Here we are again, this time, rounding out our sixth year with 4,000 pages of Articles, Profiles, and Announcements in our growing archive and over 3.5 million visits strong. A very exciting journey it has been, indeed. With our sixth year anniversary Prescription, we continue to move forward.

From its conception, Artpil strove to profile artists, museums and galleries, along with other entities in the art world, and put forth articles and interviews, reviews and exhibition guides, as well as general musings related to all that is modern and contemporary in the world of art. We have succeeded in building a network of individuals and organizations helping to deliver our mission. We have since covered some remarkable subjects.

In our early days we followed festivals and art fairs, from Frieze to Basel, and Biennales from Venice to Berlin; We have since revisited them and added to the itinerary Expo Chicago, Busan Biennale, Design Shanghai, Bienal São Paulo, SPARK Art Fair Vienna, and Belfast Photo Festival. We had descended on Design in Milan, and The Armory in New York; we continue with DESIGNART in Tokyo, the Sydney Festival, Luxembourg Art Week, Photo London and London Art Fair along with PRIZM and CHART. We followed everything from FIAC to Art Paris, Paris Photo, ARCO to Volta and Latin American Foto Festival, and mirrored the movable feasts of Documenta in Kassel and Manifesta in Palermo. We had sprung for La Nuit Blanche, and ran with MOMENTUM and RIBOCA, turning in Concéntrico and making Les Rencontres in Arles.

We pushed forward the emerging, from Foam Talent to Circulation(s) 12th Edition, from Art Next to Next Wave and Voies Off, along with Film festivals from Aesthetica Shorts Film Festival to Locarno, DOCfield to Artecinema 22nd Edition and the Seattle International Film Festival 2023, as well as the premiers and the avant premières of Pure Hearts, Wonderstruck, and Sons of Cain, along with the global film festival online, We Are One. We brought hope with the late Ryuichi Sakamoto’s sublime Coda.

Again we celebrated International Women’s Day, bringing on a new survey of The Female Gaze in cinema, presented the series Women of Meridione by Ornella Mazzola and traced the difficult Shadow Pandemic during the confinement. We continue to elevate our own 30 Under 30 Women Photographers to new heights for its 14th Edition, today with a collective of 420 artists, looking further into the future.

We opened discussions, old and new, with Dialogues with Solitudes by Dave Heath and Imogen Stidworthy’s Dialogues with People. We peered through the lens of Gail Albert Halaban with Out of My Window and into the intense Bright Black World of Todd Hido, the Inner Songes of Jens Fänge and Only Barely Still by Catherine Lemblé. We saw The City (And a Few Lonely People) and explored The Space Between Us and Living Encounters at Kiasma.

We revisited the award winners of Sony World Photography and World Press Photos, along with Beazley Designs of the Year with The Design Museum and the Photobooks of the Year presented by American Suburb X. We updated the roster for the Turner Prize and toured the Baltics with Calvert 22’s New East Photo Prize. We will continue to share opportunities like the Portrait Prize from the recently reopened National Portrait Gallery, Urbanautica’s Annual Awards, the LensCulture Awards, the W. Eugene Smith Photography Grant, Luis Valtueña Humanitarian Photo Competition, the Residency Program at WIELS, and Magnum Foundation’s Fellowship. Our own Beatrice Sacco interviewed the winner of OGR Award 2023, Rebeca Romero and reposted Art Will Set You Free, Ada Pîrvu of Classiq Journal in conversation with Photographer Bill Phelps.

We were present at BAM’s Winter/Spring Season and we danced, side by side, with Emma Portner’s mesmerizing performance Femme Debout, fearless in the face of Francis Bacon and Alberto Giacometti at Fondation Beyeler. We had gone literary with Invisible Cities inspired by Italo Calvino, The Whiteness of the Whale, and Journeys with the Waste Land with T.S. Eliot. We add now to the library Poetic Techniques, with writers such as Borges, Kafka, and Hart Crane.

We entered into fashion with Photo Vogue Festival, Tina Berning & Di Battista’s Confluence, Rei Kawakubo / Comme des Garçons at The Met, scoped out Fashionclash after parties and strutted the catwalks of Tbilisi Fashion Week, presenting Foam’s Adorned: The Fashionable Show. and went Beyond Fashion with FEP Foundation for the Exhibition of Photography. We previewed the mysterious creations of Maurizio Amadei and bowed to the Icons of Style.

We crossed time zones into Futures Past & Present, Framing Time, Past Forward for Architecture & Design with Post-Soviet Visions, Futurities, Uncertain with Cornell Council for the Arts and relived Aesthetica’s Future Now Symposium, Neues Museum’s Edition Block covering Alicja Kwade to Joseph Beuys, went Post-Capital: Art and the Economics of the Digital Age at Mudam Luxembourg and featured the FUTURES Artists Nominated.

While in the West, the U.S. and Brazil suffered cutbacks in the arts and humanities, thwarting progress and rewriting history, we considered Art & Politics of the White House, dove into Video Art in Latin America, and examined the Soul of a Nation. While in Europe and elsewhere gave rise to the sentiment of wanting to isolate and disband and politicians were becoming forgetful we called upon Fondation Carmignac’s Inner Island, the Anatomy of Political Melancholy. and Acts of Empathy.

While elected officials were debating whether or not to uphold promised reparations for historic atrocities, we recognized the Native American presence with Let Us Now Give Thanks, surveyed Haitian Art, supported the movement of #WhileBlack and bore witness to A Matter of Black Lives and dedicated our Prescription to Black History Month.

We honored the birthday of Dr. Martin Luther King, Jr. and the Civil Rights Movement with legendary photographers such as Bruce Davidson and Gordon Parks, and remembered the passing of David Goldblatt and John Morris. We rejoiced in the hope of RaMell Ross’s acclaimed Hale County This Morning, This Evening and Gillian Laub’s Southern Rites.

While Princes were being gifted gold-plated automatic weapons and nuclear secrets, and leaders were making real-estate deals, moving embassies for political positioning or building settlements on contested lands christening them after demagogues, we presented Matthias Bruggmann’s An Act of Unspeakable Violence and became witness to the Human Rights Watch Film Festivals at TIFF & Lincoln Center. We espoused The Defense of Our Freedoms.

With the rise of global issues of migration and race tensions, we traced Claude Iverné’s passage through Bilad es Sudan, Luca Sola’s Stimela Project, Navigating North with Kiasma as well as putting into the spotlight such artists as Ai Weiwei and John Akomfrah and their epic works of Human Flow and Signs of Empire. We showcased Richard Avedon and James Baldwin’s poignant collaboration, Nothing Personal, and with the help of Banu Cennetoğlu we gave audience to The List of fallen migrants. Where previously we took a knee for the NGOs in A Moment of Silence, we then stood with the artists in celebration of the 70 years of Universal Declaration of Human Rights. With Brexit behind us and negociations continuing into the next chapter, we featured Thomas Ralph’s Darkest Hour.

With international lockdowns in place and the global pandemic ravaging every corner of the world, we followed Magnum’s Diary of a Pandemic, and covered Potential Worlds 2 and Between These Folded Walls, Utopia. We featured Sean Scully’s Between Heaven & Earth, Michael Whelan’s The Last Humans, Newsha Tavakolian’s For The Sake of Calmness, National Geographic’s History Defining Moments, and we launched our own Online Exhibitions, recently presenting César Cuspoca’s Afterglow / Korebaju, in memoriam.

While Russia’s aggression in Ukraine continues, we featured such series as Sunset on Ukraine by Thierry Clech, we echoed the statement of resistance from The Calvert Journal; we shared Stephen Shore’s exhibition Survivors in Ukraine and reproduced Ukraine: Updates from Magnum with their photographers reporting from the ground. We presented Modernism in Ukraine with In the Eye of the Storm, and featured Ukrainian artists such as Kristina Podobed, Igor Chakachkov, and the poet Natalka Bilotserkivets.

We covered 30 Years of World Press Photo, 70 Years of Magnum, 100 Years of Bauhaus, and 140 Years of Hochschule Luzern, spanning everything from Aspects of German Art to Camera Austria International, The Art Of The Novembergruppe to The American Document + American Document Part II. From Gesture To Form to the First Lingering Mist of Spring.

With the world opening again and returning to a new normal, we took a First Look with Panopticon, Charging Myths at Z33, presenting Jimmie Durham’s Humanity Is Not a Completed Project at Museo Madre, Boros Foundation’s Collection, along with our own New Year 2023.

We launched our online boutique featuring available Works and Collections with artists including William Cilento, Ana Cavagna Martinez, Alessandro Zanoni, Michael Crouser, Benedetta Ristori, and Emin Mathers, and artists of Loo & Lou Gallery including Flo Arnold, Cedric Le Corf, and Christophe Miralles, among others. We expanded our collaborations adding a jury to our 30 Under 30 Women Photographers, welcoming Iole Pellion di Persano of Recontemporary and Sandrine Servent of Mina Raven.

We were Being Modern, Being Infrastructural. Being Human. Adding to this the other landmark exhibitions: Andreas Gursky’s Retrospective, Work in Color of Vivian Maier, Aperture Photographs, The Spreads of Robert Rauschenberg, Retrospektive of Saul Leiter, Lynette Yiadom-Boakye’s Fly in League with the Night at Mudam, Sean Scully The Passenger at MSU Zagreb, Deana Lawson landmark travelling Exhibition organized by ICA Boston/MoMA PS1 continuing to the High Museum of Art, Frank Walter, A Retrospective at MMK Frankfurt, Tyler Mitchell’s I Can Make You Feel Good organized by the ICP, and MoMA’s Companion Pieces, Sally Mann’s unforgettable A Thousand Crossings, Irving Penn’s Exhibition at the Grand Palais, An Art of Changes by Jasper Johns at the Walker Art Center, as well as covering on location their collection on loan of American Art at Palazzo Strozzi…. And with such poetic titles as Alec Soth’s I Know How Furiously Your Heart Is Beating taken from Wallace Stevens, how could we resist?

We have you to thank, each and every one of you, for being here with us as we move forward. Welcome to your world.

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