The first event not to be missed is the solo exhibition by Sandy Skoglund, entitled In Wonderland. The exhibition, organized in collaboration with Paci Contemporary (Brescia-Porto Cervo, IT), the artist's reference gallery, presents approximately seventy photographs large and medium format, ranging from early projects such as American vacation motel cabins (1974) and Reflections in a mobile home (1977), where the characteristic themes of the domestic interior and its transformation into a place where everyday life and fairy-tale aspects coexist, already emerge, to the most famous works of staged photography of the 90s, of which she is one of the major exponents, in which she revisits familiar environments with improbable colours, invaded by squirrels, flying fish, green cats and more, until arriving at Winter (2008-2018) one of his most appreciated and recognized works; second chapter of the series The Four Seasons, where Sandy Skoglund offers a unique vision of winter, populated by sculptures of owls and snowflakes, called Eyeflakes. American artist Sandy Skoglund (Weymouth, Massachusetts, 1946), whose works are held in the most prestigious collections worldwide, from the Centre Pompidou in Paris to the Getty Museum in Los Angeles, from the Metropolitan Museum of Art and the Whitney Museum in New York to the Denver Museum, is famous for her settings of a surreal universe in which objects, architecture and extras come together under her careful direction. Her images are the result of long and meticulous work, which begins with the construction of a set that the artist then photographs; in this scenography, each element is a work in itself; the figures that inhabit it, hand-crafted with various techniques, from terracotta to bronze, to 3D digital modeling, give body to an idea of a total work of art, where the installation, sculptural and photographic moments coexist. The shot of each individual representation is only the final gesture of a process that often requires several months for its careful and meticulous composition.
At the same time, from June 14 to September 7, 2025, the Cavallerizza hosts a tribute to Tinto Brass, one of the most controversial protagonists of national and international cinema.
The exhibition, entitled SO MUCH ABOUT TINTO. Eroticism according to Tinto Brass, curated by Renato Corsini and Caterina Varzi, curator of the Tinto Brass Archive and the promotion of his work. The exhibition develops through a collection of over 100 shots by Gianfranco Salis, a photographer who has shared an intense artistic partnership with the Venetian director for over forty years, and retraces the erotic period of Brass' production – from La chiave (1983) to Courbet hotel (2009).The exhibition documents Brass' creative journey, between on-set photographs and moments off the set, offering an original look at the human and artistic experience that animated his cinematographic career.A special section is dedicated to The meat is tender, a film that remained unfinished due to the death of the producer after only three weeks of filming. The images collected by Salis during that short period convey the visual power of a work that was never finished, but is still alive in the director's memory. The exhibition is completed by a selection of film posters, witnesses to the graphic and communicative evolution of Brass's universe, between visual suggestions, provocation and freedom of expression.
Until August 24, 2025, at the Santa Giulia Museum in Brescia, the extensive retrospective continues – the first real anthology ever organized in Italy – capable of retracing the entire career of Joel Meyerowitz (New York, 1938), one of the protagonists of the contemporary photography scene. The exhibition, curated by Denis Curti, promoted by the Municipality of Brescia and the Brescia Musei Foundation, in collaboration with the Joel Meyerowitz Photography Archive of New York, features over 90 images organized by thematic chapters, many of which have helped redefine the concept of Streetphotography, within which Joel Meyerowitz makes his entrance by introducing the use of color to interpret and fully grasp the complexity of the modern world.
Cover image: Gianfranco Salis, Anna Ammirati on the set of the film Monella, 1998, Courtesy Archivio Tinto Brass
