MC2 Gallery Italy, a look at Manbertos Tentinso assesment of masterworks reworked thpugh his pallet.

FOCUS LAMBERTO TEOTINO (ITALY, 1970) 1816 Mary Shelley, 2017 - Stampa a pigmenti d'archivio su carta di cotone Hahnemuhle, la cornice in foglia d'oro, 80 x 66,5 cm - ed. 5 Mary Shelley, 2017 - Archival pigment print on Hahnemuhle cotton paper, gold leaf frame, 80 x 66.5 cm - ed. 5 L’anno senza estate: una crisi di sopravvivenza continentale Nel panorama dell'arte contemporanea, raramente un progetto racchiude in sé una tale densità storica e atmosferica come "1816". Per comprendere l’operazione di Lamberto Teotino, dobbiamo prima calarci nel clima di quell’anno, definito dallo storico John D. Post come "l'ultima grande crisi di sopravvivenza nel mondo occidentale". A causa dell’eruzione del vulcano Tambora, una coltre di cenere avvolse il pianeta, determinando quella che oggi ricordiamo come la "piccola era glaciale". Fu un anno senza estate. Un tempo sospeso, dove la luce del sole venne filtrata da detriti vulcanici, trasformando i cieli in visioni crepuscolari — le stesse che avrebbero ispirato i paesaggi apocalittici di William Turner — e costringendo l'umanità a un isolamento forzato. È in questo scenario di raccolti distrutti e nevicate estive che la letteratura ha partorito i suoi incubi più persistenti: Mary Shelley e John Polidori, chiusi nelle loro stanze, gareggiavano a chi avrebbe scritto la storia più spaventosa, dando vita a Frankenstein e Il Vampiro. Teotino sceglie questo crocevia della storia per operare la sua personale indagine sul confine tra l'esistente e l'immaginario, tra il reperto e l'invenzione. The year without summer: a continental survival crisis In the landscape of contemporary art, rarely does a project encapsulate such historical and atmospheric density as "1816". To understand Lamberto Teotino’s work, we must first immerse ourselves in the climate of that year, defined by historian John D. Post as "the last great survival crisis in the Western world." Due to the eruption of Mount Tambora, a blanket of ash engulfed the planet, leading to what we now remember as the "Little Ice Age." It was the year without a summer. A suspended time, where sunlight was filtered through volcanic debris, transforming the skies into twilight visions—the same that would inspire the apocalyptic landscapes of William Turner—and forcing humanity into a state of forced isolation. It was within this scenery of destroyed harvests and summer snowfalls that literature birthed its most persistent nightmares: Mary Shelley and John Polidori, confined to their rooms, competed to write the most terrifying story, eventually giving life to Frankenstein and The Vampyre. Teotino chooses this crossroads of history to conduct his personal investigation into the boundary between the existing and the imaginary, between the artifact and the invention. Amplefort, 2017 - Stampa a pigmenti d'archivio su carta di cotone Hahnemuhle, la cornice in foglia d'oro, 80 x 66,5 cm - ed. 5 Amplefort, 2017 - Archival pigment print on Hahnemuhle cotton paper, gold leaf frame, 80 x 66.5 cm - ed. 5 Un dipinto senza materia, una fotografia senza scatto Il progetto 1816 si fonda su un paradosso ontologico che scardina le definizioni tradizionali di genere artistico. Teotino non parte dalla realtà fenomenica, ma dal recupero dell'archivio digitale. L'artista ha setacciato il web alla ricerca di ritratti ad olio su tele pittoriche antiche del XIX secolo, tele che portano su di sé i segni del tempo: crepe, mancanze, ossidazioni e ferite della materia. La sua operazione è di natura quasi chirurgica: egli non restaura il dipinto, ma ne estrapola i dettagli dalle parti rovinate, analizzandoli e rielaborandoli digitalmente attraverso un sistema di sintesi che fonde la pittura con la stampa fotografica artistica. Il risultato finale è un cortocircuito visivo di straordinaria potenza: un dipinto senza materia e una fotografia senza scatto. Siamo di fronte a un’opera senza materia perché la fisicità della tela e dell'olio viene sublimata nella bidimensionalità della stampa, perdendo lo spessore del pigmento ma mantenendone l'anima cromatica. Al contempo, è una fotografia senza scatto poiché l'immagine non nasce dall'occhio che guarda attraverso un obiettivo, ma da un processo di decostruzione e post-produzione di un'opera preesistente. A painting without matter, a photograph without a shot The 1816 project is based on an ontological paradox that subverts traditional definitions of artistic genres. Teotino does not begin with phenomenal reality, but with the recovery of the digital archive. The artist scoured the web in search of oil portraits on ancient pictorial canvases from the 19th century—canvases that bear the marks of time: cracks, gaps, oxidation, and wounds of the matter. His operation is almost surgical in nature: he does not restore the painting but extrapolates details from the damaged parts, analyzing and digitally reworking them through a synthesis system that merges painting with artistic photographic printing. The final result is a visual short-circuit of extraordinary power: a painting without matter and a photograph without a shot. We are faced with a work without matter because the physicality of the canvas and oil is sublimated into the two-dimensionality of the print, losing the thickness of the pigment while retaining its chromatic soul. At the same time, it is a photograph without a shot because the image does not originate from an eye looking through a lens, but from a process of deconstruction and post-production of a pre-existing work. Atmospheric Particulate Matter, 2017 - Stampa a pigmenti d'archivio su carta di cotone Hahnemuhle, la cornice in foglia d'oro, 152,7 x 127,5 cm - ed. 5 Atmospheric Particulate Matter, 2017 - Archival pigment print on Hahnemuhle cotton paper, gold leaf frame, 152.7 x 127.5 cm - ed. 5 L’estetica del frammento e la "Oltre-fotografia" L’originalità di Teotino risiede nel modo in cui isola il particolare "guasto" della tela antica e lo eleva a protagonista della composizione. In 1816, il difetto della pittura diventa l'elemento strutturale del nuovo apparato visivo. L'errore del tempo — la scrostatura, la muffa, la crepa — viene reinterpretato come un "glitch" filosofico, un malfunzionamento del sistema che rivela la fragilità della nostra memoria storica e della nostra percezione. I volti dei nobili e dei borghesi del XIX secolo subiscono nelle mani di Teotino una mutazione metafisica. L'artista trasforma il ritratto celebrativo in un'icona del perturbante. Si entra così nel territorio della "Oltre-fotografia": un linguaggio dove lo scatto è sostituito dall'analisi e la realtà dalla simulazione. Come i mostri della Shelley nacquero dall'isolamento forzato del 1816, così i soggetti di Teotino nascono dall'oscurità digitale e dal vuoto della materia. Essi sono esseri di confine, spettri che abitano la soglia tra il passato pittorico e la visione tecnologica contemporanea. The aesthetics of the fragment and "Beyond-photography" Teotino's originality lies in how he isolates the specific "failure" of the ancient canvas and elevates it to the protagonist of the composition. In 1816, the flaw of the painting becomes the structural element of the new visual apparatus. The error of time—the peeling, the mold, the crack—is reinterpreted as a philosophical "glitch," a system malfunction that reveals the fragility of our historical memory and perception. The faces of 19th-century nobles and bourgeoisie undergo a metaphysical mutation in Teotino’s hands. The artist transforms the celebratory portrait into an icon of the uncanny. We thus enter the territory of "Beyond-photography": a language where the shot is replaced by analysis and reality by simulation. Just as Shelley’s monsters were born from the forced isolation of 1816, Teotino’s subjects are born from digital darkness and the void of matter. They are threshold beings, ghosts inhabiting the limit between the pictorial past and contemporary technological vision.

A Flower with Advection Frost, 2017 - Stampa a pigmenti d'archivio su carta di cotone Hahnemuhle, la cornice in foglia d'oro, 80 x 66,5 cm - ed. 5 A Flower with Advection Frost, 2017 - Archival pigment print on Hahnemuhle cotton paper, gold leaf frame, 80 x 66.5 cm - ed. 5 La suggestione di Turner e la cenere digitale Mentre Turner traduceva l'alta concentrazione di cenere nell'atmosfera in esplosioni di luce e colore, Teotino traduce quella stessa "cenere" in una densità di stampa pigmentata che sfida la percezione. La sua tecnica permette di raggiungere neri di una profondità assoluta e tonalità che sembrano conservare la polvere degli archivi dimenticati. In questo senso, Teotino opera una sparizione dell'oggetto originale per restituirne l'essenza pura. Nell'era della riproducibilità tecnica estrema, l'artista ci riporta all'aura del soggetto attraverso la sua negazione. Le opere di questa serie sono riflessioni sulla sopravvivenza dell'immagine oltre la morte del supporto fisico, dove il "buio" introdotto dall'artista permette alla nostra immaginazione di generare nuovi mondi e nuovi fantasmi, proprio come accadde in quella terribile estate di due secoli fa. Turner’s suggestion and digital ash While Turner translated the high concentration of ash in the atmosphere into explosions of light and color, Teotino translates that same "ash" into a pigmented print density that challenges perception. His technique allows for blacks of absolute depth and tones that seem to preserve the dust of forgotten archives. In this sense, Teotino operates a disappearance of the original object to return its pure essence. In the age of extreme technical reproducibility, the artist brings us back to the subject's aura through its negation. The works in this series are reflections on the survival of the image beyond the death of the physical support, where the "darkness" introduced by the artist allows our imagination to generate new worlds and new ghosts, just as happened in that terrible summer two centuries ago. MDCCCXVI, 2017 - Stampa a pigmenti d'archivio su carta di cotone Hahnemuhle, la cornice in foglia d'oro, 80 x 66,5 cm - ed. 5 MDCCCXVI, 2017 - Archival pigment print on Hahnemuhle cotton paper, gold leaf frame, 80 x 66.5 cm - ed. 5 Lamberto Teotino Lamberto Teotino (Napoli, 1970) vive e lavora a Roma. La sua ricerca si concentra sull'indagine del sistema visivo e sulla decostruzione dell'immagine d'archivio, esplorando il confine sottile tra realtà e percezione attraverso l'uso di tecnologie digitali applicate alla fotografia e alla pittura. Il suo percorso espositivo è caratterizzato da importanti tappe istituzionali, tra cui la Galleria Nazionale d'Arte Moderna e Contemporanea (GNAM), il MAXXI, il MACRO, il Musée de l'Élysée di Losanna e Fotografiska a Stoccolma. Le sue opere sono state presentate in prestigiosi contesti internazionali, tra cui il Festival Rencontres d'Arles e Paris Photo. Lamberto Teotino (Naples, 1970) lives and works in Rome. His research focuses on the investigation of the visual system and the deconstruction of archival images, exploring the thin line between reality and perception through the use of digital technologies applied to photography and painting. His exhibition history features significant institutional milestones, including the Galleria Nazionale d'Arte Moderna e Contemporanea (GNAM), MAXXI, MACRO, the Musée de l'Élysée in Lausanne, and Fotografiska in Stockholm. His works have been presented in prestigious international contexts, including the Rencontres d'Arles Festival and Paris Photo. Untitled, 2017 - Stampa a pigmenti d'archivio su carta di cotone Hahnemuhle, la cornice in foglia d'oro, 152,5 x 127,5 cm - ed. 5 Untitled, 2017 - Archival pigment print on Hahnemuhle cotton paper, gold leaf frame, 152,5 x 127,5 cm - ed. 5   MC2GALLERY - CURRENT EXHIBITIONS - THE PHAITHE PHAIR 22-24 Maggio  |  22-24 May 2026 PAUL CUPIDO SOLO SHOW

Phillips to austion : Oversized Tiffany &Co. Signed 1928 Patek Watch NYC commemorating the Empire State Building, Paul Newman and others.

It's Time for Philips Auctions .Catch the preown prestige wathces belwo: 

PHILLIPS TO PRESENT A PIECE OF NEW YORK CITY HISTORY: THE PATEK PHILIPPE WRISTWATCH OWNED BY THE BUILDER OF THE EMPIRE STATE BUILDING   The New York Watch Auction: XIV to Feature an Oversized Tiffany & Co.-Signed 1929 Patek Philippe Owned by Paul Starrett, Builder of Iconic New York Landmarks, Including the Empire State Building, Flatiron Building, and The Plaza Hotel   Spring Auction Coincides with the 95th Anniversary of the Empire State Building     NEW YORK – 10 APRIL  2025 – This spring, Phillips in Association with Bacs & Russo will present a historically significant Tiffany & Co.–signed Patek Philippe wristwatch once owned by Paul Starrett, the master builder behind the Empire State Building and some of New York’s most iconic landmarks. Fresh to market, bearing the original owner’s initials on the caseback, and offered directly from the grandson of Mr. Starrett, the watch represents a rare convergence of Art Deco design, American architectural achievement, and early 20th‑century luxury craftsmanship. Following a world tour to London, Geneva, and Hong Kong, the watch will be offered in The New York Watch Auction: XIV on 13-14 June at Phillips, with an estimate of $15,000–30,000.   Paul Boutros, Deputy Chairman and Head of Watches, Americas, said, “There is a natural harmony between the engineering found within both architecture and watchmaking and Phillips is honored to present a watch that so perfectly brings these two disciplines together. It is remarkable that one of the greatest buildings in the world was constructed to the steady ticking of the very watch we are presenting at auction. Paul Starrett acquired this Patek Philippe in 1930, meaning he owned and wore it throughout the construction of the Empire State Building, which celebrates its 95th year this Spring. Absolutely oversized for its era measuring an impressive 36.5mm long by 26mm wide, it is a design that was ahead of its time—sized perfectly for today’s tastes. Cherished by Starrett’s family for nearly a century, the watch’s appearance at auction now represents an extraordinary opportunity to acquire not only a superb timepiece, but a tangible piece of New York City history.”   Paul Starrett was born in Chicago, though his legacy is often cemented with architectural history of New York and the many buildings that have become iconic in its skyline. A master builder and architect, Starrett is amongst the key figures responsible for the Flatiron Building, the original Penn Station, the Plaza Hotel, the Biltmore Hotel, and the Lincoln Memorial, though he is perhaps best known for his association with the marvel of the Empire State Building. Together with his identical twin brother William, the Starrett Brothers and Eken firm served as the contractors responsible for building one of the most distinguishable structures in New York, and an internationally recognized monument to human achievement.     “I was to build the world’s tallest – not only the tallest one but one which expresses most completely and honestly the skyscraper idea…The Empire State Building is truly an epitome of all that has preceded… all the spirit, the imaginative and technical daring,  and even some of the frenzy, that animated the decade of which it was the culmination.” —Paul Starrett, Changing the Skyline   As contractors, he and his brother oversaw a workforce that peaked at around 3,500 workers. Their organizational skill and mobilization were key to the swift, effi cient completion of such a monumental task. The skyscraper was constructed in record time, rising at a rate of four and a half stories per week, leading to its early completion on 11 April 1931.  In building the Empire State Building, they competed with the Chrysler Building and 40 Wall Street for the title of “world’s tallest building,” a title the Empire State Building ultimately won and held from 1931 until 1972.   According to the Patek Philippe Extract of the Archives, the watch was produced in 1929 and delivered in November 1930—just a week after the mooring mast, a 222‑foot pole intended for docking dirigibles, was erected on 21 November, with most of the steelwork and façade already complete. During the depths of the Great Depression, the Empire State Building opened officially on May 1st, 1931, ahead of schedule and under budget, only eighteen months after construction began. One can certainly believe Starrett attended the opening ceremony wearing this very Tiffany & Co. Patek Philippe wristwatch on his wrist. We can assert that the wristwatch was perhaps a gift to himself or from another—and a major sale for Tiffany & Co. during the financial crisis—to commemorate the distinctive achievement of winning the ultimate prize in his field – a contract to build the tallest building in the world.   The watch itself, aside from superb provenance and historical importance, is exceptionally well‑preserved and an ideal example of the Art Deco era. Its oversized rectangular case recalls those made for Brazilian retailer Chronometro Gondolo, and it is similarly adorned with Breguet numerals and a high‑grade 10‑ligne manually wound caliber with wolf’s‑tooth winding gears. Setting it apart from other rectangular watches of the era, the case is engraved with floral scrollwork to the case band, a trait mentioned in the Extract that, to the best of Phillips’ knowledge, has not been identified on any similar watch of the period. Similar to pocket watches of the era, only Tiffany & Co.’s signature is present on the dial, while the case—made by Wenger—and the movement are signed Patek, Philippe & Co. The lug still bears the Tiffany inventory number, and a perfectly crisp hallmark can be seen within the case band engraving. Starrett’s initials, “PS,” appear boldly on the caseback. It is fitted with its original, 18 karat gold-mesh bracelet signed Whiteside & Blank, most certainly purchased at Tiffany & Co. at the same time, elevating and enhancing its beauty.   Coming directly from the grandson of Paul Starrett, this Tiffany‑retailed oversized wristwatch from the Art Deco era is a remarkable fresh‑to‑market find, marrying provenance, historical relevancy, watchmaking prowess, and exceptional physical condition.   ABOUT PHILLIPS IN ASSOCIATION WITH BACS & RUSSO The team of specialists at Phillips Watches is dedicated to an uncompromised approach to quality, transparency, and client service. Phillips in Association with Bacs & Russo holds the world record for the most successful watch auction, with its DECADE ONE (2015–2025) sale having realized $83 million in 2025. The annual total for watch auctions in 2025 exceeded $290 million, marking the first time any auction house's Watches department has surpassed US$200 million in annual sales for five consecutive years.   Record-breaking prices include:   1. Paul Newman’s Rolex “Paul Newman” Daytona reference 6239 (CHF 17,709,894 / US$17,752,500) – New York Auction: Winning Icons – 26 October 2017 – Highest result ever achieved for any vintage wristwatch at auction.   2. Patek Philippe reference 1518 in stainless steel (CHF 14,190,000 / US $17,631,075) – Watches: Decade One (2015–2025) – 8 November 2025 – Highest result ever achieved for a vintage Patek Philippe wristwatch at auction.   ABOUT PHILLIPS Phillips: where the world’s curious and bold connect with the art, design, and luxury that inspires them. As a leading global platform for buying and selling 20th and 21st century works, Phillips offers dedicated expertise in the areas of Modern and Contemporary Art, Design, Photographs, Editions, Watches, and Jewels. Auctions and exhibitions are primarily held in New York, London, Geneva, and Hong Kong, with representative offices based throughout Europe, the United States, and Asia. Phillips offers a regular selection of live and online auctions, along with items available for immediate purchase. Phillips also offers a range of services and advice on all aspects of collecting, including private sales and assistance with appraisals, valuations, and financial planning. Visit phillips.com for further information.   *Estimates do not include buyer’s premium; prices achieved include the hammer price plus buyer’s premium. #phillipsautionnyc#fineartmagazineblog.blogspot.com#sunstrmfineartmagazine.com#phillippatekwatches#jelwerybeautyforever#artfunforever

This Loks like Fun if your in Bangkok vitist the Bangkok Art Biennale to see the " Spirits of Maritime Crossing 2026, May 9-August 2, 2026

The Spirits of Maritime Crossing 2026 Collateral Event of the 61st International Art Exhibition – La Biennale di Venezia Palazzo Rocca Contarini Corfù, Venice 9 May 2026 – 2 August 2026

The Spirits of Maritime Crossing II, 2025. Single screening, stereo, 42 min. Commissioned by Bangkok Art Biennale Foundation. Courtesy of the artists. © Bangkok Art Biennale Foundation. Still from video

Bangkok | Venice | The Bangkok Art Biennale Foundation presents the Collateral Event The Spirits of Maritime Crossing 2026, an international group exhibition curated by Prof. Dr. Apinan Poshyananda, Chief Executive and Artistic Director of Bangkok Art Biennale. Supported by Thai Beverage Public Company Limited (ThaiBev) and One Bangkok, the exhibition will be held from 9 May to 2 August 2026 at Palazzo Rocca Contarini Corfù, Venice. Bringing together 20 artists from Southeast Asia, as well as artists from Ireland, Serbia, and beyond, the exhibition explores themes of identity, displacement, diaspora, memory, and spiritual resilience in a world shaped by migration and global transformation. Participating artists include Marina Abramović, Pichet Klunchun, Martha Atienza, Ong Kian Peng, Nadiah Bamadhaj, Le Hien Minh, Wasinburee Supanichvoraparch, Sornchai Phongsa, and more. Spanning performance, film, installation, painting, and sculpture, the exhibition reflects on how artists transform shared experiences of loss, rupture, and transition into poetic forms of connection. Highlights include new collaborative works and a short film created especially for the exhibition, directed by Prof. Dr. Apinan Poshyananda. Prof. Dr. Apinan Poshyananda, Curator, explains: “I am deeply honoured that The Spirits of Maritime Crossing 2026 returns to Venice as one of the Collateral Events of the 61st International Art Exhibition – La Biennale di Venezia. In this edition, 20 artists from Southeast Asia, Serbia, and Ireland examine cultural flows through migration, diaspora, and dislocation as a result of colonization, war, and environmental detriment. The hum in minor keys of the voiceless from distant places are brought to Venice. Shifting a slower gear with meditative deep breaths, viewers experience through film, performance, sound, painting, and installation multiple interpretations of spirits of maritime crossing." At the heart of the presentation is Marina Abramović’s performance Sea Punishing, staged with hundreds of participants whipping the sea in reference to King Xerxes’s act of punishing destructive waters—a poignant remembrance of the Andaman Sea tsunami. The new film The Spirits of Maritime Crossing Part II follows Abramović alongside Pichet Klunchun, Mutmee Pimdao Panichsamai, Aleksandar Timotić, and Amanda Coogan on a spiritual journey between Venice and Bangkok, tracing themes of suffering, solitude and transcendence. Marina Abramović shares: “I am delighted to participate in The Spirits of Maritime Crossing 2026 on the theme of spiritual journey through maritime crossing that explores painful journeys of colonization, diaspora, migration and slavery. As I performed in the film with choreographer Pichet Klunchun in temples and many sites in Bangkok the experience was most challenging and contemplative. For the 2026 edition, the film takes on a new painful journey with myself, Klunchun, and performers Amanda Coogan, Aleksandar Timotić and Mutmee Pimdao Panichsamai who struggle in desire, torment and karma. Additionally, my video Sea Punishing (2005) inspired by the tsunami that destroyed thousands of lives on the Andaman Seas will be shown with works related to trauma and dislocation by emerging artists from Southeast Asia.” A major theme throughout the exhibition is the navigation of personal mythologies and collective memories: Martha Atienza’s underwater film merges Catholic rituals with maritime processions; Ong Kian Peng envisions Singapore submerged by rising currents through disruptive AI imagery; Tcheu Siong stitches Hmong cosmologies into monumental embroideries; and Sornchai Phongsa’s paintings confront Mon ancestral rituals and queer identity. Across the exhibition, artists reflect on migration, spirituality, environmental fragility and cultural inheritance: from Nadiah Bamadhaj’s reinterpretation of Calon Arang to Le Hien Minh’s paper sculptures of post-war memories, Soe Yu Nwe’s surreal ceramics of hybrid creatures, and Parada Wiratsawee’s haunting sculptures of sea life in distress. Ong Kian Peng notes: “In my work, I examine how water acts as an oscillating force between present realities and possible futures shaped by rising seas and engineered resilience. This movement between the known and what is imagined echoes the exhibition’s inquiries into journeys, memory, and the porous connections between places—how coastlines shift, how histories traverse oceans, and how bodies navigate uncertain horizons. The shared vulnerabilities of Singapore and Venice show how island cities live in a constant state of ecological anxiety, suspended between adaptation and fragility.”  Themes of ecological collapse and ancestral resilience reverberate throughout The Spirits of Maritime Crossing 2026, with Ruangsak Anuwatwimon’s fragile floating soil diorama and Wasinburee Supanichvoraparch’s ceramic residues of ancient trade routes, while Torlarp Larpjaroen’s Spiritual Spaceships evoke nostalgic vessels arriving in Venice. Arahmaiani’s participatory Flag Project and Yasmin Jaidin’s soil-based works engage communities and universities in sustainable artmaking. Contrastingly, in Ode to Joy – Thai Sign Language (2024), Amanda Coogan performed the piece in collaboration with Thai youths with hearing disabilities, where they participated in the silent choir at the concert led by Coogan at the historic white stupa at Prayurawongsawat Temple in Thonburi, offering a breath of hope. Throughout the vernissage and opening weeks, live performances by artists intertwining Italian-Slav opera, Irish ballads, Thai mask dance and spiritual chants form a shared vocabulary of minor tones and minor care. Through layered narratives of faith, race, migration and neo-colonial realities, The Spirits of Maritime Crossing 2026 reflects on a world in flux, offering moments of quiet resistance and poetic resilience.   NOTES TO EDITORS CURATOR Prof. Dr. Apinan Poshyananda has curated and directed international art exhibitions across Asia, Europe, USA and Oceania including Traditions/Tensions, New York; Thai and Australian sections, Asia Pacific Triennial of Contemporary Art; Asian section, São Paulo Biennial; Thai section, Istanbul Biennial; Commissioner, Thai Pavilion, the 50st, 51st and 52st International Art Exhibition – La Biennale di Venezia; Tout à Fait Thai, Paris; as well as five editions of the Bangkok Art Biennale (2018–2026), and the first chapter of The Spirits of Maritime Crossing at the 60th International Art Exhibition – La Biennale di Venezia (2024). ARTISTS The Spirits of Maritime Crossing 2026 presents artists from Southeast Asia and beyond, including Marina Abramović (Serbia), Ruangsak Anuwatwimon (Thailand), Arahmaiani (Indonesia), Martha Atienza (the Philippines), Nadiah Bamadhaj (Malaysia), Amanda Coogan (Ireland), Yasmin Jaidin (Brunei), Pichet Klunchun (Thailand), Torlarp Larpjaroensook (Thailand), Le Hien Minh (Vietnam), Soe Yu Nwe (Myanmar), Ong Kian Peng (Singapore), Mutmee Pimdao Panichsamai (Thailand), Sornchai Phongsa (Thailand), Tcheu Siong (Laos), Wasinburee Supanichvoraparch (Thailand), Swannie (Myanmar), Aleksandar Timotić (Serbia), Samboleap Tol (Cambodia/The Netherlands), and Parada Wiratsawee (Thailand). VENUE Palazzo Rocca Contarini Corfù, overlooking Venice’s Grand Canal near the Accademia, is one of the city’s most striking examples of Venetian Gothic and 17th-century architecture. Originally built by the illustrious Contarini family — who produced eight doges of Venice — the palace embodies centuries of history and cultural grandeur. Expanded in the 17th century by architect Vincenzo Scamozzi to unite Gothic and Baroque styles, it later became the residence of the Rocca family, hosting royal figures, artists, and intellectuals. Carefully preserved to this day, the palazzo remains a living testament to Venice’s architectural and social legacy. Today, the palazzo will be hosting the Collateral Event The Spirits of Maritime Crossing 2026, transforming its historic chambers into a space of artistic encounter between past and present, East and West.   THE BANGKOK ART BIENNALE FOUNDATION (BAB)  Founded in 2017, the Bangkok Art Biennale Foundation (BABF) is dedicated to fostering cross-cultural exchange among artists and creative practitioners worldwide. Through its diverse programs, the Foundation creates opportunities for artists to develop their practices, produce new work, and gain greater visibility on the international stage. The Foundation’s activities encompass a rich program of public engagement, including conferences and symposiums, artist talks, workshops, guided visits, publications, and digital initiatives. Among its key educational initiatives are BAB Academy, which supports learning and professional development for art students and practitioners, and Dek BAB, a program that enables students and emerging cultural workers to gain hands-on experience by working alongside Thai and international artists.  The Bangkok Art Biennale Foundation (BABF) was founded by Thai Beverage Public Company Limited (ThaiBev) with the support of public and private sector partners. Established under the patronage of Thapana Sirivadhanabhakdi, Director and Group CEO of Thai Beverage Public Company Limited, the current Board of BABF comprises Thapana Sirivadhanabhakdi, Nitikorn Kravixien, Director of Arts and Culture at Thai Beverage Public Company Limited, Prof. Dr. Apinan Poshyananda, pioneering curator of Asian art, Wiruch Maksumpun, Managing Director of Bangkok Art Biennale and Dhospaak Company Limited, and Pattaya Changsriyawong, Advisor to the CEO and President of Thai Beverage Public Company Limited.  The project is supported by key public sector partners including the Bangkok Metropolitan Authority (BMA), alongside leading private sector partners Bangkok Expressway and Metro Public Company Limited (BEM), CH. Karnchang Public Company Limited, Siam Piwat, Siam Paragon, Icon Siam, and Amarin Group. Artist participation is further made possible through the generous support of regional partners: Fraser and Neave, Limited (F&NL), exclusive sponsor for artists from Singapore; Fraser & Neave Holdings Bhd (F&NHB), exclusive sponsor for artists from Malaysia; and Saigon Beer-Alcohol-Beverage Corporation (SABECO), exclusive sponsor for artists from Vietnam. Ong Kian Peng and Wasinburee Supanichvoraparch developed their installations in collaboration with Ca’ Foscari University in Venice, engaging with research on art and sustainability. #bangkokartbiennale#spiritsofmaritimecrossing,#ineartmagazineblog.blogspot.com#sunstormfineartmagazine.com#art funforever!!!

Eco. Art Awareness: The Center for Biological Diversity News Letter highlights for Legal action to save protected species.

 Eac-Art Awareness is understanding that the beauty of our environment enhances our quality of life. Wildlife habitat engenders peace ad joy. Viewing the Seals or Whales along the shore line is an ancient understanding of how to unite within the surroundings  of our beautiful blue planet. I hope you enjoy this nature update from the CBDm, and the Endangered Erat OnLine News . Jamie Forbes, environmental advocate, Publisher FineArtMagazineBlog.bogspot.com , and SunStormFineartmagazine.com  

No. 1,344, April 9, 2026

Suit Filed to Save Northern Fur Seals  The Center for Biological Diversity just sued NOAA Fisheries for failing to protect northern fur seals on St. Paul Island, Alaska, from decline due to prey competition with the Bering Sea’s massive pollock trawl fishery.   Every summer northern fur seals bear and nurse their pups on St. Paul Island, primarily eating local pollock. But their main feeding areas overlap with the summer fishing grounds of the industrial fleet. Fur seals on the island have declined by 70% since the 1970s, with new science showing competition from the fishery is a key reason.   “We’re asking for sensible safeguards to ensure northern fur seal mothers can find the food they need to raise healthy pups and rebuild this declining population,” said the Center’s Alaska Director Cooper Freeman. “The federal government is legally required to ensure industrial fishing doesn’t devastate these seals — yet it’s failed to take action for decades.”   Help us defend northern fur seals and other Alaska wildlife with a gift to the Future for the Wild Fund.

Win: Court Voids Bad North Carolina Forest Plan In a major victory for endangered species and nature lovers in North Carolina, a court ruled April 1 that federal agencies erred in creating a controversial plan for the Pisgah and Nantahala national forests.   In 2024 the Center and allies sued the U.S. Forest Service and Fish and Wildlife Service over the plan, which would’ve quintupled logging in the forests, including in habitat for Indiana bats.   “This is a massive win for wildlife and the millions of people who visit these cherished forests,” said Will Harlan, our Southeast director. “The Forest Service’s aggressive and illegal logging plans completely ignored science and the public, who overwhelmingly support protecting these forests.”

Help Uncle Pappy — and Us — Fight Extinction By now you’ve probably heard: Last week the Trump administration’s Extinction Committee excused all oil and gas activities in the Gulf of Mexico from complying with the Endangered Species Act — which could wipe out iconic and endangered species like Rice's whales, down to a population of only 51.   Lots of folks heard about it from Instagram and TikTok influencer Uncle Pappy, who’s been spreading the word to his million-plus followers. We want to thank him for uplifting the issue — while perfectly explaining its implications and importance.   Do you have a big audience and want to raise awareness on important environmental topics and Center work? Email us to get matched with an expert to help you nail the nuances.   And no matter who you are, if you live in the United States and haven’t yet taken action against the Extinction Committee, join 12,000 others in telling Congress to stand against this unprecedented threat to endangered species.

Legal Victory Protects Florida Wetlands We’re celebrating for wood storks, panthers, crocodiles, and other wetlands wildlife: A federal appeals court just declared that permits to build in Florida wetlands should stay in the hands of federal regulators. Florida had been trying for years to grab control of the permitting process, which would’ve let it take shortcuts around federal environmental law — namely, the Endangered Species Act — when approving destructive developments. So the Center and allies sued to stop it.   “I’m glad the court rejected Florida’s attempt to put industry over treasured wildlife and wild places,” said the Center’s Jason Totoiu. “Florida’s wetlands and wildlife deserve all the protection they can get.”

Suit Filed to Protect Rare Alabama Fish Freshwater fish called coal darters, in Alabama’s Mobile River basin, are threatened by dams, pollution, coal mining, logging, and climate change — so on Tuesday we sued the Fish and Wildlife Service for failing to finalize their protection under the Endangered Species Act.   In 2023 the Service finally responded to our 2010 petition by proposing to protect the darters, but it never made good on that proposal. Our lawsuit aims to right that wrong.   “The presence of these small but mighty fish is a sign that a river is healthy,” said Danny Waltz, a senior Center attorney. “Safeguarding them will help protect all the people, animals, and plants who depend on clean water.”

Revelator: How Crypto Threatens South America A law signed by the Trump administration could boost global cryptocurrency demand, increasing pressure on hydropower-rich countries like Brazil and Paraguay and threatening forests and biodiversity.   Read more in The Revelator.     And if you haven’t yet, make sure you’re subscribed to The Revelator’s free weekly newsletter.

That's Wild: Ravens Do Meal Planning A new study of 69 common ravens in Yellowstone National Park shows these highly intelligent birds, with their excellent spatial memory, don’t simply follow predators like wolves around to dine on their leftovers but instead keep mental maps of where wolves frequently hunt and make their scavenging rounds accordingly.   Rather than simply being opportunistic, the ravens seem to plan based on remembered historical patterns — one individual, for example, spent a week at a landfill before flying more than 90 miles to dine on a wolf-killed elk carcass.   Read more and watch a raven-wolf video at BBC Wildlife. #centerforbiologicaldiverisity#endangeredeartonline#fineartmagazineblog.blogspot.com#sunstormfineartmagazine#happyearthmonth#artenviornmentalfun