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

At Mondoromulo Gallery the solo exhibition by Alessandro Trapezio: Now I See You Now You See Me

On Saturday, October 11, Mondoromulo Contemporary Art Gallery in Castelvenere inaugurated Now I See You Now You See Me, a solo exhibition by photographer Alessandro Trapezio, curated by Francesco Creta.

Alessandro Trapezio "Now I See You, Now You See Me"

The exhibition brings together two of Trapezio’s photographic projects, united by a shared inquiry into the power of the gaze and the shifting dynamics between observer and observed.

In Closer — an homage to Dino Pedriali’s photographs of Pier Paolo Pasolini — we become the voyeurs, peering into the intimate world of performer Gaia Ginevra Giorgi. Conversely, in Power, Corruption & Lies, inspired by the 1983 New Order album of the same name, it is we who are observed: the viewer is overwhelmed by the models’ piercing gazes, caught in the tension of being seen.

Creta describes the exhibition as “a mirror in motion,” where looking and being looked at continuously exchange roles. “The show lives in contradiction,” he explains, “where the only constant is following the gaze — whether it belongs to the photographer, the model, or the visitor.”

Alessandro Trapezio "Now I See You, Now You See Me"

Trapezio subverts the traditional model-photographer relationship. His images privilege emotional connection and collaboration over technical perfection or idealized beauty. Through each encounter, he captures the exact moment when the subject’s gaze dictates the shot — a silent agreement in which control is shared rather than imposed.

In Closer, Trapezio evokes an almost tactile kind of vision — what Jacques Derrida called “haptic seeing.” The artist doesn’t invade the subject’s space; instead, he surrounds it, turning the act of looking into a suspended intimacy. The accompanying sound installation enhances this sense of isolation, transforming the viewing experience into a private “peep show” within the gallery.

The exhibition opens, instead, with the large-scale posters and Polaroids of Power, Corruption & Lies. Here, the models reclaim their image: imperfections, creases, and marks on the prints challenge the ideals of polished commercial photography. Each subject intervenes directly on her portrait, asserting authorship and agency in what becomes both an aesthetic and political act.

Alessandro Trapezio "Now I See You, Now You See Me"

Ultimately, Now I See You Now You See Me is a study of vision in its purest form — stripped of technical artifice and moral filters. Trapezio’s work exposes the contradictions of contemporary seeing, in a world that lives by appearances yet fears true exposure. His photographs invite us to slow down, to be both spectators and participants in a reciprocal act of observation — where looking becomes a way of touching, and every gaze reveals as much about us as about the one we see.

Galleria Mondoromulo Arte Contemporanea

Strada Nazionale Sannitica, 169 – 82037 Castelvenere BN

Date 11 ottobre - 10 gennaio 2026