Conceptual Fine Arts

Conceptual Fine Arts Cfa is an on-line platform providing information in order to promote inter-cultural dialogues between contemporary and the art of the past centuries.

Between 2020 and 2021, Magnus Frederik Clausen taught his oldest son how to read the time on the clock. Thanks to this s...
04/12/2024

Between 2020 and 2021, Magnus Frederik Clausen taught his oldest son how to read the time on the clock. Thanks to this somewhat accidental, somewhat deliberate circumstance of parenting, the artist began reflecting on the process of translating and oscillating between one system of codes and another. More precisely, Clausen started to swing from an analogic system to a digital one and the other way around, developing a series of paintings depicting clocks, which he has kept investigating until the present day, unpacking its manifold implications.

Link in bio for the full text by

Presented by at CFAlive until 31st January 2025.

Image: Magnus Frederick Clausen, Tenpastsix (Noah), 2023, oil on primed canvas, cm. 30 x 40.

Between 2020 and 2021, Magnus Frederik Clausen taught his oldest son how to read the time on the clock. Thanks to this s...
04/12/2024

Between 2020 and 2021, Magnus Frederik Clausen taught his oldest son how to read the time on the clock. Thanks to this somewhat accidental, somewhat deliberate circumstance of parenting, the artist began reflecting on the process of translating and oscillating between one system of codes and another. More precisely, Clausen started to swing from an analogic system to a digital one and the other way around, developing a series of paintings depicting clocks, which he has kept investigating until the present day, unpacking its manifold implications.

Link in bio for the full text by

Presented by at CFAlive until 31st January 2025.

Between 2020 and 2021, Magnus Frederik Clausen taught his oldest son how to read the time on the clock. Thanks to this s...
04/12/2024

Between 2020 and 2021, Magnus Frederik Clausen taught his oldest son how to read the time on the clock. Thanks to this somewhat accidental, somewhat deliberate circumstance of parenting, the artist began reflecting on the process of translating and oscillating between one system of codes and another. More precisely, Clausen started to swing from an analogic system to a digital one and the other way around, developing a series of paintings depicting clocks, which he has kept investigating until the present day, unpacking its manifold implications.

Link in bio for the full text by

Presented by at CFAlive until 31st January 2025.

Image: Magnus Frederick Clausen, Syvfemten (Noah), 2023, acrylic and oil on primed line, cm. 60 x 48.

The publication of a panel with a Eucharistic Christ between Saint Ambrose and Saint Augustine, located in the 18th cent...
02/12/2024

The publication of a panel with a Eucharistic Christ between Saint Ambrose and Saint Augustine, located in the 18th century in the church of Sant’Ambrogio in Brugherio, near Milan, makes it possible to identify a painter of German culture active in the region in the 1450s, who is also the author of the fresco of the Mocking of Christ in the Oratory of Saint Bernard in the Cistercian Abbey at Chiaravalle Milanese. His identity has been the subject of the most disparate hypotheses, including Hieronymus Bosch or, more reasonably, Hans Witz, a Savoyard painter active in Milan in 1478 (and thus much later than the period believed to pertain to this fresco). Careful analysis of the Brugherio altarpiece, a painting of surprising quality later donated to the Diocesan Museum in Bressanone, reveals precise references to Northern European iconography and a Flemish style that must have exerted strong influence on the Lombard painters of those years. A series of connections are also made with Giusto di Ravensburg’s Annunciation, dated 1451, in the cloister of Santa Maria di Castello in Genoa. By Federico Cavalieri. Link bio.

Image: Jos Amman von Ravensburg, Christ of Sorrows between St. Ambrose and St. Augustine, detail of God the Father, Diocesan Museum (from Brugherio, St. Ambrose), Brixen.


The publication of a panel with a Eucharistic Christ between Saint Ambrose and Saint Augustine, located in the 18th cent...
02/12/2024

The publication of a panel with a Eucharistic Christ between Saint Ambrose and Saint Augustine, located in the 18th century in the church of Sant’Ambrogio in Brugherio, near Milan, makes it possible to identify a painter of German culture active in the region in the 1450s, who is also the author of the fresco of the Mocking of Christ in the Oratory of Saint Bernard in the Cistercian Abbey at Chiaravalle Milanese. His identity has been the subject of the most disparate hypotheses, including Hieronymus Bosch or, more reasonably, Hans Witz, a Savoyard painter active in Milan in 1478 (and thus much later than the period believed to pertain to this fresco). Careful analysis of the Brugherio altarpiece, a painting of surprising quality later donated to the Diocesan Museum in Bressanone, reveals precise references to Northern European iconography and a Flemish style that must have exerted strong influence on the Lombard painters of those years. A series of connections are also made with Giusto di Ravensburg’s Annunciation, dated 1451, in the cloister of Santa Maria di Castello in Genoa. By Federico Cavalieri. Link bio.

Image: Jos Amman von Ravensburg, Annunciation (detail of the prophet Isaiah), 1451, Santa Maria di Castello, cloister, Genoa.


The publication of a panel with a Eucharistic Christ between Saint Ambrose and Saint Augustine, located in the 18th cent...
02/12/2024

The publication of a panel with a Eucharistic Christ between Saint Ambrose and Saint Augustine, located in the 18th century in the church of Sant’Ambrogio in Brugherio, near Milan, makes it possible to identify a painter of German culture active in the region in the 1450s, who is also the author of the fresco of the Mocking of Christ in the Oratory of Saint Bernard in the Cistercian Abbey at Chiaravalle Milanese. His identity has been the subject of the most disparate hypotheses, including Hieronymus Bosch or, more reasonably, Hans Witz, a Savoyard painter active in Milan in 1478 (and thus much later than the period believed to pertain to this fresco). Careful analysis of the Brugherio altarpiece, a painting of surprising quality later donated to the Diocesan Museum in Bressanone, reveals precise references to Northern European iconography and a Flemish style that must have exerted strong influence on the Lombard painters of those years. A series of connections are also made with Giusto di Ravensburg’s Annunciation, dated 1451, in the cloister of Santa Maria di Castello in Genoa. By Federico Cavalieri. Link bio.

Image: Jos Amman von Ravensburg, Christ of Sorrows between St. Ambrose and St. Augustine, St. Thomas Didymus, St. John the Evangelist, God Father, dove of the Holy Spirit, St. Peter, St. Paul, Diocesan Museum (from Brugherio, St. Ambrose), Brixen.

"One of the focal points of Federico Cantale’s thought is precisely the search for formal composition. That is to say, f...
12/11/2024

"One of the focal points of Federico Cantale’s thought is precisely the search for formal composition. That is to say, for that peculiar configuration that allows forms to be a mass of elements, colours, correlations, at the same time, bearers of a gesture that originates from this one and only configuration."

Click in bio to read the artist's profile written for CFArts by .

image: Federico Cantale, Trance di miele, 2021; Installation view of PRIMARY DOMAIN, Ordet, Milan; Courtesy the artist and Ordet; Ph. Nicola Gnesi.

"I am interested in the rich history of artists who organise, a small example of spaces include 84 west Broadway, Orchar...
05/11/2024

"I am interested in the rich history of artists who organise, a small example of spaces include 84 west Broadway, Orchard, 15 Orient, Reena Spaulings, Galerie Meerrettich, and Feature Inc. I am also influenced by William Wright and Hilaire Mais who I met when I was young in Sydney – both artists who organise. I am represented as an artist by Mais Wright, run by the aforementioned acclaimed artist Hilaire Mais. I also show Mais work at SydneySydney and are great friends who have worked together for years, most recently in collaboration with Tara Downs, New York. For me the most enriching part is working collaboratively with the artists, building an exhibition together from beginning to end, and establishing a global community to exchange ideas with. Michael Callies, founder of dépendence in Brussels, said in an interview with Art Basel: “When you are an artist, you also see your gallery as artistic”. This really resonates with me, and how I try to approach running a gallery. I think because I make artworks myself, the exhibitions are a collaboration and not just a commercial offering to a potential buyer".

Link in bio to read our interview with Conor O'Shea, founder of

Image: Lewis Fidock and Joshua Petherick, Purse #2, 2024, wood and brass.

"I am interested in the rich history of artists who organise, a small example of spaces include 84 west Broadway, Orchar...
05/11/2024

"I am interested in the rich history of artists who organise, a small example of spaces include 84 west Broadway, Orchard, 15 Orient, Reena Spaulings, Galerie Meerrettich, and Feature Inc. I am also influenced by William Wright and Hilaire Mais who I met when I was young in Sydney – both artists who organise. I am represented as an artist by Mais Wright, run by the aforementioned acclaimed artist Hilaire Mais. I also show Mais work at SydneySydney and are great friends who have worked together for years, most recently in collaboration with Tara Downs, New York. For me the most enriching part is working collaboratively with the artists, building an exhibition together from beginning to end, and establishing a global community to exchange ideas with. Michael Callies, founder of dépendence in Brussels, said in an interview with Art Basel: “When you are an artist, you also see your gallery as artistic”. This really resonates with me, and how I try to approach running a gallery. I think because I make artworks myself, the exhibitions are a collaboration and not just a commercial offering to a potential buyer".

Link in bio to read our interview with Conor O'Shea, founder of

Image: Lewis Fidock and Joshua Petherick, They, 2017, animatronic doll, cosmetics, cables, cm. 89 x 38; Tancredi Parmeggiani, Untitled, 1954, oil on masonite, cm. 74 x 27.

"I am interested in the rich history of artists who organise, a small example of spaces include 84 west Broadway, Orchar...
05/11/2024

"I am interested in the rich history of artists who organise, a small example of spaces include 84 west Broadway, Orchard, 15 Orient, Reena Spaulings, Galerie Meerrettich, and Feature Inc. I am also influenced by William Wright and Hilaire Mais who I met when I was young in Sydney – both artists who organise. I am represented as an artist by Mais Wright, run by the aforementioned acclaimed artist Hilaire Mais. I also show Mais work at SydneySydney and are great friends who have worked together for years, most recently in collaboration with Tara Downs, New York. For me the most enriching part is working collaboratively with the artists, building an exhibition together from beginning to end, and establishing a global community to exchange ideas with. Michael Callies, founder of dépendence in Brussels, said in an interview with Art Basel: “When you are an artist, you also see your gallery as artistic”. This really resonates with me, and how I try to approach running a gallery. I think because I make artworks myself, the exhibitions are a collaboration and not just a commercial offering to a potential buyer".

Link in bio to read our interview with Conor O'Shea, founder of

Image: Lewis Fidock and Joshua Petherick, Purse #1, 2024, wood and brass.

"One particular element is recurrent in Julija Zaharijević’s paintings, photographs, and sculptures: the round shape, wh...
03/10/2024

"One particular element is recurrent in Julija Zaharijević’s paintings, photographs, and sculptures: the round shape, which sometimes appears positively as a bulge or elevation, sometimes negatively as a hole, gap, or indentation. Whether in her Bellies paintings(2020), Cabbage sculptures (2021), trompe-l’œil model Goddess (2022) or her painterly Poison wall objects(2023) – a ring, circle, or sphere always focuses the viewer’s gaze in such a way that they seem to be drawn into some kind of void. “I wanted people to stare into space, the abyss, if you will,” says Zaharijević about her realistic replicas of cabbages, which were shown for the first time in 2021 in her solo exhibition “Oh no! The View” at the Georg Kargl Permanent Gallery in Vienna. The crumpled, snail-nibbled leaves, which are scans of real cabbage leaves cut into leaf shapes and pierced with holes, line the inside of the head, which is made from wrinkled newspapers and printed silk. “I was interested in the extent to which cabbage, a cheap and easy-to-grow food that has always been considered poor people’s food, can stand for something else, something symbolically charged. I use materials such as silk, and I hand-paint the backsides of the leaves in shimmering colors – effectively embedding elements of ‘high value’ into the cabbage, as a way of pushing to the fore the question of how value is created and understood. Furthermore, the role of manual labor and its visibility in creating value is also something that interests me".

Link in bio to read the full writing by Katharina Hausladen.

image: Julija Zaharijević, Modern Painting (Tamara’s Sunglasses Case 1), 2023, 50,80 x 70,80 cm, Pigment print on paper, framed.


"One particular element is recurrent in Julija Zaharijević’s paintings, photographs, and sculptures: the round shape, wh...
03/10/2024

"One particular element is recurrent in Julija Zaharijević’s paintings, photographs, and sculptures: the round shape, which sometimes appears positively as a bulge or elevation, sometimes negatively as a hole, gap, or indentation. Whether in her Bellies paintings(2020), Cabbage sculptures (2021), trompe-l’œil model Goddess (2022) or her painterly Poison wall objects(2023) – a ring, circle, or sphere always focuses the viewer’s gaze in such a way that they seem to be drawn into some kind of void. “I wanted people to stare into space, the abyss, if you will,” says Zaharijević about her realistic replicas of cabbages, which were shown for the first time in 2021 in her solo exhibition “Oh no! The View” at the Georg Kargl Permanent Gallery in Vienna. The crumpled, snail-nibbled leaves, which are scans of real cabbage leaves cut into leaf shapes and pierced with holes, line the inside of the head, which is made from wrinkled newspapers and printed silk. “I was interested in the extent to which cabbage, a cheap and easy-to-grow food that has always been considered poor people’s food, can stand for something else, something symbolically charged. I use materials such as silk, and I hand-paint the backsides of the leaves in shimmering colors – effectively embedding elements of ‘high value’ into the cabbage, as a way of pushing to the fore the question of how value is created and understood. Furthermore, the role of manual labor and its visibility in creating value is also something that interests me".

Link in bio to read the full writing by Katharina Hausladen.

image: Julija Zaharijević, Chesterfield, oil, buttons on canvas, 140 x 105 x 6 cm, 2023. photographer: Giulia Baresi


One particular element is recurrent in Julija Zaharijević’s paintings, photographs, and sculptures: the round shape, whi...
03/10/2024

One particular element is recurrent in Julija Zaharijević’s paintings, photographs, and sculptures: the round shape, which sometimes appears positively as a bulge or elevation, sometimes negatively as a hole, gap, or indentation. Whether in her Bellies paintings(2020), Cabbage sculptures (2021), trompe-l’œil model Goddess (2022) or her painterly Poison wall objects(2023) – a ring, circle, or sphere always focuses the viewer’s gaze in such a way that they seem to be drawn into some kind of void. “I wanted people to stare into space, the abyss, if you will,” says Zaharijević about her realistic replicas of cabbages, which were shown for the first time in 2021 in her solo exhibition “Oh no! The View” at the Georg Kargl Permanent Gallery in Vienna. The crumpled, snail-nibbled leaves, which are scans of real cabbage leaves cut into leaf shapes and pierced with holes, line the inside of the head, which is made from wrinkled newspapers and printed silk. “I was interested in the extent to which cabbage, a cheap and easy-to-grow food that has always been considered poor people’s food, can stand for something else, something symbolically charged. I use materials such as silk, and I hand-paint the backsides of the leaves in shimmering colors – effectively embedding elements of ‘high value’ into the cabbage, as a way of pushing to the fore the question of how value is created and understood. Furthermore, the role of manual labor and its visibility in creating value is also something that interests me".

Link in bio to read the full writing by Katharina Hausladen.

image: Julija Zaharijević, New Plans for August, Cabbage, acrylic, ink, silk, laser print on paper, approx. 65 x 63 x 28 cm, 2024, photographer: Giulia Baresi.



In Șerban Savu’s paintings, common people are going about their daily lives. Having been studied with the patience of a ...
24/09/2024

In Șerban Savu’s paintings, common people are going about their daily lives. Having been studied with the patience of a vo**ur over consecutive days as they inhabit the neighbourhood, people who don’t necessarily know each other eventually find themselves on the canvas, within the same perimeter. In most paintings, an aerial gaze plunges into an urban-rural landscape. It is here, at the city’s periphery, that several decades of history are distilled. Other series place the characters on sites reminiscent of archaeological ruins or depict interiors where artworks from different times surface in loose renditions, juxtaposing multiple registers and realities. These operate as dynamic lieux de mémoire, engaged in a continuous work of recovering and restoring.

Link in bio to the full article.

image: Șerban Savu, The Weeping Willow (detail), 2018, oil on canvas, 150 x 193 cm. Courtesy of the artist.
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In Șerban Savu’s paintings, common people are going about their daily lives. Having been studied with the patience of a ...
24/09/2024

In Șerban Savu’s paintings, common people are going about their daily lives. Having been studied with the patience of a vo**ur over consecutive days as they inhabit the neighbourhood, people who don’t necessarily know each other eventually find themselves on the canvas, within the same perimeter. In most paintings, an aerial gaze plunges into an urban-rural landscape. It is here, at the city’s periphery, that several decades of history are distilled. Other series place the characters on sites reminiscent of archaeological ruins or depict interiors where artworks from different times surface in loose renditions, juxtaposing multiple registers and realities. These operate as dynamic lieux de mémoire, engaged in a continuous work of recovering and restoring.

Link in bio to the full article.

image: Șerban Savu, Electric Man 2, 2022, oil on canvas, cm 50 x 40. Courtesy of the artist.
but



In Șerban Savu’s paintings, common people are going about their daily lives. Having been studied with the patience of a ...
24/09/2024

In Șerban Savu’s paintings, common people are going about their daily lives. Having been studied with the patience of a vo**ur over consecutive days as they inhabit the neighbourhood, people who don’t necessarily know each other eventually find themselves on the canvas, within the same perimeter. In most paintings, an aerial gaze plunges into an urban-rural landscape. It is here, at the city’s periphery, that several decades of history are distilled. Other series place the characters on sites reminiscent of archaeological ruins or depict interiors where artworks from different times surface in loose renditions, juxtaposing multiple registers and realities. These operate as dynamic lieux de mémoire, engaged in a continuous work of recovering and restoring.

Link in bio to the full article.
but



Our collaboration with Nuovi Studi, the main Italian academic journal on art history follows up, with in depth study by ...
05/09/2024

Our collaboration with Nuovi Studi, the main Italian academic journal on art history follows up, with in depth study by Professor Stefania Buganza about Lombard master Bernardo Zenale's last years.
Link in bio.

Our collaboration with Nuovi Studi, the main Italian academic journal on art history follows up, with in depth study by ...
05/09/2024

Our collaboration with Nuovi Studi, the main Italian academic journal on art history follows up, with in depth study by Professor Stefania Buganza about Lombard master Bernardo Zenale's last years. Link in bio.

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