Martina Corgnati

The legend of the Etruscans has stood the test of time over centuries. Since the 15th century, when Leon Battista Alberti was one of the first to reassess the Tuscan order, to more recent years that saw the first major exhibitions, interest in this enigmatic civilization has never faltered. It has, however, been fed by such very different instances – depending on whether the point of view was that of academics or of artists and writers – that one can talk of two distinct Etrurias: a “scientific” one, which from the 19th century and with the important excavations of the early 20th century became ever more precisely and clearly defined, and an “evoked”, imagined Etruria, as fantastical as it was irretrievable.This is the Etruria of painters and sculptors: of Enrico Prampolini, who lent his avant-garde skills to a magazine on the subject; of Arturo Martini, Massimo Campigli and Marino Marini, who, each with their own accents, claimed direct descent; of artists apparently remote from this world, such as the French Edgar Degas and the English Henry Moore; and of figures that occupied what were considered marginal territory (e.g. ceramics) such as Gio Ponti and Roberto Sebastian Matta.Martina Corgnati takes the reader on a long well-structured journey from the end of the 19th century to the threshold of the 21st century, through hybridization and rewriting of the past, adopting more or less explicit suggestion and precise references. There are also forays into the literary debate, particularly lively in Italy, where a foundation myth more authentically italic in respect of Greek or Roman ones has always been fertile terrain. Through the prism of the “Etruscan phenomenon” one can see the art of the 20th century in a new light, exploring the various paths in the shadow of this ancient people.

Woman, artist, outsider, icon: from her groundbreaking debut with Breakfast in fur, which made it into the MOMA when she was just over 20, to her lengthy and difficult quest to be cast off artistic, ideological and gender-related labels, Meret Oppenheim (1913-1985) is one of the few female figures in art history famous for challenging time-honoured rules and preconceptions in the name of a genuine vocation.Her life and work were shaped by a radical outlook: no easy path, both in terms of the conformist society of the day, and the inherent sexism that characterised the artistic and literary milieu of her time. Man Ray's revered muse, Breton's irreverent protégé, a party to and exponent of the most radical experiments and most exciting artistic adventures in the twentieth century, Meret Oppenheim was a free spirit with the confidence and at times tormented originality of a natural talent.From her encounter with the theories of Carl Jung to her dazzling engagement with the surrealists; from her long struggle with depression to her magnetic attraction to Max Ernst, aged just 20; from her intense, profound artistic partnership with Alberto Giacometti to her secret and, to date, little known friendship with Marcel Duchamp, Martina Corgnati traces a faithful and intriguing portrait of a woman and artist who, following in the footsteps of Virginia Woolf and Lou Salome and combating the facile stereotypes of an all-female art,  had the courage to shout out to women of every era: "Freedom will not be given to us: we have to take it for ourselves".The volume was produced with the support of Pro Helvetia.

A single place with three projects: Brera Palace tells its story, revealing its soul in all its glory through three projects. For the first time, with ‘Accademia aperta,’ students and professors open the doors to the classrooms of the Academy’s ten schools, offering visitors the unique possibility to observe the daily activities of its studios and workshops up close, while ‘Ai confini del quadro. Brera anni sessanta-settanta’ (Beyond the Frame: Brera in the 60s and 70s) puts the spotlight on historical figures of that unique era who brought international fame to Brera and its district, where “art-making” was evolving through the constant interchange both inside and out of the palace walls. ‘Bagnoli, Curran, Lim, Pistoletto, Richter. Installazioni nel Palazzo di Brera’ brings visitors into the world of contemporary art as the entire building thanks to its natural, centuries-old tradition of opening its historical spaces –  the Academy of Fine Arts, Braidense National Library, Botanical Garden, Astronomical Observatory and Art Gallery – fills with dynamism, to dialogue and interact with the new in search of unexpected parallels and convergences. Thus, past, present and future are the trajectories along which the original calling of this “encyclopaedic palace” manages to constantly express and revitalize itself. In the end, Brera puts its patrimony in touch with the contemporary world, activating a process that increases its value and engages the legends of yesterday and the talents of today and tomorrow.   Cover Photo: Cosmo Laera