Rembrandt’s paintings are no longer hidden treasures: technical inventions unveil information underneath the surface and share the genius’s oeuvre. What happens when aesthetically and conceptually better reconstructions are omnipresent?
Loredana Pazzini-Paracciani is curator of the exhibition 'Diaspora: Exit, Exile, Exodus of Southeast Asia' in the MAIIAM Contemporary Art Museum. Leonor Veiga interviewed her about the exhibition and her experience as a curator.
After a visitor broke Jeff Koons' Gazing Ball (Perugino Madonna and Child with Four Saints), which was exhibited in the Nieuwe Kerk, the curator expressed his surprise about visitors touching art. In this post I argue that it is actually common practice.