Milan

 Lion Attacking a Horse , 4th century BCE, pentelic marble. © Roma, Sovrintendenza Capitolina ai Beni Culturali. Courtesy: Archivio Fotografico dei Musei Capitolini, Rome

Lion Attacking a Horse, 4th century BCE, pentelic marble. © Roma, Sovrintendenza Capitolina ai Beni Culturali. Courtesy: Archivio Fotografico dei Musei Capitolini, Rome

The third exhibition in a research series on Greco-Roman antiquities at Fondazione Prada, Milan, uncovers the tears, sutures, and grafts of capital-H History.

 Edward & Nancy Reddin Kienholz Jody, Jody, Jody , 1993–94   Installation view Fondazione Prada, Milan  Photo: Delfino Sisto Legnani Studio Courtesy Fondazione Prada

Edward & Nancy Reddin Kienholz
Jody, Jody, Jody, 1993–94
 

Installation view Fondazione Prada, Milan 

Photo: Delfino Sisto Legnani Studio
Courtesy Fondazione Prada

Joanna Fiduccia on "Kienholz: Five Car Stud" at Fondazione Prada in Milan

 The Dadaists audience: themselves,  Berlin 1920 Opening with Hannah Höch, Otto Schmalhausen, Raoul Hausmann, John Heartfield mit Kind, Otto Burchard, Margarete und Wieland Herzfelde, Rudolf Schlichter, Ludwig Mies van der Rohe (?), Unbekannt und Johannes Baader

The Dadaists audience: themselves, Berlin 1920

Opening with Hannah Höch, Otto Schmalhausen, Raoul Hausmann, John Heartfield mit Kind, Otto Burchard, Margarete und Wieland Herzfelde, Rudolf Schlichter, Ludwig Mies van der Rohe (?), Unbekannt und Johannes Baader

The field of art is considered to be free, open and accessible to everyone. In reality, no outsiders have been spotted here for a long time. Does “art audience” today really only mean people who have an (economic) interest in the art world? Is anyone immune to the half-drunk advances of its warped social economy? Are we all alone? With these questions in mind, our reporter Elvia Wilk went from Berlin to Venice to the hotspots of this summer's art viewing and asked people.