Andreas Zampella "Il cielo sopra Milano". Exhibited at Poggiali Gallery in Milan

Poggiali Gallery presents Il cielo sopra Milano, an exhibition by Andreas Zampella curated by Nicolas Ballario. The installation recreates within the gallery spaces a strange and unsettling starry sky, which the city of Milan will be able to admire every night from outside the gallery. The exhibition will open on Wednesday, 11 February, at the gallery’s Milan venue, Foro Buonaparte 52.

Andreas Zampella, Vite silenziose, 55x40cm, olio su canovaccio, 2025

In a Milan where the stars are no longer visible, where the sky has been erased by public lighting, advertising, and the constant reflection of consumption turned in on itself, night still exists, but it is no longer dark. Thus Andreas Zampella, as Nicolas Ballario states, “performs a gesture that is at once archaic and profoundly contemporary: he restores the stars to our gaze by bringing them into a room. From the ceiling of the Poggiali Gallery an unnatural constellation takes shape. Objects of everyday use, fragments of daily life, and remnants of a hyper-functioning civilization are glued together, suspended, and removed from the gravity of their fate. Where they should have fallen, remained, or decayed, they now shine. Darkness ignites them. Fluorescence transforms them into signals, presences, improvised celestial bodies. They are objects destined to be thrown away, and perhaps for this very reason they become a still life. Yet it is a still life that betrays its very name: because here nothing is truly immobile, nothing is pacified. These forms seem alive, unstable, ready to change state. The light they emit does not console: it unsettles.”

In his work, Zampella develops the idea that everyday life is a continuous performance and that the still life today is a pure form of spectacle and a powerfully evocative image. In Giorgio de Chirico’s understanding, the still life is a representation of the “silent life of objects.” In his reinterpretation, the artist sees life as a source of light, and the constellation presented in the spaces of the Poggiali Gallery alludes to the ambivalence between the vitality of light and the death of the forgotten object. In this way, his work evokes in the viewer a fluctuating sense between weariness and tension, irony and melancholy, guiding them toward a reflection on mortality and on the meaning of time in human life.

Ritratto di Andreas Zampella

Indeed, the installation urges us to look upward—a daily gesture, often performed in solitude, yet today almost forgotten. In the exhibition, the viewer’s gaze is compelled to do so. These found and reassembled objects become artificial galaxies: worlds that are both distant and very near at the same time. A universe built from what remains. A cosmos without heroism, without conquest, without promise. Only drift. Only cold light in the darkness. In this universe, humankind is not at the center, but beneath it—tiny, a spectator of what it has created and already forgotten.

GALLERIA POGGIALI | MILANO

Andreas Zampella. Il cielo sopra Milano

Foro Buonaparte 52, 20121 Milan

The Pino Pascali Foundation – Museum of Contemporary Art joins AMACI.

Starting in January 2026, the Pino Pascali Foundation – Museum of Contemporary Art will officially become part of the network of museums affiliated with AMACI – the Association of Italian Contemporary Art Museums.

Fondazione Pino Pascali – Museo d’Arte Contemporanea, courtesy Fondazione Pino Pascali

The decision taken by the Assembly of Members is based on the recognition of the Museum’s path of growth and the high quality of its cultural, exhibition, and research activities. The Foundation’s admission was considered a significant added value for AMACI, capable of making an authoritative contribution to strengthening the Italian contemporary art system, with particular attention to the territory in which it operates.

With this membership, the Pino Pascali Foundation becomes the first museum in Apulia to join the Association, further expanding AMACI’s territorial presence. The network now spans 12 of Italy’s 20 regions—equal to 60% of the national territory—and includes a total of 27 member museums.

“On behalf of the entire Association,” states Lorenzo Balbi, President of AMACI, “I would like to extend our warm welcome to the Pino Pascali Foundation. We are pleased to welcome the Museum into our network, confident that its presence will make a valuable contribution to the life of the Association by offering the perspective of a territory that has so far been unrepresented, broadening our outlook and fostering new relationships. We look with interest to the opportunities this membership opens up and hope to develop together new projects, opportunities for exchange, and shared paths for the benefit of the Italian contemporary art system.”

Fondazione Pino Pascali – Museo d’Arte Contemporanea

The admission of the Pino Pascali Foundation into AMACI represents a significant step in strengthening collaboration among public museum institutions dedicated to the promotion of contemporary art, with the aim of fostering new synergies and supporting the dissemination of artistic culture throughout Italy.

Frida: The Making of an Icon. Frida Kahlo at Tate Modern

This summer, Tate Modern will present the first major exhibition to explore how Frida Kahlo (1907-1954) became a global icon and a key influence on a generation of artists.

 Frida Kahlo (Mexican, 1907–1954), Untitled [Self-portrait with thorn necklace and hummingbird], 1940. Oil on canvas mounted to board. Nickolas Muray Collection of Mexican Art, 66.6. Harry Ransom Center

Through the lens of the artists she impacted and her own extraordinary work, Frida: The Making of an Icon will trace Kahlo’s extraordinary rise from a relatively unknown painter to a worldwide cultural phenomenon. Developed in collaboration with the Museum of Fine Arts, Houston, this landmark show will examine how Kahlo’s art and life have inspired generations of artists across diverse media, movements and communities around the world.

For the first time in the UK in over two decades, visitors will be able to experience the full breadth of Frida Kahlo’s evolution. Rarely seen self-portraits will be amongst over 30 works by Kahlo, exhibited alongside photographs and personal artefacts. Building on Tate Modern’s 2005 survey show, this exhibition goes further by demonstrating Frida’s impact on art history, presenting her work in dialogue with modern and contemporary artists from across the globe who have drawn influence from her aesthetic, identity and biography. Together they reveal how Kahlo’s story continues to be reimagined and reclaimed by new generations, cementing her place as one of the most influential figures in the history of art.

Frida Kahlo, Memory (The Heart), 1937. Private Collection.

The exhibition will open with an exploration of how Kahlo constructed and projected her identity in her paintings and personal style. Through a rich display across multiple mediums, visitors will discover how she visually articulated her many ‘selves,’ from the personal to the political, and the physical to the spiritual. Highlights will include a selection of Kahlo’s most iconic self-portraits, including Self-Portrait (With Velvet Dress) 1926 and Self-Portrait with Loose Hair 1938, through which she embraced her Mexican heritage, queer self-image, feminist ideals, and experience as a disabled woman. These will be presented in dialogue with works by other artists of the ‘Mexican Renaissance’, such as Diego Rivera’s Portrait of Frida Kahlo c.1935 and María Izquierdo’s Dream and Premonition 1947, to illuminate the artistic and intellectual exchanges that shaped her practice. They will be joined by photographs and archival materials, including Kahlo’s tehuana dresses and treasured possessions from her personal collection.

The heart of the show will focus on the surrealist connections between Frida Kahlo and her contemporaries. While Kahlo famously rejected the label, her work revealed striking parallels with the movement, leading its founder André Breton to declare her “a self-made Surrealist”. Following her first solo show at Julien Levy Gallery in New York in 1938, Breton invited Kahlo to exhibit in Paris, where the French national collection acquired her self-portrait The Frame 1938. Tate Modern will present this work and other highlights including Diego and Frida 1929, Survivor 1938, Memory (The Heart) 1937 and Girl with a Death Mask 1938. Shown alongside paintings and photographs by Latin American artists including Kati Horna and Leonor Fini, Tate Modern will examine their shared fascination with motifs informed by surrealism, including masks and skeletons, and a fixation on death and dreaming.

Although Frida Kahlo’s name first appeared in US artistic circles in the early 1930s, her work and image only gained widespread recognition decades later. During the late 1960s, the US Chicana/o movement embraced Kahlo as a powerful emblem of cultural pride and political resistance, celebrating her resilience and creativity. Born from the civil rights era of Mexican heritage, these artists aimed to establish a unique identity in America.

Frida Kahlo, Self-Portrait (With Velvet Dress), 1926. Private Collection.

The exhibition will explore how Kahlo’s works such as My Dress Hangs There 1933-8, which captures her ambivalence toward the United States, resonated deeply with Mexican migrants and Chicana/o communities, making her a lasting source of inspiration. The exhibition will also foreground the work of a new generation of artists working in Mexico in the late 1980s and 1990s. Moved by Kahlo, artists such as Nahúm B. Zenil and Georgina Quintana repurposed quintessentially Mexican imagery and popular traditions to question nationalist ideals, patriarchal structures and gender norms.

The rise of feminism in Mexico and the US during the 1970s and 1980s also sparked renewed interest in Kahlo’s groundbreaking self-representation. Her self-portraits, featuring cropped hair, a faint moustache and masculine attire, as well as her scenes of childbirth and female sexuality, boldly challenged cultural norms. Tate Modern will celebrate Kahlo’s lasting impact on women artists across Mexico, the Americas and Europe from 1970 to today.

Kahlo’s work will be paired with artists such as Kiki Smith, Judy Chicago and Ana Mendieta, creating powerful visual dialogues around identity, violence and the body as nature. The exhibition will also highlight several contemporary artists who have appropriated her iconography and embodied her figure to address issues of race, gender, sexuality and disability, including Yasumasa Morimura, Martine Gutierrez and Berenice Olmedo.

Julien Levy, Frida Kahlo, 1938. © Courtesy Philadelphia Museum of Art.

The exhibition will culminate by exploring Kahlo’s transformation into a global brand that extends far beyond her art, encompassing her image, style and persona. Featuring more than 200 objects generated by the mass-market production of Frida Kahlo merchandise, a room of ‘Fridamania’ will look at the rise of her commercial legacy. Through the licensing of her likeness and partnerships with major brands, Kahlo’s image has been propelled into mainstream culture, appearing on everything from T-shirts and tequila bottles to Barbies and perfume. Fashion and pop culture ephemera will be joined by the 1983 publication of Hayden Herrera’s biography of Kahlo, now translated into over 25 languages, which further solidified Kahlo’s iconic status.

Frida: The Making of an Icon

25 giugno 2026 - 3 gennaio 2027

Tate Modern, Bankside, SE1 9TG