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Erin Solomons award winner @ Photo London

Magnum Photos Graduate Photographers Award

ARTE GLOBALE & PHOTO LONDON











This Award provides an opportunity for new photographers, acknowledging the best emerging practitioners and providing them with exposure to both a public and highly professional audience. It is open to outstanding photographers who have graduated from a UK degree course relating to photography or lens-based media in the last three years.
Over 80 recently graduated photographers were nominated for the 2016 award, for which our artist Erin Solomons is one of the twelve winners.
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ARTE GLOBALE

Summer Exhibition Preview Party 2016

ARTE GLOBALE is a proud supporter of the Summer Exhibition Preview Party 2016
ARTE GLOBALE @ ROYAL ACADEMY LONDON









ARTE GLOBALE @ ROYAL ACADEMY LONDON







ARTE GLOBALE @THE ROYAL ACADEMY LONDON











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Zatorsky

Zatorsky & Zatorsky
Aristotle Roufanis at the Royal Academy Summer Exhibition

Congratulations to the artists on showing at this year RA Summer show. (2016)

ARTE GLOBALE @ ROYAL ACADEMY LONDON









Zatorsky & Zatorsky, Self portrait






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ARTE GLOBALE @ SAATCHI GALLERY

ARTE GLOBALE at the SAATCHI GALLERY

We are delighted to announce our participation at the SAATCHI GALLERY START ART FAIR LONDON 15-18 SEPTEMBER 2016 VIP PREVIEW 14 SEPTEMBER

ARTE GLOBALE @  THE SAATCHI GALLERY










ARTE GLOBALE BOOTH DESIGN









ARTE GLOBALE @ THE SAATCHI GALLERY









ARTE GLOBALE  @ THE SAATCHI GALLERY BOOTH DESIGN






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Aristotle Roufanis, Insoaltion II

ARTE GLOBALE at Fotofever Carousel
Du Louvre



11 - 13 November 2016

Solo exhibition by Aristotle Roufanis

ARTE GLOBALE  @ CAROUSEL DU LOUVRE






ARTE GLOBALE @ CAROUSEL DU LOUVRE




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ARTE GLOBALE at SCOPE MIAMI BEACH

ARTE GLOBALE @ ART BASEL SCOPE MIAMI BEACH 2016










ARTE GLOBALE ART BASEL MIAMI SCOPE







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EXHIBITION 11-14 May Private View 10 May






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ARTE GLOBALE AT ART BASEL'S WEEK SCOPE ART BASEL 2017


SCOPE BASEL RETURNS TO LOCATION JUST THREE BLOCKS FROM MESSEPLATZ FOR 11TH ANNIVERSARY EDITION
Celebrating its 11th Anniversary in Basel, SCOPE Art Show is delighted to return its location, just three blocks from Messeplatz. SCOPE | Haus, previously named Clarahuus, secures SCOPE Art Show's future in Basel as a long term investment in the City's rich culture. A brief walk from Art Basel, SCOPE Basel offers guests a view of the contemporary art world available nowhere else.
SCOPE Basel will welcome 70 International Exhibitors from 52 cities and 27 countries.
SCOPE Basel opens with its Platinum First View Tuesday, June 13, 10am-1pm; followed by the VIP and Press Preview 1pm-4pm, and Public Opening 4pm-7pm. The fair will run through June 18th; 11am-8pm Wednesday-Saturday, 11am-6pm Sunday.







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ARTE GLOBALE @ ZsONAMACO FOTO


With ZⓢONAMACO’s experience and background as Latin America’s leading art fair platform, the third edition of ZⓢONAMACO FOTO will be held from September 20th through September 24th in Mexico City, simultaneously with ZⓢONAMACO Salón del Anticuario, shaping the biggest meeting point for the most important international photography and antique collectors, in an unprecedented way for the region.

ZⓢONAMACO has successfully settled Mexico as a collecting epicenter for the last 15 years. The ZⓢONAMACO fairs are considered a benchmark within the art, design and antiques ecosystems in Latin America, and have had an annual growth along with solid reliance from key actors in the global scene.

ZⓢONAMACO FOTO will feature vintage, modern and contemporary photography, establishing Mexico as the center of the photography world for the third time, while securing the links among galleries, institutions, collectors and specialized editors.

Established in 2015, ZⓢONAMACO FOTO was held simultaneously to ZⓢONAMACO Salón del Anticuario for the first time to more than 7,500 attendees. In 2016, visitors doubled to 15,000.



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ARTE GLOBALE - Artsy - ZsONAMACO FOTO 2017

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ARTE GLOBALE at SCOPE MIAMI 2017







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ARTE GLOBALE @ THE LONDON ART FAIR 2018


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Giovanni Cocco @ Burn Magazine
http://www.burnmagazine.org/essays/2018/02/giovanni-cocco-burladies/

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Giovanni Cocco Burladies New Pubblication









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Wei Tan Interview @Aesthetica Magazine


http://www.aestheticamagazine.com/vibrant-improvisation/













Vibrant Improvisation
Experimental musician turned abstract artist, Tatawa (Wei Tan) explores the idea of self-revelation through improvisation in fiercely honest and biographical mixed media paintings. She throws raw ingredients onto the canvas and brutally stirs them into a soup, until the nature of habit is revealed as an accidental source of structure.
A: How has being a musician informed your practice now as an abstract artist?
T (WT): Having been through formal education in music, it is a challenge for me to create a piece of music without judging it through the eyes of academia. I crave the freedom and spontaneity of creating like a child. So in a way being a musician has taught me to value “the bliss of ignorance” which I can still access in art. I also see it as an experiment – what can I create as a trained musician and what can I create as a self-taught artist? How are they different? For instance it has been interesting for me to realise the difficulties of having too much freedom in art and to observe how I learn to, ironically, limit this freedom.
A: How do you think that the two senses can combine, translating sounds into visuals?
T (WT) :I think that all senses can be combined, and are already combined, and thus the phenomena of synaesthesia. In dance, sound induces movement. In art, this movement simply produces an image. Intuitively, rhythm may inspire painting gestures, harmony may inspire colour palettes, melody may inspire geometrical patterns. The words rhythm, harmony, melody, gesture, colour and pattern can be used in both music and art. This translation can also happen artificially, for example by mapping properties of sound into aspects of an image on a programming software. However like everything else in life I prefer to see them in a big bowl of soup – sounds, visuals, emotions, thoughts all stirred up together – and in a sort of lazy manner, watch their relationship unfold itself without really doing anything.
A: Do you think that your paintings contain a sense of narrative?
T (WT): Yes I believe that my paintings are narrative and biographical in nature. I see my paintings as diaries and the act of painting as “journalling”. As a musician I make field recordings of my surroundings and arrange them into a story-like collage; as an artist I record my daily thoughts and emotions as gestures on a canvas. I often name my paintings after a particular event – for example Gross Coincidence was made after bumping into someone I did not wish to see, and Random Memory Generator was created after a regression therapy session. However, the specificity of these “journal titles” in no way reflects the ambiguity of the “journaling process” – instead of consciously recording memories I let myself purge them subconsciously, and then look at what comes out – and what comes out is always relevant as it reveals all the influences I have absorbed during the day, the day before, years before, and generations before.
A: How is improvisation important to your work and what does it allow you to create?
T (WT):I learnt improvisation as a musician and it is a great tool for generating new ideas. I see it as automatic writing, or even channeling. Improvisation is just a way of stretching my preconceptions of painting, the way I move the paintbrush, the colours I choose, and the forms I create. There always comes a point during an improvisation where I viscerally feel like I am breaking through a barrier, and that is usually when I make something satisfying. However, this barrier keeps receding and both the thrill and annoyance is in chasing it. I also use the act of improvisation to reveal the limitations of habit – no matter how the hand tries to move differently, it is unable to shake off its conditioning. The more I improvise the more I reveal my limitations and thus myself – and this self-revelation forms the narrative in my paintings.
A: Is the act of creating as important as the outcomes?
T (WT): I think that both are inseparable and the outcome always accurately reflects the act of creating, like how we are an accurate reflection of the food we eat or the thoughts we think. So we cannot make one important while not simultaneously making the other important. It is a funny paradox because in all forms of art the release of attachment to an outcome will always lead you to a more desirable outcome. So in a way if you value an outcome you must make it unimportant first.
A: What relevance does colour have in your paintings?
T (WT): Like all other elements in my paintings, colour is part of the improvisation. Sometimes I pick a colour that I have been obsessed with at that time, sometimes one that I hate, sometimes it ruins the painting, and sometimes it finishes the painting. But in general, I lean towards a multicoloured palette instead of a monotone one, just because it is what you get (at least at first) when you release control of your palette – you pick anything you see and squeeze paint straight out of the tube onto the canvas without mixing. I use laziness as part of my composition – I value the reluctance to think and the lethargy of the mind, and I want to exhibit that in my paintings.
A: Do you think that your works contain a certain emotion that you impart onto them through your own experiences or energetic processes?
T (WT): The last thing I mentioned, reluctance and lethargy, are two emotional states that I impart onto my work. On the other end of the spectrum, I also express a sense of impulsiveness and desperation. As a result there is a constant tug of war – between the lethargic body and the restless mind, or between the reluctant thinker and the desperate feeling-body, for instance. It is about being tired and energetic at the same time. That is why I like to create textures that are in between solid and liquid – something like molten lava, or a piece of wet clay. This in-between state has an uncomfortable tension, being always both unchangeable and on the verge of changing. But it is also a state of perfection, containing all its unexpressed potential and all the energy that is about to explode.
www.tatawaart.com
Instagram: @_tatawa
Credits:
1. Wei Tan, Gross Coincidence, mixed media on canvas (2016)
2. Wei Tan, Abdomen, mixed media on canvas (2016)
3. Wei Tan, Ball Game with Dog, mixed media on paper (2016)







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Mitra Tabrizian @Barbican


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​​​​​​​http://www.gholamfilm.com

​​​​​​​http://www.gholamfilm.com/uk%20release.html



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Michele Cirillo First Prize Photographic project @Hermitage Museum St. Pietroburgo Russia 2017 & solo show




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