Edvard Munch’s Expressionist Revolution at the Candiani Cultural Center

From October 30, 2025, to March 1, 2026, the Candiani Cultural Center in Mestre presents MUNCH. The Expressionist Revolution, a major exhibition curated by Elisabetta Barisoni and organized by the Fondazione Musei Civici di Venezia.

The project takes Edvard Munch as a starting point to explore the legacy of Expressionism and its explosive power — a force that has traversed more than a century of art history and continues to shape contemporary sensibility.

Edvard Munch, Chiaro di luna,1895

“I will no longer paint interiors with men reading and women sewing. I will paint living people who breathe, feel, suffer, and love.”

This famous statement by Munch encapsulates his pictorial revolution: an expressive urgency that breaks the boundaries between art and life, opening the way to a representation of the human being in all their fragility and existential tension.

The exhibition, exceptionally hosted on the third floor of the Candiani Center, originates from a precious nucleus preserved at the Galleria Internazionale d’Arte Moderna at Ca’ Pesaro — four graphic works by Munch (Anguish, The Urn, The Girl and Death, Ashes) — and unfolds through seven thematic sections. The itinerary places the Norwegian artist in dialogue with the movements that preceded and followed him: from Symbolism to Post-Impressionism, and from there to the Secessions of Munich, Vienna, and Berlin, where Munch became a central figure.

The Berlin Secession, founded in 1898, found one of its key sparks in Munch himself. His 1892 exhibition was violently attacked by traditionalist critics, provoking an irreversible rift that would pave the way for the avant-gardes. Alongside Munch, the exhibition presents works by Franz von Stuck, Max Klinger, Max Liebermann, Albin Egger-Lienz, as well as Italian artists such as Arturo and Alberto Martini, interpreters of a visionary and unsettling Symbolism.

The exhibition continues with a dialogue between the Norwegian master and the leading figures of European Symbolism — from Odilon Redon to Arnold Böcklin, from Félicien Rops to James Ensor — together with Italian artists like Adolfo Wildt, Cesare Laurenti, and Ugo Valeri, who reinterpreted those languages in dramatic and dreamlike ways.

Edvard-Munch, Two Old Men, 1910

A significant section is devoted to Munch’s legacy in German Expressionist printmaking, from the Die Brücke group with Erich Heckel to the next generation of Otto Dix and Max Beckmann, who translated the traumas of the twentieth century into raw, incisive imagery.

In the final section, The Contemporary Scream, the exhibition reaches the present day: from Renato Guttuso and Zoran Mušič, who bear witness to the violence of history, to Emilio Vedova, Ennio Finzi, Mike Nelson, Tony Oursler, Marina Abramović, and Shirin Neshat, all interpreters of a pain that still runs through humanity.

Exhibition view, foto Nico Covre

MUNCH. The Expressionist Revolution is thus a journey through the genealogy of modern unease — but also a reflection on the enduring vitality of Munch’s language. As curator Barisoni writes, “Munch’s scream has never been silenced: it is a sound that still resonates in the folds of the present, reminding us that art, to remain alive, must continue both to wound and to heal.”

Centro Culturale Candiani

P.le Luigi Candiani 30174, Venezia - Mestre

Date 30 ottobre - 1 marzo 2026

Lovis Corinth exhibition at the Alte Nationalgalerie in Berlin extended until 2026

The Alte Nationalgalerie in Berlin has announced the extension of its acclaimed exhibition In Sight! Lovis Corinth, the Nationalgalerie, and the “Degenerate Art” Campaign until January 25, 2026, following its great public success with over 100,000 visitors.

Lovis Corinth, Das Trojanische Pferd, 1924

Organized in collaboration with the Kupferstichkabinett and the Central Archive of the Staatliche Museen zu Berlin, the exhibition marks the 100th anniversary of Lovis Corinth’s death and explores the fate of the artist’s works — and those of his wife, Charlotte Berend-Corinth — within the Nationalgalerie’s collection.

“We are delighted by the enormous public interest in this exhibition,” stated Anette Hüsch, Director of the Alte Nationalgalerie. “The enthusiasm of our visitors shows how deeply the themes of art, loss, and memory still resonate today. With the extension, we want to give even more people the opportunity to engage with this important chapter of history.”

At the heart of the exhibition is a critical reflection on the provenance of artworks confiscated during the Nazi “Degenerate Art” campaign of 1937. Many of Corinth’s paintings were removed from the Nationalgalerie’s collection during that period — some later recovered, others lost or dispersed across museums and private collections worldwide.

The exhibition also includes works by Charlotte Berend-Corinth, who played a vital role in preserving her husband’s artistic legacy. Supplemented by archival documents, photographs, and reproductions, the exhibition traces the complex journeys of these artworks through history, revealing how issues of provenance continue to shape the museum’s collection today.

Lovis Corinth, Der geblendete Simson, 1912

Visitors can also explore Corinth’s extensive body of prints and drawings, many of which were part of the Kupferstichkabinett’s holdings since 1992. A bilingual catalogue — edited by Dieter Scholz with contributions from Sara Sophie Biever, Sven Haase, Andreas Schalhorn, Dieter Scholz, and Petra Winter — accompanies the exhibition.

The show is made possible by the Kuratorium of the Stiftung Preußischer Kulturbesitz, with additional support from the Lovis Corinth Gesellschaft e.V. and the Christa and Nikolaus Schües Art Foundation.

Charlotte Behrend-Corinth Schachspieler in Lovis Corinths Krankenzimmer in Amsterdam 1925,

With this extension, the Alte Nationalgalerie reaffirms its commitment to preserving historical memory and promoting critical engagement with Germany’s artistic and cultural heritage. The Lovis Corinth exhibition is not only a tribute to one of the masters of German Impressionism, but also a powerful reflection on the resilience of art in the face of loss and censorship.

Alte Nationalgalerie

Bodestraße 1, 10178 Berlin

Date 18 luglio - 25 gennaio 2026

Painting as Prelude: Ferretti, Lepri, and Pacucci in Préludes o della forma in-attesa at Marignana Arte Venice

Until December 20, 2025, Marignana Arte in Venice presents Préludes o della forma in-attesa, a group exhibition featuring works by Greta Ferretti, Olga Lepri, and Sara Pacucci.

Greta Ferretti, Soma purpurea: inhabiting  the ruins, 2025

In music, the prélude is a piece that precedes the main work — a fragment played “with the curtain closed,” an announcement of what is about to unfold. The term derives from the Latin praeludere (“to play before”) and carries within it the sense of an exercise, a preliminary play that prepares but does not define. In the prelude, everything remains open, undefined, in-waiting. It is a form that has not yet taken shape, but already contains within itself the promise of what may come.

This concept lies at the heart of the exhibition. Préludes o della forma in-attesa does not celebrate the completed work, but rather that fragile, auroral moment in which form first emerges into the light. It is a project that reflects on creative freedom as an irreducible act — art as an exercise in openness and risk, standing against the predictability of automated production and digital conformity. In an age when images are generated and consumed at algorithmic speed, the prelude becomes a human gesture, a poetic form of resistance, an act of indetermination.

The works of Ferretti, Pacucci, and Lepri dialogue precisely within this suspended space. In Nello sguardo di Rubina by Greta Ferretti, the image surfaces as a vision that brushes against eternity, suspended between intuition and memory. In Sara Pacucci’s paintings, such as The Lost Dream and Before the Sun, painting becomes apparition — an image that “visits us,” as the artist writes — poised between revelation and dissolution. Olga Lepri’s works, finally, inhabit a time of waiting and “not-yetness”: in pieces like Battito (Slipaway) and Applauso (Slipaway), form appears as a blind gesture, a drawing that anticipates vision, a rhythm that prefigures seeing.

Olga Lepri, Caduta, 2025

What unites the three artists is not a shared style, but a critical stance toward time and perception. Préludes thus becomes a collective reflection on painting as the space of beginnings — a form open to the unforeseen, resisting the rigidity of completion.

The exhibition unfolds through three rooms — one for each artist — culminating in a shared space where their languages intertwine. It is a dramaturgy of perception: Ferretti’s luminous rigor opens the gaze, Pacucci’s softness welcomes it, and Lepri’s ascent releases it. Through this movement, the show becomes both an immersive experience and a meditation on the time of art — no longer the time of production, but that of beginning, of promise, of the form that has not yet fully emerged.

“Préludes o della forma in-attesa”, installation view, opere di Sara Pacucci

Walking through the rooms of Marignana Arte, the visitor enters a suspended landscape, where painting does not represent but waits. Préludes o della forma in-attesa is, ultimately, an invitation to linger on the threshold of the possible — where art rediscovers its most authentic power: to hold, to evoke, to open toward the new.

Marignana Arte

Dorsoduro 141, Rio Terà dei Catecumeni, Venezia

Date 4 ottobre - 20 dicembre 2025