Illustrating the unchanging pace of life in the fields, Millet offers us a reflection on man’s relationship with nature in accordance with a declaration of universal spiritual ethics. I look forward so much to the future of your museum. An analysis of the phenomenon required a definition capable of identifying this new geological era and so the term Anthropocene was born. Exhibition view, Manifattura Tabacchi. But why didn’t Darwin use the word “best” rather than “fittest”? Culturally, the whole world is so appreciative of everything that you have given to us. We hope we can become conscious about our actions. The painting was shown at Palazzo Strozzi’s Bill Viola. To tie in with the National Church Convention in Florence on 9 November 2015, the painting was moved from Palazzo Strozzi to the Baptistry in Florence, where it interacted with the 13th century mosaics in an outstanding display of unity between ancient and contemporary art in the context of the debate on transcendence. The message is clear: we are a numerous community open to cooperation and bent on changing both the way people move and their relationship with the planet, Technology offers us the opportunity to interact with others and to strengthen our projects in perfect DIT (Do it Togehter) spirit. Courtesy Bill Viola Studio. Settis explains: “In Bill Viola’s installation, Catherine is not the saint of that name; this predella neither accompanies nor presupposes a religious icon. The same viewpoint that we see in the 17th century drawing was revived in Paola Pivi’s monumental Untitled Project installation in 2015, comprising a colourful inflatable ladder over 20 metres tall that took the contrast between classic and contemporary to new heights.

Tiina, like Marina back in 2002, lived in silence for twelve days in three small rooms suspended inside the Marina Abramović. It is an art without status, without a discourse, it is defenceless, it is shown in haste and disappears at once. That’s why we’ve devised ART AT HOME, a series of proposals and initatives for children, teens and families based on original activities to do at home under your own steam, using everyday materials that are easy to come by. The causes can be traced back to our constant increase in hydrocarbon and carbon dioxide emissions into the atmosphere and to our unbridled exploitation of the world’s natural resources. But the materials and instructions for using them are also a resource for parents who may wish to pursue activities combining thought, fun and sharing in this time of isolation and confinement in the home. Certain moments during the Caterina project While Picasso, Miró and Dalí are the Iberian trio virtually par excellence, we certainly should not overlook the work of Juan Gris (Madrid, 1887 – Boulogne-Billancourt, 1927) who, together with Picasso, was part of the system created by the so-called historic Avant-gardes but who remained loyal to Cubism after the war, marking his distance from Picasso who had embraced a classicising figurative art. Well, because in the context of life, the words “better” and “best” are a nonsense. The Fondazione Palazzo Strozzi has likewise committed over the years to promoting a debate on relationship between the development of human society and respect for our natural environment by hosting exhibitions such as its current show of work by Tomás Saraceno or its numerous schemes for schools. What emerges from all of them is an attempt to imbue daily life with a sacred quality and to rethink our actions, even our most humdrum actions, by imparting new value to them: a reflection on strength of will and on the possibility of imparting new meaning to our lives in a new perspective. And as for the cinema itself, we are given Luis Buñuel! That doesn’t happen in the privacy of our own homes because we’re no longer in touch with ourselves. Arturo Galansino and Ludovica Sebregondi, Art at Home: special activities for children, teens and families. Film by Aerocene Community, produced by Studio Tomás Saraceno in collaboration with Art/Beats, Courtesy the artist and Aerocene Foundation. Tomás Saraceno, Particular Matter(s), 2020.

We owe the courtyard of Palazzo Strozzi to Simone del Pollaiolo, known as Il Cronaca, who was the palazzo’s supervisor and executive architect from 1490, shortly after construction began, until 1504. Alois Riegl had this to say about the portrait of a Dutch group in the 17th century: “[The family portrait] is neither an extension of the individual portrait nor yet the mechanical composition of individual portraits into a single whole. Questo periodo d’emergenza ci porta infatti a fare alcune riflessioni sul nostro stile di vita, sul peso delle nostre azioni e sulla fragilità del nostro mondo.

Electronic Renaissance exhibition in 2017, when the video artist’s work was displayed alongside the old master works that had been his source of inspiration, accompanying the development of his artistic style. In this case, however, the adjective “fabulous” that is so often attached to the 1920s is justified by the outstanding creativity of a period that owed its renown to the crucial influence of Spain rather than to the lethal pandemic that took its name from that country. Isolation, silence, the disappearance of a direct relationship with others help us to grasp the importance of staying in touch and of valuing the gaze and the presence of the people we have before us. That date is commemorated in Italy as a founding moment, as a new beginning in our history after the horrors of war and of Fascism. Tomás Saraceno, Webs of At-tent(s)ion (detail), 2020. In fact, in the art world it played an absolutely crucial role in the birth of modern art. Piazza Strozzi 50123 Firenze, A project for people with Alzheimer's and their caregivers, Building a new relationship with our audience, A project devised by Carsten Höller and Stefano Mancuso, © RMN-Grand Palais (Musée d’Orsay) / Hervé Lewandowski,ás-Interview-13012020-1080p.mp4. Il blog del sito di Palazzo Strozzi si trasforma in una piattaforma di testi, immagini, video, storie e approfondimenti a disposizione di tutti. There are various theories regarding the start of the Anthropocene but a majority within the scientific community agrees on the symbolic date of 16 July 1945, the day that saw the first ever atomic test at Alamogordo in New Mexico. Secondo il celebre “effetto farfalla”, coniato nel 1962 dal matematico e metereologo Edward Lorenz, lo sbattere d’ali di una farfalla in Brasile può provocare un tornado in Texas. (Si ringrazia Lavinia Rinaldi e l’Ufficio Stampa della Fondazione Palazzo Strozzi), Toscana Today – giornale web indipendente. Simone del Pollaiolo, known as “Il Cronaca,” was appointed foreman of the works shortly after work began in 1490, and the palazzo had risen as high as the first floor by the time Filippo died in 1491. We send each other text messages without ever meeting, even though we live just around the corner from one another. But at the same time, it appears to meet a deep-seated need that is more topical than ever, the need not to be alone, the need to be part of a “family”: both our birth family and our chosen family.

Purchased by the John Webb Trust, A.100-1937. Yet flying in the face of this obvious consideration, man has always thought that he was the only intelligent being, or at least one of only a handful and in any case the smartest of the bunch, with little or nothing in common with the rest of life.

Who would ever think of arguing that only mankind reproduces? That encounter was to spawn the Aerocene Float, a tool that analyses wind currents and maps out flight paths. Si tratta di visioni fatte di armonia, di equilibrio, nelle quali le connessioni sono evidenti e la cooperazione necessaria. The activities are a tool designed for teachers of all school levels comprising experiments inspired by a reflection on the future and on the concept of co-existence, both of them strongly inspired by the work of Tomás Saraceno. These images, however, are at variance with others of an erotic nature that borders at times on the incestuous. IN CONTATTO: per una nuova relazione con il pubblico di Palazzo Strozzi. Progetto per una nuova relazione con il pubblico attraverso social, sito internet e blog di Palazzo Strozzi tra presente e futuro, connessione e isolamento, partecipazione e meditazione. Works from thel Museo Reina Sofía Collection in Madrid. Dalí, for his part, picked up Picasso’s legacy, yet he developed it in a different vein, with a psychological slant that was soon to draw him into Surrealism. We have shaped it with our own choices and our own actions. Like every cultural institution eager to talk about its own era, Palazzo Strozzi is committed to addressing the most relevant and topical issues of our time, so that every exhibition and activity we produce provides us with an opportunity to explore the world we live in an increasingly contemporary vein. Photography by Marco Zanta. Be the first to receive news and specials about Palazzo Strozzi. And my heart is with you. A menorah takes centre stage. In this tight, compact composition, we see a basket at the feet of two peasants praying and behind them a wheelbarrow containing two sacks.

“An apricot tree can’t do a great deal to bring about its own extinction, nor indeed can a cow. The visitors and I intensely felt each others’ presence. This scheme took its cue from the Tomás Saraceno. The “monstrosity” was erected in the summer of 1983 ahead of the 13th Antiques Biennale (17 September–9 October), when it was described in the catalogue as “a huge surprise as well as a novelty.” The massive public outcry against the invasive structure was taken up by figures from the world of culture such as Eugenio Garin and by glossy magazines such as “Casa Vogue.” The fire escape was subsequently dismantled, but for years it was an eyesore defacing a perfect space and Paola Pivi’s work may well have been an allusion to the countless structures that have marked and blighted the silhouette of so many monumental buildings. Now that we have a slightly clearer picture, we can ask ourselves whether man, with his special intelligence and his large brain that allows him to develop theories and to compose symphonies, sonnets and so on, is more or less “fit” to survive than other species. Being “better” only means something if you have a goal. Facciamo talmente parte di questa struttura da non rendercene conto, e apriamo gli occhi soltanto quando essa viene minacciata o rischia di spezzarsi. The palazzo remained in the family until 1937, when it was sold to the Istituto Nazionale delle Assicurazioni which made it over to municipality. Is intelligence the ability to use tools? And perhaps more importantly, does it make us superior to other living beings? 11 marzo 2020: Arturo Galansino, Come in una ragnatela, 13 marzo 2020: Arturo Galansino, Un manifesto per il futuro: Thermodynamic Constellation, 14 marzo 2020: Ai Weiwei: a casa, ma uniti, 16 marzo 2020: Arturo Galansino e Ludovica Sebregondi, Utopia e libertà: tra Italo Calvino e Tomás Saraceno, 18 marzo 2020: Tomás Saraceno: per un suono lento dell’aria, 20 marzo 2020: Riccardo Lami e Ludovica Sebregondi, Siamo tutti sulla stessa barca, 21 marzo 2020: Marina Abramović: il mio cuore è con voi, 24 marzo 2020: Ludovica Sebregondi, Il cielo in una stanza. Intelligence must be explored like a fully-fledged biological principle, in a very similar way to the way we consider reproduction. Andrea di Bartolo’s polyptych inspired the video entitled Catherine’s Room (2001). Ottantaquattro: tanti sono i giorni da domenica 8 marzo 2020, inizio del lockdown di Palazzo Strozzi, a lunedì 1° giugno 2020, data della nostra riapertura. In the course of the project developed with Cristina Pancini, a room in Palazzo Strozzi was transformed into a space for a journey, a pathway for discovering its corners, its ceilings, the objects it contained, in fact anything and everything that can inhabit a space, including our own selves. Photo: Giulia Del Vento.

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