Paralympic Games: in Cortina, Fulvio Morella transforms the Cable Car into a Work of Art.

Fulvio Morella completes the project I LIMITI NON ESISTONO, promoted by Cramum, on the occasion of the 2026 Winter Paralympics in Milano Cortina, transforming the Lagazuoi Cable Car into a work of art through his Braille Stellato, in dialogue with one of the most iconic landscapes of the Dolomites.

Fulvio Morella, Funivia senza limiti. Courtesy the artist and Cramum

The “Limitless Cable Car” leads visitors to his exhibition Cortina di Stelle, curated by Sabino Maria Frassà, which will also host the presentation of the artist’s book I LIMITI NON ESISTONO, held under the high patronage of the European Parliament, scheduled for Saturday, March 7 (12:30 pm – free admission).

The event will include a discussion titled “Art and Sport as Instruments of Inclusion,” featuring contributions by the artist and the curator, together with Maurizio Molinari, Head of the European Parliament Office in Milan; Rosanna Filippin; Member of the European Parliament Elena Donazzan; and the Olympic Attaché of the Republic of San Marino, Gianni Cardelli.

In dialogue with the history of the world’s oldest republic, San Marino—which has brought to the exhibition the precious Olympic torches from 1960 Summer Olympics and 2006 Winter Olympics—Morella dedicates this intervention to a reflection on freedom as the synthesis of three essential dimensions: the ability to act, coherence with oneself, and creative ingenuity.

A reflection that takes shape through references to Giosuè Carducci and Aeschylus, culminating in the figure of Prometheus, a symbol of generosity, knowledge, and responsibility.

Fulvio Morella, Funivia senza limiti. Courtesy the artist and Cramum

“Transforming a cable car into a work of art,” explains curator Sabino Maria Frassà, “means intervening in an everyday gesture of mountain life — the ascent — and turning it into an experience of thought. With Braille Stellato, Fulvio Morella does not add an ornament to the landscape nor obstruct the view: he interprets it, translating the very idea of high altitude into an inclusive and universal language.

The ascent thus becomes a relationship: an invitation to inhabit the mountain as a shared space, in harmony with the spirit of the Paralympics. The imagery of the Olympic torch — already present in his light works Eclissi — becomes the symbolic key to the intervention: not a celebration of strength, but a passage, continuity, and responsibility.

Between poetry and myth, from the ‘ancient and perpetual freedom’ evoked by Giosuè Carducci to Aeschylus and the figure of Prometheus, fire — ‘I gave them fire’ — becomes inner light, knowledge, and creativity. In Braille Stellato, this energy is translated into a writing of stars that engraves the landscape as a promise of accessibility and sharing. The Lagazuoi cabin thus becomes a threshold between limit and possibility, initiating a journey that culminates in sport and in the visit to the exhibition Cortina di Stelle.”

Until April 5, visitors will be able to experience the exhibition Cortina di Stelle and discover the “Limitless Cable Car,” promoted by Cramum in collaboration with the Italian Paralympic Committee (CIP), INJA Louis Braille (Paris), and the San Marino National Olympic Committee

Launch of the PrintLitoArt Special Prize – Premio Combat 2026

Within the framework of the XVII edition of the Premio Combat, a new and significant recognition is introduced: the Special Prize – PrintLitoArt, promoted by PrintLitoArt, an Italian industrial atelier specialized in the production of certified fine art lithographs.

PrintLitoArt

The prize is conceived with the aim of enhancing lithography as a contemporary artistic language and as a means of disseminating artistic practice, fostering a dialogue between creative research and the highest standards of technical execution. The award includes the production, at the PrintLitoArt atelier in Salerno, of a lithographic edition of 30 numbered copies, embossed with the dry seal of the Masters in the Art of Printing. The edition will be developed in close collaboration with the artist and in full respect of the author’s intent, ensuring quality, coherence, and long-term recognizability.

PrintLitoArt operates as an independent production partner at the service of artistic creation, supporting artists and galleries through a rigorous, traceable, and certified editorial production process. Rooted in the territory of Salerno and the Amalfi Coast – an area boasting more than eight centuries of history in papermaking and fine art printing – PrintLitoArt translates this cultural continuity into a structured production method and a deep responsibility toward the artwork.

The lithographic edition will represent the tangible outcome of this collaboration: a certified, numbered work conceived for collectors, designed to expand the visibility and recognition of the artist’s practice.

PrintLitoArt collaborates with several local institutions active in the art sector, including the Filiberto and Bianca Menna Foundation, with which it has signed a Memorandum of Understanding aimed at the production of artists’ lithographs and the publication of a catalogue dedicated to the works created within the framework of this collaboration.

Hernan Bas - The Visitors. The Exhibition at Ca' Pesaro

With over thirty new paintings presented within an immersive installation conceived specifically for the museum, Hernan Bas (Miami, 1978) brings The Visitors to Ca’ Pesaro – International Gallery of Modern Art, in the Dom Pérignon Rooms.

Hernan Bas, Alone with Lisa (the Louvre, Paris), 2025, Acrylic and water based oil on linen, 127 x 101.6 cm © Hernan Bas Courtesy the artist, Lehmann Maupin, Perrotin and Victoria Miro

Drawing inspiration from Venice—a city particularly sensitive to tourism, constantly reshaped by its consequences, and where the artist undertook a residency—Bas has created a new body of work centered on tourists placed within both imagined and real settings. The protagonists—predominantly white, Western men—inhabit a shifting terrain of “bucket-list” attractions, historic sites, sacred spaces, seedy venues, and sanitized versions of the natural world. The works highlight tourism clichés, from the Mona Lisa and the Trevi Fountain to destinations associated with so-called dark tourism, such as Chernobyl, Alcatraz, and the Aokigahara forest—sites marked by pain that become stops along curated itineraries. These tourist traps further underscore the fundamental disconnection between the “visitors” and the worlds they traverse: places designed to deceive, exploit, or disappoint.

Bas has long been celebrated for his narrative works infused with humor, decadence, eccentricity, occult undertones, and layered codes. He explores the complexities of personal identity through figures suspended in moments of transformation, where the ordinary slips into the extraordinary. In The Visitors, this sensibility turns outward. Like the dandies and flâneurs of Bas’s earlier works, these new figures hover on thresholds—between curiosity and arrogance, encounter and violation, experience and spectacle.

Many of these new figures appear caught in acts of performance or fabrication, posing, taking photographs, or adopting disguises. One of Bas’s tourists claims resident status; another (American) pretends to be Canadian; and yet another visitor in Thailand stages an encounter with a python. In a dynamic typical of Bas’s ironic sensibility, a feeling of affection for his awkward and disoriented visitors collides with a lucid critique of an era defined by globalization, stripped of stable cultural or geographic reference points.

Part of this new body of work was created during the artist’s residency in Venice, in close contact with the lagoon, its light, its painterly tradition, and its tourists. In these paintings, the visitor becomes both painter and painted subject. In recent decades, the historic city of Venice has suffered from the rise of mass tourism, which has damaged its monuments, lagoon, residents, and history. Venice itself—long shaped by exchange and now strained by mass tourism—becomes both the setting and the mirror of the issues addressed in the works. Bas also channels his lifelong understanding of what it means to live alongside tourists in Miami, as well as his own condition as a first-generation Cuban American, often perceiving himself as a visitor in his own home.

Displayed in an immersive sequence, the canvases form a continuous visual narrative. Photographic framing, saturated surfaces, and accumulations of telling details—slogans, tattoos, accessories—function as contemporary vanitas, revealing the moral ambiguities inherent in global mobility. Here, Bas captures a generation adrift—simultaneously searching for meaning and absorbed in itself—inviting viewers to recognize, within this suspended world, their own reflection.

Hernan Bas, One last round (Oktoberfest), 2025, Acrylic on linen, 254 x 101.6 cm © Hernan Bas Courtesy the artist, Lehmann Maupin, Perrotin and Victoria Miro

As Elisabetta Barisoni, Head of Ca’ Pesaro and curator of the exhibition, notes: “In the rooms of the International Gallery of Modern Art in Venice, we are welcomed by a procession of figures who, at first glance, seem to represent youth immersed in the discovery of the world, but who instead reveal an absurd, paradoxical, even comic situation.

The monumental series,” Barisoni further observes, “depicts a vision that is constantly before our eyes—one shaped by gullible tourism, voyeurism, and behavior that pushes beyond the limits of respect for others and, in extreme cases, for human dignity. In works that at first appear to be souvenir snapshots or exotic keepsakes, history and memory begin to waver, while the very sense of reality starts to fracture.”