Secondo piano. Sara Salvemini’s solo exhibition at Galleria Antonia Jannone Disegni di Architettura

From 28 January to 20 February 2026, Galleria Antonia Jannone Disegni di Architettura in Milan presents Second Floor, a solo exhibition by Sara Salvemini.

The exhibition brings together three cycles from the artist’s practice —Trees, Portraits, and Interiors— within a body of research that explores the relationship between subject and context, body and structure, nature and architecture, through a spatial approach articulated in levels, or “floors.”

Sara Salvemini, Cadorna, watercolour on paper, cm 31 x 31

In the Trees section, the gaze rises ideally from ground level to focus on urban façades. Natural elements come to the fore—often trees captured in the details of trunks and branches—while in the background the façades of Milanese Rationalist architecture unfold. The soft, organic line of nature enters into dialogue with the geometric rhythm of architecture, in a relationship of mutual amplification. The aging of the bark echoes that of the wooden shutters of 1950s buildings, evoking a long, layered sense of time shaped by seasons and architectural memory.

In Portraits, trees give way to large advertising billboards. The centrality of the face, the overproduction of images, and the dominance of the commercial imaginary define an urban landscape marked by the hyper-present and the ephemeral. The female faces of fashion campaigns, logos, and advertising graphics interact incidentally with fragments of façades, in oblique views and unstable perspectives, crossed by the wires of urban lighting. Through drawing, complexity and depth are restored to a visually saturated environment, transforming the advertising image into a stratified vision.

Sara Salvemini, via Lanzone, watercolour on paper, cm 31 x 41

The Interiors section finally introduces a more intimate, domestic dimension. The gaze moves into enclosed spaces—“open” homes or public interiors—blurring the boundary between public and private. In the absence of human figures, the objects of everyday life—a lamp, an armchair, a book—suggest the presence of dwelling, finding their place within the spatial and architectural structure.

Born in Milan in 1978, Sara Salvemini lives and works in Milan. Trained as an architect, she worked for many years at different scales, from architecture to interior design and urban design, developing projects grounded in careful observation of context and its multiple characteristics. Her artistic practice stems from a reflection on space and the contemporary landscape, explored through their performances and the ways in which they are experienced and inhabited.

Sara Salvemini, via dell'Orso, watercolour on paper, cm 31 x 31

With an intuitive, non-programmatic gaze, in Second Floor the artist explores the relationship between the body and the surrounding structure, transforming real space into rhythm and composition and shaping a language in which the vitality of the organic merges with the rigor of architecture.

SARA SALVEMINI. Secondo piano

28 gennaio – 20 febbraio 2026

OPENING | 28 gennaio 2026, ore 18.00

Corso Garibaldi 125 - 20121 Milano

COMPOST – Artist’s Dinner. At OGR Turin, a convivial experience between ritual gesture and artistic practice.

On Thursday, January 15, 2026, at 8:00 PM, at Snodo – the food & drink area of OGR Turin –Compost- will take place, a convivial dinner born from the dialogue between artists and chefs Luca Conte (Gerolamore) and Teresa Satta.

Halfway between performance and meal, Compost- aims to create a temporary community defined by food and by the people who consume that food together. Like a theatrical piece, the four acts of the dinner will tell stories and, through objects and games, populate the table, transforming it into a shared narrative space.

Exchange among participants is a fundamental part of the experience. The menu unfolds as a progression: from a first course meant to be eaten individually to a final dish shared collectively, moving through different degrees of sharing and proximity. Eating and tasting at the same table thus becomes a way to expand a primary transformative experience: by embracing convivial exchange, one does not seek nourishment alone, but takes part in a collective gesture—that of commensality.

Teresa Satta, photo © Gianluca Di Ioia

The gastronomic journey is shaped through the use of products in their original form alongside products transformed through fermentation and other processes of alteration, bringing culinary practices, artistic research, and shared rituality into dialogue. Its aim is to narrate the everyday nature of food as a space of encounter between ingredients, colors, and cultures.

The long table, unfolding around Snodo’s Social Table and hosting the entire work, takes the form of a constantly evolving script in which the dinner unfolds: each act evokes a theme interwoven with stories, games, objects, numbers, and symbols that emerge from the artists’ research and declare themselves on the table as tangible presences.

Portrait of Luca Gerry Conte (Gerolamore)

The artist’s dinner is part of OGR Turin’s Public Program 2026, which explores and expands the research trajectories of the exhibitions Electric Dreams. Art & Technology Before the Internet, organized by Tate Modern and OGR Turin, and We Felt a Star Dying, an immersive installation by Laure Prouvost commissioned by LAS Art Foundation and co-commissioned by OGR Turin.

Thursday, January 15, 2026, 8:00 PM

Snodo, Social Table

Corso Castelfidardo 22, Turin

Garage Bentivoglio presents "Temporali" by Alberto Garutti

On the occasion of Arte Fiera, Garage BENTIVOGLIO inaugurates the year 2026 with a new project and presents in the window on Via del Borgo di San Pietro Temporali by Alberto Garutti, a work that connects the exhibition space with a distant and unpredictable natural phenomenon, transforming an atmospheric event into an intimate and everyday artistic experience.

Alberto Garutti, Temporali, 2015, garage Bentivoglio, Palazzo Bentivoglio ph. Carlo Favero. Courtesy Studio Alberto Garutti

The work fits conceptually within the tradition of artists who, beginning in the late 1960s, challenged the notion of sculpture by shifting its field of action beyond the object, toward landscape, time, and waiting. While works such as The Lightning Field by Walter De Maria entrusted the experience to a pilgrimage to remote places charged with the anticipation of an atmospheric phenomenon taking place, Garutti performs the opposite gesture: he does not intervene in the territory, but in what already exists, insinuating himself into the electrical system and turning it into a device sensitive to the world.

“Garutti knows the laws of the world and gives them to us as a gift: the work is in fact ‘dedicated to those who, passing by, think of the sky’—not necessarily the one above them, but perhaps another, distant one,” explains curator Davide Trabucco. “Elsewhere is at the center of many of the artist’s works, in the awareness that the truth we seek is always one step beyond our center of gravity.”

From this perspective, the work may manifest itself without witnesses, or not manifest itself at all, existing also in the waiting and in the possibility of its activation: the storm remains distant and invisible, entrusted to the viewer’s imagination, which mentally constructs its own sky, its own lightning, its own thunder.

From February 4 to February 28, 2026

garage BENTIVOGLIO

Via del Borgo di San Pietro 3A, Bologna