Federica Schneck, classe 1996, è una giornalista specializzata in arte contemporanea.
Laureata in Storia dell'arte contemporanea presso l'Università di Pisa, il suo lavoro nasce da una profonda fascinazione per il modo in cui le pratiche artistiche operano all’interno, e in contrapposizione, alle strutture sociali e politiche del nostro tempo.
Si occupa delle trasformazioni del sistema dell'arte contemporanea, del dialogo tra ricerche emergenti e patrimonio culturale, del mercato, delle istituzioni e delle fiere internazionali.
Alla scrittura giornalistica affianca quella critica, con testi per artisti, gallerie e collezioni private.
All the articles by Federica Schneck on Finestre sull'Arte
Entering MoMA, the Museum of Modern Art in New York City, and standing in front of a Nakagin Capsule Tower capsule produces an ambiguous feeling. It is not awe in the traditional sense, it is something more unstable: the perception of standing before...
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There is something almost obsessive about the way the Italian cultural system continues to summon Antonio Ligabue. The exhibition The Roar of the Soul, set up at the Arsenali Repubblicani in Pisa, is just the latest act in a liturgy that has been rep...
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Anancient oasis, sculpted by red sand canyons and centuries-old palm groves, is being transformed into one of the boldest cultural geographies of the 21st century. Al-'Ula (or AlUla), a remote region in northwesternSaudi Arabia, is no longer just a U...
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Something profound is happening in the contemporary art world: the increasingly visible entry of neurodivergent experiences, not only as the subject of works, but as a force that transforms display, perception, and visual language itself. Museum inst...
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It used to be an underground gesture, an illegal act, a visual urgency that broke into the urban fabric to contest, to disturb, to dialogue. Today, street art fills the pages of art magazines, is commissioned by public administrations, attracts touri...
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We live in an age when everything is photographed. Breakfast, sunsets, concerts, dogs, cats, plates of pasta. And it is absolutely normal thatart , too, enters this continuous flow of images. Yet, incredibly, right here we encounter the highest wall:...
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Contemporary art, since its beginnings, has often made provocation one of its favorite tools. To provoke means to stir, to shake, to destabilize. To trigger a friction between the work and the viewer. To break aesthetic, moral, political customs. But...
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It was Feb. 20, 1909, when Filippo Tommaso Marinetti leapt onto the front page of Le Figaro, after first publishing in a number of Italian newspapers (starting with the Gazzetta dell'Emilia on Feb. 5) a text that still vibrates like a battering ram, ...
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