes through the composition, where Hector now offers his night’s catch to Andromache beneath a sky heavy with ancestral watchfulness.Every symbol painted across the wall, from the eel and paradello to the forcola, passera, and velucepi, roots the myth in the rhythm of the lagoon, weaving together local craft, history, and shared identity. Through this dialogue between past and present, the mural transforms ancient tragedy into a living narrative that speaks of courage, resilience, and the enduring spirit of the people of Comacchio. More

Avant Arte has teamed up with Italian provocateur Maurizio Cattelan for a collaboration that turns the art world upside down once again. Known for works that swing between absurdity and sharp critique, from the solid gold toilet America to the duct taped banana Comedian, Cattelan has built a reputation as the prankster philosopher of contemporary art. Now, with Avant Arte, he introduces We Are the Revolution (2025), a miniature resin sculpture that reimagines his 2000 piece Untitled while riffing on his legendary La Rivoluzione Siamo Noi.The workEach sculpture measures 23 x 6 x 6 cm, hand cast in resin and meticulously painted by artisans. Limited to 1,000 editions and priced at €1,500, the work will be released via a randomized draw on Avant Arte’s platform. Entries close on October 24, with successful collectors notified within 24 hours.Cattelan’s effigy, once monumental, is now scaled for the home, equal parts parody and self reflection. In his own words: “If you never thought you would be able to hang my effigy in your home, that makes two of us.”The huntIn true Cattelan spirit, the launch is not limited to a drop. From September 30 to October 7, Avant Arte will stage a city wide scavenger hunt across New York, London, and Amsterdam. Titled Where’s Maurizio?, the game hides editions of the sculpture in everyday places, from bodegas to antique shops to market stalls, transforming the ordinary into the unexpected.Clues will appear twice a day on Avant Arte’s dedicated microsite. New York participants will be able to physically chase down the works, while London and Amsterdam hunters will join digitally, submitting their answers online.And because context is everything, the pricing will shift with each location. A sculpture tucked away at a corner store might be priced at $0.99, while one in a chic antique dealership could reach €9,999. Value here is fluid, playful, and entirely situational, a wink at the art world’s obsession with price tags.Why it mattersCattelan has always used humor as a weapon and a mirror. His works question power, institutions, and the very mechanisms that assign worth. With We Are the Revolution and Where’s Maurizio?, the joke is not only on the art world, it is also an invitation for the public to play, to search, and to own a piece of the story.Mazdak Sanii, Avant Arte’s CEO, frames it as the beginning of a series inspired by Cattelan’s landmark Guggenheim show All: “Collaborating with one of the most influential artists of our time has been an incredible experience, and we’re eager to share it with our community of collectors around the world.”About the artistBorn in Padua in 1960, Maurizio Cattelan has spent more than three decades testing the limits of art and spectatorship. His works live between the ridiculous and the profound, from a taxidermied horse suspended from the ceiling to a Pope struck by a meteorite. Beyond his solo projects, he co founded TOILETPAPER, the cult image magazine and creative studio with photographer Pierpaolo Ferrari, merging art and pop culture at global scale.Auction houses continue to affirm his reach. In November 2024, Comedian fetched $6.2 million at Sotheby’s. But Cattelan’s true currency is provocation, a constant reminder that value, meaning, and context are always up for grabs. More

Inside the monumental shell of a former turbine factory in Hungary, Spanish artist SpY unveils two ambitious works, Matriz and Cycles, projects that extend his ongoing exploration of geometry, perception, and the transformation of public space.In Matriz, a precise three-dimensional grid of black rectangles hovers in suspension, defying gravity as it organizes emptiness with silent order. Floating corridors and columns materialize from nothing, inviting visitors to walk through the void itself.These forms are not walls, yet they define; they do not touch the ground, yet they orient. SpY has long been known for turning the overlooked elements of daily life into catalysts for reflection, and here he elevates absence into structure, creating a disorienting but poetic architecture of suspension.Cycles, presented alongside Matriz, shifts the focus from space to time.A kinetic sculpture composed of nine concentric rings stacked in fragile balance, the work rotates in perpetual motion. Driven by a mechanism at its base, the rings unfold an endless choreography of intersecting patterns.Figures appear stable, then dissolve into ambiguity, producing illusions that destabilize perception. In Cycles, movement itself becomes material: time and instability are sculpted into form, and the audience is drawn into a hypnotic dialogue between order and collapse.Together, the two works articulate the dual poles of SpY’s practice, order and dislocation, rigor and play, emptiness and saturation. Emerging from Madrid’s pioneering graffiti scene in the 1980s, SpY has become a leading voice in contemporary urban intervention, creating works that range from subtle interventions in the streets to monumental installations on civic architecture. His language is precise yet open, playful yet critical, often questioning systems of control while offering moments of poetry and surprise in the everyday landscape.By staging Matriz and Cycles within the raw industrial vastness of the INOTA Festival, SpY demonstrates once again his ability to charge environments with new meaning. The turbine hall becomes a stage for two elemental experiences: the ordering of space through suspension, and the unfolding of time through motion. Visitors do not simply view these works, they traverse them, inhabit them, and are altered by them.Presented and commissioned by INOTA Festival, these projects reaffirm SpY’s position as one of the most vital voices in contemporary public art, an artist who turns geometry, void, and time into materials for human experience. More