I write through images. I think through art.
My work begins at the threshold of the artwork.
For me, interpretation is not a declaration: it is an approach.
Entering a zone of instability where the gaze stays in tension and meaning doesn’t close.
@roberta_artview is not a feed, but a curatorial space.
A place where images are not consumed, but questioned.
Where writing doesn’t explain — it opens.
I’m Roberta Bertozzi — curator and art writer.
I build frameworks of reading that allow artworks to expand beyond themselves: into dialogue, resonance, transformation.
This is not about making art accessible by simplifying it.
It is about creating the conditions for a different encounter.
An ecosystem of attention, where the digital becomes a point of activation — and the real, its consequence.
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#InTheArtViewByRoberta #InTheArtView
Cristallino is an evolving curatorial platform.
It unfolds through exhibitions, site-specific projects, studio visits, and collaborations, activating contexts and trajectories across institutions, independent spaces, and artistic practices.
As artistic director of @cristallinoartivisive , I work toward the construction of a field in which artworks are not isolated objects, but part of a relational system — between images, spaces, and forms of thought.
The project also develops through exhibitions, events, and artist studio-based formats — bringing research into direct engagement with physical space.
Cristallino operates as an active curatorial device: a structure that connects practices, generates dialogue, and sustains research over time.
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#InTheArtViewByRoberta #InTheArtView
I work across images, writing, and curatorial practice.
My work takes shape through:
— curatorial texts and critical writing
— exhibitions and project-based formats
— editorial and visual content for artists, institutions, and cultural platforms
Each project begins with a question: how can the artwork expand beyond itself?
I approach content as a curatorial practice — building connections, shaping attention, and creating the conditions where meaning can emerge.
Available for selected collaborations, projects, and invitations.
Contact via email.
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#InTheArtViewByRoberta #InTheArtView
| 𝗗𝗲 𝗞𝗼𝗼𝗻𝗶𝗻𝗴. 𝗜𝗻𝘀𝗶𝗱𝗲 𝘁𝗵𝗲 𝗶𝗺𝗽𝗮𝗰𝘁 𝗼𝗳 𝗺𝗮𝘁𝘁𝗲𝗿.
Impulse and construction,
order, chaos again. Mass and dissolution.
In De Kooning, form is an unstable organism:
it never reaches a lasting peace.
In the paintings, the mark erases and opens,
conceals and lets something seep through.
In the sculptures, that same conflict intensifies: contorted figures, presences that seem to have emerged
from an impact.
𝗜𝘁 𝗶𝘀 𝘁𝗵𝗲 𝘀𝗮𝗺𝗲 𝘀𝘁𝗿𝘂𝗴𝗴𝗹𝗲, 𝗰𝗮𝗿𝗿𝗶𝗲𝗱 𝗳𝗿𝗼𝗺 𝗼𝗻𝗲 𝗽𝗹𝗮𝗻𝗲 𝘁𝗼 𝗮𝗻𝗼𝘁𝗵𝗲𝗿.
Formal conquest does not happen outside risk, but within the battlefield — from matter toward something that exceeds it.
⚬ 𝘈𝘳𝘵𝘪𝘴𝘵𝘪𝘤 𝘨𝘳𝘦𝘢𝘵𝘯𝘦𝘴𝘴, 𝘢𝘵 𝘵𝘪𝘮𝘦𝘴, 𝘪𝘴 𝘮𝘦𝘢𝘴𝘶𝘳𝘦𝘥 𝘱𝘳𝘦𝘤𝘪𝘴𝘦𝘭𝘺 𝘵𝘩𝘦𝘳𝘦: 𝘣𝘺 𝘩𝘰𝘸 𝘮𝘶𝘤𝘩 𝘰𝘯𝘦 𝘪𝘴 𝘸𝘪𝘭𝘭𝘪𝘯𝘨 𝘵𝘰 𝘳𝘪𝘴𝘬 𝘸𝘪𝘵𝘩𝘪𝘯 𝘰𝘯𝘦’𝘴 𝘰𝘸𝘯 𝘷𝘪𝘴𝘪𝘰𝘯, 𝘰𝘯𝘦’𝘴 𝘷𝘰𝘤𝘢𝘵𝘪𝘰𝘯.
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#WillemDeKooning #AbstractExpressionism #GestureAndForm #PaintingAndSculpture #ContemporaryArt
During the Biennale preview days in Venice, Shy Society by @studio.drift stirs the façade of Palazzo Barbaro.
Suspended textile corollas respond to light and wind — a fragile counterpoint to the monumentality of stone.
Here, this instability feels almost inevitable.
Venice continuously reshapes itself through water, light, and reflection.
Perhaps this is why Shy Society does not appear out of place in the city.
It does not interrupt the Venetian landscape: it reveals its most shifting nature.
Shy Society — visible from Ponte dell’Accademia and by boat
Installation by @studio.drift
Video by @xinix.films@arjenvaneijk
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#ShySociety #StudioDrift #BiennaleDiVenezia #BiennaleArte2026
∴ 𝗣𝗮𝗶𝗻𝘁𝗶𝗻𝗴, 𝗱𝗲𝘀𝗶𝗿𝗲, 𝘁𝗿𝗮𝘂𝗺𝗮. 𝗜𝗻 𝗔𝗿𝗺𝗶𝘁𝗮𝗴𝗲’𝘀 𝗽𝗮𝗶𝗻𝘁𝗶𝗻𝗴𝘀, 𝘁𝗵𝗲𝗿𝗲 𝗶𝘀 𝗻𝗼 𝗲𝘀𝗰𝗮𝗽𝗲.
Everything seems to move within the logic of a tragic mutation.
His large canvases are palimpsests of memory, violence, sexuality, and African identity. The surface does not welcome the figures: it absorbs and deforms them. Chromatic contrasts become an emotional and political force at once.
𝗔 𝗺𝘂𝘁𝗶𝗹𝗮𝘁𝗲𝗱 𝗽𝗮𝗶𝗻𝘁𝗶𝗻𝗴: 𝗶𝘁 𝗰𝗮𝗿𝗿𝗶𝗲𝘀, 𝘄𝗶𝘁𝗵𝗶𝗻 𝗶𝘁𝘀 𝗼𝘄𝗻 𝗯𝗼𝗱𝘆, 𝘁𝗵𝗲 𝗹𝗮𝗰𝗲𝗿𝗮𝘁𝗶𝗼𝗻𝘀 𝗼𝗳 𝘁𝗵𝗲 𝘁𝗶𝗺𝗲 𝗶𝘁 𝗼𝗯𝘀𝗲𝗿𝘃𝗲𝘀. It mirrors historical and social aberrations without raising its voice: it lets them surface in the material, in the bodies, in the distorted landscapes, in narratives that render an almost geological present.
◇
Between realism and symbolic transfiguration, Armitage constructs overcrowded images in which chronicle, traditions, power, desire, blood, migration, private and collective memories become an African mythopoiesis, contemporary and harrowing.
One does not leave these paintings unscathed. 𝘛𝘩𝘦 𝘗𝘳𝘰𝘮𝘪𝘴𝘦 𝘰𝘧 𝘊𝘩𝘢𝘯𝘨𝘦: a promise, precisely. Only a promise.
⎓
Michael Armitage. 𝘛𝘩𝘦 𝘗𝘳𝘰𝘮𝘪𝘴𝘦 𝘰𝘧 𝘊𝘩𝘢𝘯𝘨𝘦
Palazzo Grassi, Venice
29 March 2026 – 10 January 2027
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#MichaelArmitage #FigurativePainting #AfricanContemporaryArt #PaintingAndPolitics #ContemporaryArt
𝗪𝗵𝗲𝗻 𝗽𝗮𝗶𝗻𝘁𝗶𝗻𝗴 𝗱𝗼𝗲𝘀 𝗻𝗼𝘁 𝗰𝗼𝗻𝗰𝗹𝘂𝗱𝗲. 𝗜𝘁 𝘀𝘂𝘀𝗽𝗲𝗻𝗱𝘀 🕳️
In Takesada Matsutani every work seems to pause one instant before definition.
His painting remains within the act.
Open, physical, traversed by gesture.
The mark stretches the surface
beyond its own limit.
Black thickens, runs,
holds the time of movement.
The canvas becomes body,
membrane, resistance.
𝗘𝘃𝗲𝗿𝘆𝘁𝗵𝗶𝗻𝗴 𝗯𝗲𝗰𝗼𝗺𝗲𝘀 𝘁𝗵𝗲 𝘁𝗿𝗮𝗰𝗲 𝗼𝗳 𝗮𝗻 𝗲𝗻𝗲𝗿𝗴𝘆 𝘀𝘁𝗶𝗹𝗹 𝗽𝗿𝗲𝘀𝗲𝗻𝘁 — one that continues to move through the work.
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There is something ancient in this gesture:
the memory of Zen calligraphy,
the circle that does not close,
absence, as the first form of presence.
Incompleteness, here, is not lack.
It is the very form of the work.
▫︎
𝘍𝘳𝘰𝘮 𝘵𝘩𝘦 𝘣𝘰𝘢𝘵
𝘢 𝘮𝘢𝘯 𝘤𝘢𝘴𝘵𝘴 𝘩𝘪𝘴 𝘯𝘦𝘵:
𝘵𝘩𝘦 𝘮𝘰𝘰𝘯 𝘵𝘳𝘦𝘮𝘣𝘭𝘦𝘴.
— Yosa Buson
Takesada Matsutani — 𝘚𝘩𝘪𝘧𝘵𝘪𝘯𝘨 𝘉𝘰𝘶𝘯𝘥𝘢𝘳𝘪𝘦𝘴
Hauser & Wirth, London 5 February – 18 April 2026
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#TakesadaMatsutani #GutaiArt #PostwarJapaneseArt #MaterialGesture #ContemporaryArt
Not every creative phase has a visible shape yet.
Do you recognize a moment when something insists,
but cannot yet take shape?
How do you stay with it?
And does this state ever find its own expression?
—
Anish Kapoor doesn’t offer a form to be understood.
A presence that holds something back.
𝗜𝘁 𝗱𝗼𝗲𝘀𝗻’𝘁 𝗿𝗲𝘃𝗲𝗮𝗹.
𝗜𝘁 𝗿𝗲𝘁𝗮𝗶𝗻𝘀.
—
A kind of incubation.
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#ContemporaryArt #CreativeProcess #ArtisticResearch #AnishKapoor #IncubationPhase
𝗧𝗵𝗲 𝗽𝗮𝗶𝗻𝘁𝗶𝗻𝗴 𝗮𝗳𝘁𝗲𝗿 𝘁𝗵𝗲 𝗽𝗮𝗶𝗻𝘁𝗶𝗻𝗴.
When a painting no longer holds,
it doesn't expand outward.
It starts to shift from within.
Pressure builds.
Structure gives way.
Something else takes form.
I wrote a new essay on my Substack
𝘐𝘯 𝘵𝘩𝘦 𝘈𝘳𝘵 𝘝𝘪𝘦𝘸
on what happens when a painting
stops obeying itself.
▫︎Link in bio.
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#ContemporaryArt #ContemporaryPainting #ConceptualArt #ArtCriticism #PaintingProcess
𝗜𝗻 𝘁𝗵𝗲 𝘃𝗲𝗿𝘁𝗶𝗴𝗼 𝗼𝗳 𝘀𝗶𝗴𝗻𝘀. 𝗖𝗮𝗻𝗻𝗼𝗻 𝗳𝗼𝗱𝗱𝗲𝗿.
A dense, redundant painting, one that finds its principle in the excess of layering.
Layers of colour, but also layers of reality —
tangles of signs and figures that pervade both the front and back of the canvases.
Fluorescent chromatic masses, oversized lettering, pop references as heterogeneous echoes of urban culture and digital iconography.
Human and animal bodies — hybrid figures,
submerged beneath an incessant flow of symbols and phrases, themselves surfaces:
an occlusive and unsettling pattern, suspended between baroque visionary intensity and a fairy-tale imaginary.
Branconi's is already a post-explosion universe: saturated, overflowing, with no margin for breath.
It is there that the protest matrix of her work emerges: in a visual overcrowding that refuses harmony and becomes resistance against the normalisation of structural, social and generational violence, which turns certain bodies and subjects into cannon fodder of the present.
▫︎
𝗢𝘂𝗿 𝘁𝗶𝗺𝗲 𝗮𝘀 𝗮 𝘀𝗲𝗺𝗶𝗼𝘁𝗶𝗰 𝗹𝗮𝗯𝘆𝗿𝗶𝗻𝘁𝗵:
𝗹𝗮𝗻𝗴𝘂𝗮𝗴𝗲 𝗶𝘀 𝗲𝘀𝘀𝗲𝗻𝘁𝗶𝗮𝗹𝗹𝘆 𝗲𝗿𝗿𝗮𝗻𝘁, 𝗮𝗹𝘄𝗮𝘆𝘀 𝗼𝘂𝘁𝘀𝗶𝗱𝗲 𝗶𝘁𝘀𝗲𝗹𝗳.
It speaks, but without origin.
It says, yet refers to nothing essential that might guarantee it.
𝘊𝘢𝘯𝘯𝘰𝘯 𝘍𝘰𝘥𝘥𝘦𝘳
Giuditta Branconi's first solo exhibition
📍 Collezione Maramotti, Reggio Emilia
@giudittabranconi@collezione_maramotti
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#ContemporaryArt #CollezioneMaramotti #ItalianPainting #ArtExhibition #PostInternetAesthetics
One works against disappearance.
In an interview, Alberto Giacometti described the impulse behind his work: “The drive to work is certainly to give permanence to what passes.”
One works against disappearance.
Not to leave a mark, not to speak about oneself — but to wrest from time at least a form, at least a gesture.
Something that endures.
▫︎
𝘐𝘴 𝘺𝘰𝘶𝘳 𝘮𝘢𝘬𝘪𝘯𝘨 𝘢𝘭𝘴𝘰 𝘵𝘩𝘪𝘴 — 𝘢𝘯 𝘢𝘨𝘰𝘯 𝘸𝘪𝘵𝘩 𝘵𝘪𝘮𝘦?
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#ContemporaryArt #ArtAndTime #ExistentialSculpture #MaterialPresence #AlbertoGiacometti
