Jonathan Vecchini Art Advisory is a New York–based firm with Italian soul, specializing in the acquisition, curation, and placement of Contemporary art and Post-war Italian art.
Jonathan Vecchini is the CEO and founder of JVAA.
Drawing on extensive experience within galleries, art fairs, and the art press as a critic and writer, he combines a deep understanding of curatorial practices with expertise in art valuation, acquisition strategy, and the dynamics of the international art market.
This firm was born from a deep passion of the founder for art, a commitment to building meaningful collections, and the desire to support collectors, investors, and institutions with strategic, independent guidance.
JVAA mission is to bridge the worlds of art, culture, and investment through tailored advisory, market insight, and long-term vision.
Primo Sonno. Mattia Zamagni
A cura di Jonathan Vecchini
The exhibition is born from the idea that what remains alive from the past is not memory, but matter in transformation: it is what nourishes the present and shapes what is yet to come.
Within this context—what Mario Metz calls the “vortex,” a temporal spiral in which art generates continuity between past and future—lie the works of the Romagna-born artist Mattia Zamagni presented in Primo Sonno.
The artist engages in dialogue with the aesthetic values of early twentieth-century Italian art, reworking and dissecting them, only to reabsorb and reinterpret them in a contemporary pictorial journey that is intensely personal, matured in the languor of the Return to Order and Magic Realism.
Primo Sonno speaks of family, where mothers, fathers, and grandparents enter the pictorial production, becoming characters in an intimate and personal story tied to memory.
Primo Sonno speaks of people, where friends and, above all, loves reveal and expose the emotional and delicate nature of the artist’s heart.
Primo Sonno speaks of a return to one’s homeland, to the original humus—both physical and symbolic—where individual and collective memory intertwine.
Primo Sonno, therefore, is not a lethargic sleep but a oneiric gestation: the first creative act after awakening from modern chaos, a liminal space in which, for Zamagni, sleep does not interrupt but generates continuity.
Primo Sonno, prima mostra personale di Mattia Zamagni, a cura di Jonathan Vecchini, inaugura il 28 febbraio dalle 18.00 alle 21.00 a Palazzo Gonzaga, Volta Mantovana.
Un viaggio pittorico tra memoria e identità, dove legami familiari, affetti e radici si intrecciano in un racconto intimo e sospeso tra passato e presente.
La mostra è promossa dal Comune di Volta Mantovana nell’ambito del percorso dedicato all’arte contemporanea, dopo More than Street Art di 7soulsDeep (2025).
📅 28.02 — 03.05.2026
📍 Palazzo Gonzaga, Volta Mantovana
Vi aspetto numerosi.
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Primo Sonno, the first solo exhibition by Mattia Zamagni, curated by Jonathan Vecchini, opens on February 28 at Palazzo Gonzaga, Volta Mantovana, from 6 pm to 9 pm.
A pictorial journey through memory and identity, where family ties, affections, and roots intertwine in an intimate narrative, suspended between past and present.
The exhibition is promoted by the Municipality of Volta Mantovana as part of its contemporary art program, following More than Street Art by 7soulsDeep (2025).
📅 28.02 — 03.05.2026 📍 Palazzo Gonzaga, Volta Mantovana
See you there!
@jvaadvisory@voltamantovana.eventi@mattia__zamagni@_simone_segna_
DISCOVER WEEKLY
Austin Hayman (b. 1989) is a figurative painter focusing on the sense of familiarity, relatability, and what it means to be comfortable.
Hayman was born in Santa Monica, California. He was raised in Santa Rosa, California. The juxtaposition of his time in Los Angeles and wine country has allowed him to explore the beauty in the mundane.
In this work, his initiative has been to emphasize how the smallest moments in life can be the most beautiful. Simple times— such as the sun hitting one’s face in a lounge chair or cooking at home alone—can seem insignificant, but they are at the core of how we remember places and periods through our lives.
These paintings exist to honor those moments and explore the body language of comfort.
@austinhayman
DISCOVER WEEKLY
Ludovic Thiriez (b. 1984, Courbevoie, France) is a contemporary artist living and working in Budapest. After studying Economics, he pursued his artistic education at the Fine Art Institute of Budapest, developing a visual language that blends figuration and abstraction, memory and fable. Childhood, nature, and decorative traditions such as Hungarian embroidery are recurring motifs in his paintings, evoking continuity and collective memory.
In 2018, he was awarded the Luxembourg Art Prize, which brought him international recognition, following earlier awards such as FFW MAG Brazil (2014). His works have been presented in solo exhibitions in Italy and in group shows and fairs across Europe, the United States, and South America. Thiriez’s paintings are held in numerous private collections worldwide.
Ludovic Thiriez’s practice explores the intersections between memory, imagination, and the symbolic language of images. Childhood, with its transitions, ambiguities, and emotional intensity, is a central theme in his work, often reinterpreted through dreamlike atmospheres. His paintings combine figurative details with abstract layering, producing compositions that are both vibrant and contemplative. Strong chromatic contrasts, influenced by his years in Brazil, animate his visual narratives, where animals, natural forms, and human presences emerge as fragments of a poetic and deeply personal mythology.
@ludovicthiriez
Sweet, nostalgic, intimate, familiar.
Alina’s works speak a tender language that leaves room for memory. Through a neoclassical technique and precision, her paintings communicates with the viewer in a slow, contemplative manner, enveloping us within its geometries and making us feel at home, part of the family.
Yet the power of these works lies neither in color nor in technical precision, but rather in the pervasive nostalgic sadness inherent in them. These are painful works that recall lost happy moments; they are flashes of memory representing an inevitably distant situation, veiled in a nostalgic pictorial shroud that bursts forth in our chest.
Alina’s precise and detailed world is “contaminated” by nebulous figures, emotionally charged with the artist’s memory, gently breaking into the pictorial environment like a wrong note within a concert. This note, though out of place, is the heart of her art—the incipit and epilogue, the means and the end—the very reason why, appreciating this artist, we feel at home.
Good night, Alina, see you tomorrow at breakfast.
@alina_anila@fridmangallery
Last day at the sea. You’re sixteen years old, and you must say goodbye to all your summer friends—those you probably won’t see until next year, or perhaps never again. The sea, the mountains, the city, the campsite: these backdrops frame your farewell. And with them comes a wave of nostalgia that permeates your entire being. It hurts, yes. But it’s also strangely beautiful—because somewhere inside, you know this feeling will never truly disappear. Rather, as time passes, it will crystallize into a core memory of your youth, one that will return to you with a foolish smile and tears in your eyes.
This bittersweet nostalgia, however, rarely feels tangible or accessible in our daily lives. Until now.
Alex Sewell, currently on view at TOTAH, has accomplished something remarkable: he has given form to this elusive sentiment, rendering it not only accessible but profoundly relatable to viewers. More importantly, he has created an art that is entirely subjective—one where each of us reads and experiences his work through the lens of our own emotional landscape.
Sewell’s paintings merge recognizable, nostalgic elements with compositional choices designed to evoke atmospheres and feelings rather than specific places. His works explore landscapes and objects stripped of geographic or cultural markers, instead creating a particular ethos—a distinct emotional register. These are “transdimensional paintings,” existing beyond a single dimension or location, using figurative language to communicate directly with the viewer’s inner world.
Nothing here is politicized. Nothing is religious. Nothing is critically laden. Instead, everything is fable, memory, atmosphere. The power of Sewell’s work lies in this fundamental inversion: in our contemporary moment, where art typically turns outward—engaging with external themes and social commentary—Sewell looks inward. He strips away his own subjectivity to capture something universal: the general human spirit that belongs to all of us, yet manifests uniquely in each viewer.
@davidtotah@_alexsewell
