ana arranz
@anarranz
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Tears for Everybody’s Looking at you, by Damien Hirst. 1997. Gallery Tower at Fondazione Prada, Milano, IT.
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TEAROSE (Alessandra Rovati Vitali). 2022. Il Salvatione Hotel. Fiesole, IT
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The artwork by Alfredo Fermín Cemillán (Mintxo) depicts a surreal scene of a large figure leading smaller ones around a table, reflecting his multidisciplinary background in painting and design, honed during his time with the Asociación de Artistas Alaveses in Vitoria-Gasteiz.
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Hoy os mostramos 𝗹𝗮 𝗿𝗲𝗵𝗮𝗯𝗶𝗹𝗶𝘁𝗮𝗰𝗶𝗼́𝗻 𝘆 𝗮𝗺𝗽𝗹𝗶𝗮𝗰𝗶𝗼́𝗻 𝗱𝗲𝗹 𝗰𝗮𝘀𝗲𝗿𝗶́𝗼 𝗧𝗲𝗹𝗹𝗲𝘁𝘅𝗲𝗸𝗼 𝗕𝗼𝗿𝗱𝗮, 𝗲𝗻 𝗕𝗲𝗿𝗮, 𝘂𝗻 𝗽𝗿𝗼𝘆𝗲𝗰𝘁𝗼 𝗱𝗲 𝗠𝗨𝗚𝗔𝗥𝗔 𝗔𝗿𝗸𝗶𝘁𝗲𝗸𝘁𝘂𝗿𝗮 que fue seleccionado en los premios CSCAE de este año.
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This artwork uses neon lights and fluorescent paint, a pioneering technique that reflects his time in the 1960s U.S. art scene, where he experimented with industrial materials to critique consumerism.
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Martial Raysse, 1965. High Voltage painting, Stedelijk Museum, Amsterdam.
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2025 RIBA National Award for its innovative use of Japanese "ma" concept—emphasizing empty spaces—supported by its double-height courtyards with 4m cherry trees.
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The painting "Basque Beach" by Helen Frankenthaler, created in 1958 during her visit to St. Jean de Luz reflects the abstract expressionist movement's peak, influenced by her innovative soak-stain technique.
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TreeHugger by MoDusArchitects in Bressanone (Bolzano, Italy). Photo © Oskar Da Riz
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Helen Frankenthaler. 1958. “Basque Beach”. Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, Gift of Joseph H. Hirshhorn, 1966
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Svalbard Global Seed Vault. Safeguarding the future global food supply. Way up north, in the permafrost, 1300 kilometers beyond the Arctic Circle, is the world's largest secure seed storage, opened by the Norwegian Government in February 2008.
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Architects Mette and Martin Wienberg have overhauled a 1940s cottage in Denmark to create a modern home for their family, complete with timber-lined walls and cosy furnishings.
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It reflects his conceptual art movement, where the idea behind the work takes precedence over traditional aesthetics. The technique, using irregular lines to avoid intersection, aligns with later experiments in printmaking+gouache, shift from geometric precision to organic forms.
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