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		<loc>https://www.arteecritica.it/eventualmente-femminile-la-materia-sensibile/</loc>
		<lastmod>2023-07-21T13:23:05+00:00</lastmod>
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			<image:title><![CDATA[_DSC6805-min]]></image:title>
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		<loc>https://www.arteecritica.it/il-concetto-di-margine-di-eugenio-tibaldi/</loc>
		<lastmod>2023-07-21T13:24:13+00:00</lastmod>
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			<image:title><![CDATA[5_Eugenio Tibaldi,Scompiglio-min]]></image:title>
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			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/11/STUDIO1.jpg</image:loc>
			<image:title><![CDATA[Eugenio Tibaldi, Studio sulle architetture minime n. 29,  acrilico bianco su stampa fotografica. Foto Amedeo Benestante. Courtesy l'artista e Galleria Umberto Di Marino, Napoli]]></image:title>
			<image:caption><![CDATA[Eugenio Tibaldi, Studio sulle architetture minime n. 29, acrilico bianco su stampa fotografica. Foto Amedeo Benestante. Courtesy l'artista e Galleria Umberto Di Marino, Napoli]]></image:caption>
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			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/11/HABITAT-01-installazione-ambientale-cortesy-la-galleria-Nazionale-di-Roma-e-l_artista-foto-A.G.-Onofri-min.jpg</image:loc>
			<image:title><![CDATA[Eugenio Tibaldi, Habitat 01, veduta della mostra Notturno con figura, 2020, La Galleria Nazionale, Roma. Foto A.G. Onofri. Courtesy La Galleria Nazionale, Roma e l'artista ]]></image:title>
			<image:caption><![CDATA[Eugenio Tibaldi, Habitat 01, veduta della mostra Notturno con figura, 2020, La Galleria Nazionale, Roma. Foto A.G. Onofri. Courtesy La Galleria Nazionale, Roma e l'artista ]]></image:caption>
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	<url>
		<loc>https://www.arteecritica.it/textus-sensoriale-e-intrecci-emotivi-conversazione-con-paola-anziche/</loc>
		<lastmod>2023-07-21T13:24:26+00:00</lastmod>
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			<image:loc>https://www.arteecritica.it/wp-content/uploads/2022/04/Aggrovigliamenti-2009-courtesy-Fondazione-Merz-foto-di-Claudio-Cravero-min-1-e1650398112983.jpg</image:loc>
			<image:title><![CDATA[Aggrovigliamenti (2009) courtesy Fondazione Merz foto di Claudio Cravero-min]]></image:title>
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	<url>
		<loc>https://www.arteecritica.it/alla-radice-della-visione-alessandro-roma/</loc>
		<lastmod>2023-07-21T13:24:44+00:00</lastmod>
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			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/12/It-is-updife-down-maybe.-2017-8-courtesy-Artist-min-e1638816474932.jpg</image:loc>
			<image:title><![CDATA[It is updife down, maybe. 2017 8 courtesy Artist-min]]></image:title>
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			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/12/My-head-inside-the-Nature-2019-ceramica-smaltata-50x35x35.cm-courtesy-Artist-and-KeikoYamamoto-gallery-Ph-Alexander-Christie-3-min.jpg</image:loc>
			<image:title><![CDATA[Alessandro Roma, My head inside the Nature, 2019. Foto Alexander Christi. Courtesy l'artista e Yamamoto Keiko Rochaix, Londra]]></image:title>
			<image:caption><![CDATA[Alessandro Roma, My head inside the Nature, 2019, ceramica smaltata, cm 50x35x35. Foto Alexander Christi. Courtesy l'artista e Yamamoto Keiko Rochaix, Londra]]></image:caption>
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			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/12/2019-installation-viewThalie-Foundation-Bxl-min.jpg</image:loc>
			<image:title><![CDATA[Alessandro Roma, En même temps, elle sentit la matière du ciel, 2019, veduta della mostra, 2019, Fondation Thalie, Bruxelles. Courtesy l'artista / Fondation Thalie, Bruxelles]]></image:title>
			<image:caption><![CDATA[Alessandro Roma, En même temps, elle sentit la matière du ciel, 2019,  veduta della mostra, 2019, Fondation Thalie, Bruxelles. Courtesy l'artista / Fondation Thalie, Bruxelles]]></image:caption>
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			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/12/2018-Vertigo-walking-on-the-edge-of-the-tone-Mic-Museum-Faenza-courtesy-Artist-and-Mic-min.jpg</image:loc>
			<image:title><![CDATA[Alessandro Roma, Vertigo. Walking on the edge of the tone, veduta della mostra, 2018, MIC Museo della Ceramica, Faenza. Courtesy l'artista / MIC Museo della Ceramica]]></image:title>
			<image:caption><![CDATA[Alessandro Roma, Vertigo. Walking on the edge of the tone, veduta della mostra, 2018, MIC Museo della Ceramica, Faenza. Courtesy l'artista / MIC Museo della Ceramica]]></image:caption>
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	<url>
		<loc>https://www.arteecritica.it/flip-project-un-giardino-in-movimento/</loc>
		<lastmod>2023-07-21T13:25:41+00:00</lastmod>
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			<image:loc>https://www.arteecritica.it/wp-content/uploads/2022/08/8-min-1-e1660298557539.jpg</image:loc>
			<image:title><![CDATA[8-min]]></image:title>
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			<image:loc>https://www.arteecritica.it/wp-content/uploads/2022/08/8-min.jpg</image:loc>
			<image:caption><![CDATA[Enzo Cucchi, Gianni Politi, Napoli, 2022, veduta dell'installazione, L'Arsenale di Napoli. Courtesy Flip Project]]></image:caption>
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			<image:loc>https://www.arteecritica.it/wp-content/uploads/2022/08/%C2%A9-Amedeo-Benestante_11-min.jpg</image:loc>
			<image:title><![CDATA[una veduta della mostra Our slice of time together, 2021-2022, Flip Project, Napoli. Foto Amedeo Benestante. Courtesy Flip Project ]]></image:title>
			<image:caption><![CDATA[una veduta della mostra Our slice of time together, 2021-2022, Flip Project, Napoli. Foto Amedeo Benestante. Courtesy Flip Project]]></image:caption>
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			<image:loc>https://www.arteecritica.it/wp-content/uploads/2022/08/1-The-uncertainty-of-space-time-a-constellation-of-parallel-worlds.-ph-Danilo-Donzelli-min.jpg</image:loc>
			<image:title><![CDATA[una veduta della mostra The uncertainty of space-time: a constellation of parallel worlds  through the obsession of collecting, 2020, Galleria Umberto Di Marino, Napoli. Foto Danilo Donzelli. Courtesy Flip Project]]></image:title>
			<image:caption><![CDATA[una veduta della mostra The uncertainty of space-time: a constellation of parallel worlds  through the obsession of collecting, 2020, Galleria Umberto Di Marino, Napoli. Foto Danilo Donzelli. Courtesy Flip Project]]></image:caption>
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			<image:loc>https://www.arteecritica.it/wp-content/uploads/2022/08/3_DSC3515-min.jpg</image:loc>
			<image:title><![CDATA[Helena Hladilová, Hafgufa, dettaglio, 2022, Flip Project, Napoli. Foto Amedeo Benestante ]]></image:title>
			<image:caption><![CDATA[Helena Hladilová, Hafgufa, dettaglio, 2022, Flip Project, Napoli. Foto Amedeo Benestante ]]></image:caption>
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			<image:loc>https://www.arteecritica.it/wp-content/uploads/2022/08/euro-archivi-banco-di-napoli-ph-Danilo-Donzelli-min.jpg</image:loc>
			<image:title><![CDATA[Diego Tonus, Euro, 2019, performance, Fondazione ilCartastorie – Archivi Storici del Banco di Napoli. Foto Danilo Donzelli. Courtesy Flip Project]]></image:title>
			<image:caption><![CDATA[Diego Tonus, Euro, 2019, performance, Fondazione ilCartastorie – Archivi Storici del Banco di Napoli. Foto Danilo Donzelli. Courtesy Flip Project]]></image:caption>
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			<image:loc>https://www.arteecritica.it/wp-content/uploads/2022/08/Romeo-Photo-credit-Amedeo-Benestante.jpg</image:loc>
			<image:title><![CDATA[una veduta della mostra Romeo, 2018, Ciro Romeo Frutta, Napoli. Foto Amedeo Benestante. Courtesy Flip Project]]></image:title>
			<image:caption><![CDATA[una veduta della mostra Romeo, 2018, Ciro Romeo Frutta, Napoli. Foto Amedeo Benestante. Courtesy Flip Project]]></image:caption>
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			<image:loc>https://www.arteecritica.it/wp-content/uploads/2022/08/how-to-make-a-delicious-tea-II-.-feb.-2012.-ART-METROPOLE-.-Toronto-min.jpg</image:loc>
			<image:title><![CDATA[una veduta della mostra Flip: how to make a delicious tea II, 2012, Art Metropole, Toronto. Courtesy Flip Project]]></image:title>
			<image:caption><![CDATA[una veduta della mostra Flip: how to make a delicious tea II, 2012, Art Metropole, Toronto. Courtesy Flip Project]]></image:caption>
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			<image:loc>https://www.arteecritica.it/wp-content/uploads/2022/08/photo-by-Diana-Cimino-Cocco.jpg</image:loc>
			<image:title><![CDATA[una veduta della mostra Display: mediating landscape, 2014, Sala Murat, Bari. Foto Diana Cimino Cocco. Courtesy Flip Project]]></image:title>
			<image:caption><![CDATA[una veduta della mostra Display: mediating landscape, 2014, Sala Murat, Bari. Foto Diana Cimino Cocco. Courtesy Flip Project]]></image:caption>
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	<url>
		<loc>https://www.arteecritica.it/lumanita-degli-oggetti-the-humanness-of-objects-jason-dodge-giovanni-termini/</loc>
		<lastmod>2023-07-21T13:25:59+00:00</lastmod>
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			<image:loc>https://www.arteecritica.it/wp-content/uploads/2022/12/220920077-e1670435101800.jpg</image:loc>
			<image:title><![CDATA[220920077]]></image:title>
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			<image:loc>https://www.arteecritica.it/wp-content/uploads/2022/12/220920101-min.jpg</image:loc>
			<image:title><![CDATA[Jason Dodge / Giovanni Termini, L'umanità degli oggetti, veduta della mostra, 2022, Kappa Nöun, San Lazzaro di Savena (BO)]]></image:title>
			<image:caption><![CDATA[Jason Dodge / Giovanni Termini, L'umanità degli oggetti, veduta della mostra, 2022, Kappa Nöun, San Lazzaro di Savena (BO)]]></image:caption>
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			<image:loc>https://www.arteecritica.it/wp-content/uploads/2022/12/220920025-min.jpg</image:loc>
			<image:title><![CDATA[Jason Dodge / Giovanni Termini, L'umanità degli oggetti, veduta della mostra, 2022, Kappa Nöun, San Lazzaro di Savena (BO)]]></image:title>
			<image:caption><![CDATA[Jason Dodge / Giovanni Termini, L'umanità degli oggetti, veduta della mostra, 2022, Kappa Nöun, San Lazzaro di Savena (BO)]]></image:caption>
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			<image:loc>https://www.arteecritica.it/wp-content/uploads/2022/12/220920081-min.jpg</image:loc>
			<image:title><![CDATA[Jason Dodge / Giovanni Termini, L'umanità degli oggetti, veduta della mostra, 2022, Kappa Nöun, San Lazzaro di Savena (BO)]]></image:title>
			<image:caption><![CDATA[Jason Dodge / Giovanni Termini, L'umanità degli oggetti, veduta della mostra, 2022, Kappa Nöun, San Lazzaro di Savena (BO)]]></image:caption>
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			<image:loc>https://www.arteecritica.it/wp-content/uploads/2022/12/2209200341-min.jpg</image:loc>
			<image:title><![CDATA[Jason Dodge / Giovanni Termini, L'umanità degli oggetti, veduta della mostra, 2022, Kappa Nöun, San Lazzaro di Savena (BO)]]></image:title>
			<image:caption><![CDATA[Jason Dodge / Giovanni Termini, L'umanità degli oggetti, veduta della mostra, 2022, Kappa Nöun, San Lazzaro di Savena (BO)]]></image:caption>
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			<image:loc>https://www.arteecritica.it/wp-content/uploads/2022/12/2209200151-min.jpg</image:loc>
			<image:title><![CDATA[Jason Dodge / Giovanni Termini, L'umanità degli oggetti, veduta della mostra, 2022, Kappa Nöun, San Lazzaro di Savena (BO)]]></image:title>
			<image:caption><![CDATA[Jason Dodge / Giovanni Termini, L'umanità degli oggetti, veduta della mostra, 2022, Kappa Nöun, San Lazzaro di Savena (BO)]]></image:caption>
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			<image:loc>https://www.arteecritica.it/wp-content/uploads/2022/12/220920127-min.jpg</image:loc>
			<image:title><![CDATA[Jason Dodge / Giovanni Termini, L'umanità degli oggetti, veduta della mostra, 2022, Kappa Nöun, San Lazzaro di Savena (BO)]]></image:title>
			<image:caption><![CDATA[Jason Dodge / Giovanni Termini, L'umanità degli oggetti, veduta della mostra, 2022, Kappa Nöun, San Lazzaro di Savena (BO)]]></image:caption>
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	</url>
	<url>
		<loc>https://www.arteecritica.it/giuseppe-penone-lessenza-dellesistente/</loc>
		<lastmod>2023-07-21T13:30:17+00:00</lastmod>
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			<image:loc>https://www.arteecritica.it/wp-content/uploads/2022/07/4.-min.jpg</image:loc>
			<image:title><![CDATA[4. -min]]></image:title>
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			<image:loc>https://www.arteecritica.it/wp-content/uploads/2022/07/1.-min.jpg</image:loc>
			<image:title><![CDATA[Giuseppe Penone nel suo studio a Torino, novembre 2016 © Archivio Penone. Foto Angela Moore]]></image:title>
			<image:caption><![CDATA[Giuseppe Penone nel suo studio a Torino, novembre 2016 © Archivio Penone. Foto Angela Moore]]></image:caption>
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		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2022/07/2-min.jpg</image:loc>
			<image:title><![CDATA[una veduta della mostra Giuseppe Penone: Equivalenze, 2017, Gagosian Gallery, Roma © Giuseppe Penone. Foto Matteo D'Eletto, M3 Studio. Courtesy Gagosian Gallery]]></image:title>
			<image:caption><![CDATA[una veduta della mostra Giuseppe Penone: Equivalenze, 2017, Gagosian Gallery, Roma © Giuseppe Penone. Foto Matteo D'Eletto, M3 Studio. Courtesy Gagosian Gallery]]></image:caption>
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		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2022/07/7.-min.jpg</image:loc>
			<image:title><![CDATA[una veduta della mostra Giuseppe Penone. Images de pierre, 2017, Galleria Tucci Russo, Torre Pellice © Giuseppe Penone. Courtesy Tucci Russo Studio per l’Arte Contemporanea, Torre Pellice/Torino]]></image:title>
			<image:caption><![CDATA[una veduta della mostra Giuseppe Penone. Images de pierre, 2017, Galleria Tucci Russo, Torre Pellice © Giuseppe Penone. Courtesy Tucci Russo Studio per l’Arte Contemporanea, Torre Pellice/Torino]]></image:caption>
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			<image:loc>https://www.arteecritica.it/wp-content/uploads/2022/07/11-min.jpg</image:loc>
			<image:title><![CDATA[Giuseppe Penone, Images de Pierres, 1993 © Giuseppe Penone. Courtesy Tucci Russo Studio per l’Arte Contemporanea, Torre Pellice/Torino]]></image:title>
			<image:caption><![CDATA[Giuseppe Penone, Images de Pierres, 1993 © Giuseppe Penone. Courtesy Tucci Russo Studio per l’Arte Contemporanea, Torre Pellice/Torino]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2022/07/5.-min.jpg</image:loc>
			<image:title><![CDATA[Giuseppe Penone, Foglie di pietra, 2017, Largo Goldoni, Roma © Giuseppe Penone. Courtesy Fendi]]></image:title>
			<image:caption><![CDATA[Giuseppe Penone, Foglie di pietra, 2017, Largo Goldoni, Roma © Giuseppe Penone. Courtesy Fendi]]></image:caption>
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			<image:loc>https://www.arteecritica.it/wp-content/uploads/2022/07/9-min.jpg</image:loc>
			<image:title><![CDATA[Giuseppe Penone, Indistinti confini - Velinus, 2013 © Giuseppe Penone. Courtesy Tucci Russo Studio per l’Arte Contemporanea, Torre Pellice/Torino]]></image:title>
			<image:caption><![CDATA[Giuseppe Penone, Indistinti confini - Velinus, 2013 © Giuseppe Penone. Courtesy Tucci Russo Studio per l’Arte Contemporanea, Torre Pellice/Torino]]></image:caption>
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		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2022/07/8.-min.jpg</image:loc>
			<image:title><![CDATA[Giuseppe Penone, Corpo di pietra- Rami, dettaglio, 2016 © Giuseppe Penone. Courtesy Tucci Russo Studio per l’Arte Contemporanea, Torre Pellice/Torino]]></image:title>
			<image:caption><![CDATA[Giuseppe Penone, Corpo di pietra- Rami, dettaglio, 2016 © Giuseppe Penone. Courtesy Tucci Russo Studio per l’Arte Contemporanea, Torre Pellice/Torino]]></image:caption>
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	</url>
	<url>
		<loc>https://www.arteecritica.it/6-luglio-1968-larte-e-la-critica-a-una-svolta-un-documento-inedito-conservato-da-tommaso-trini-per-oltre-cinquantanni-consente-alcune-riflessioni-su-quel-frangente-storico-e-sugli/</loc>
		<lastmod>2023-07-22T10:53:46+00:00</lastmod>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2023/07/1-min-e1689169682848.jpg</image:loc>
			<image:title><![CDATA[1-min]]></image:title>
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			<image:loc>https://www.arteecritica.it/wp-content/uploads/2023/07/6-min.jpg</image:loc>
			<image:title><![CDATA[Un ritratto di Tommaso Trini nel 1968]]></image:title>
			<image:caption><![CDATA[Un ritratto di Tommaso Trini nel 1968]]></image:caption>
		</image:image>
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			<image:loc>https://www.arteecritica.it/wp-content/uploads/2023/07/1-min-1.jpg</image:loc>
			<image:title><![CDATA[Tommaso Trini con Ciacia in una riunione di redazione di “DATA” nel pulmino di Marina Abramović e Ulay a Milano alla fine degli anni Sessanta]]></image:title>
			<image:caption><![CDATA[Tommaso Trini con Ciacia in una riunione di redazione di “DATA” nel pulmino di Marina Abramović e Ulay a Milano alla fine degli anni Sessanta]]></image:caption>
		</image:image>
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			<image:loc>https://www.arteecritica.it/wp-content/uploads/2023/07/2-min-1.jpg</image:loc>
			<image:title><![CDATA[Alberto Boatto di fianco al Grande Vetro di Duchamp nel Museo di Philadelphia alla metà degli anni Sessanta]]></image:title>
			<image:caption><![CDATA[Alberto Boatto di fianco al Grande Vetro di Duchamp nel Museo di Philadelphia alla metà degli anni Sessanta]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2023/07/4-min.jpg</image:loc>
			<image:title><![CDATA[Pino Pascali e Alberto Boatto nel 1967]]></image:title>
			<image:caption><![CDATA[Pino Pascali e Alberto Boatto nel 1967]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2023/07/8-min.jpg</image:loc>
			<image:title><![CDATA[Pino Pascali in mezzo al pubblico ai Giardini della Biennale nel 1968]]></image:title>
			<image:caption><![CDATA[Pino Pascali in mezzo al pubblico ai Giardini della Biennale nel 1968]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2023/07/12-min.jpg</image:loc>
			<image:title><![CDATA[Copertina dell’ultimo numero di “Cartabianca” diretto da Adele Cambria]]></image:title>
			<image:caption><![CDATA[Copertina dell’ultimo numero di “Cartabianca” diretto da Adele Cambria]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2023/07/16-min.jpg</image:loc>
			<image:title><![CDATA[Pino Pascali con Colomba della pace, l’opera messa in copertina nel numero speciale di “Cartabianca” dedicato a Contestazione estetica e azione politica]]></image:title>
			<image:caption><![CDATA[Pino Pascali con Colomba della pace, l’opera messa in copertina nel numero speciale di “Cartabianca” dedicato a Contestazione estetica e azione politica]]></image:caption>
		</image:image>
	</url>
	<url>
		<loc>https://www.arteecritica.it/per-ali-e-ghiero/</loc>
		<lastmod>2023-07-22T10:56:06+00:00</lastmod>
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			<image:loc>https://www.arteecritica.it/wp-content/uploads/2023/07/1-e1689586592407.jpg</image:loc>
			<image:title><![CDATA[AeC 96.indd]]></image:title>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2023/07/1-min-4.jpg</image:loc>
			<image:title><![CDATA[Alighiero Boetti e Matteo Boetti a Kabul, 1977]]></image:title>
			<image:caption><![CDATA[Alighiero Boetti e Matteo Boetti a Kabul, 1977]]></image:caption>
		</image:image>
	</url>
	<url>
		<loc>https://www.arteecritica.it/campostabile-zone-di-pittura-con-bivacco/</loc>
		<lastmod>2023-07-22T10:57:35+00:00</lastmod>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2023/04/1-min-1-e1681738547332.jpg</image:loc>
			<image:title><![CDATA[1-min]]></image:title>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2023/04/3-min-1.jpg</image:loc>
			<image:title><![CDATA[Campostabile, Mercatorum, 2021, Cornello dei Tasso (BG), installation view, Una Boccata d’Arte, 2021. Photo Studiomare.co. Courtesy Fondazione Elpis and Galleria Continua]]></image:title>
			<image:caption><![CDATA[Campostabile, Mercatorum, 2021, Cornello dei Tasso (BG), installation view, Una Boccata d’Arte, 2021. Photo Studiomare.co. Courtesy Fondazione Elpis and Galleria Continua]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2023/04/5-min-1.jpg</image:loc>
			<image:title><![CDATA[Campostabile, Pool, 2019, installation view, Immersione libera, 2019, Bagni Misteriosi, Milan. Photo Melania Dalle Grave and Agnese Bedini]]></image:title>
			<image:caption><![CDATA[Campostabile, Pool, 2019, installation view, Immersione libera, 2019, Bagni Misteriosi, Milan. Photo Melania Dalle Grave and Agnese Bedini]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2023/04/1-min-2.jpg</image:loc>
			<image:title><![CDATA[Campostabile, Mercatorum, 2021, Cornello dei Tasso (BG), installation view, Una Boccata d’Arte, 2021. Photo Studiomare.co. Courtesy Fondazione Elpis and Galleria Continua]]></image:title>
			<image:caption><![CDATA[Campostabile, Mercatorum, 2021, Cornello dei Tasso (BG), installation view, Una Boccata d’Arte, 2021. Photo Studiomare.co. Courtesy Fondazione Elpis and Galleria Continua]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2023/04/2-min-1.jpg</image:loc>
			<image:title><![CDATA[Campostabile, Untitled (Figs and Almonds), 2014. Courtesy of the artist. Collezione Stanza della Seta, Ficarra (ME)]]></image:title>
			<image:caption><![CDATA[Campostabile, Untitled (Figs and Almonds), 2014. Courtesy of the artist. Collezione Stanza della Seta, Ficarra (ME)]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2023/04/6-min-1.jpg</image:loc>
			<image:title><![CDATA[Campostabile, Abito nella casa di fronte, 2018, installation view, Tutto Porto. Lo spazio cristallino del tungsteno, 2018, Palazzo Briuccia, Palermo. Courtesy the artist]]></image:title>
			<image:caption><![CDATA[Campostabile, Abito nella casa di fronte, 2018, installation view, Tutto Porto. Lo spazio cristallino del tungsteno, 2018, Palazzo Briuccia, Palermo. Courtesy the artist]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2023/04/8-min-1.jpg</image:loc>
			<image:title><![CDATA[Campostabile, Il momento in cui appare, 2019, installation view, Immersione libera, 2019, Bagni Misteriosi, Milan. Photo Melania Dalle Grave and Agnese Bedini Dsl Studio]]></image:title>
			<image:caption><![CDATA[Campostabile, Il momento in cui appare, 2019, installation view, Immersione libera, 2019, Bagni Misteriosi, Milan. Photo Melania Dalle Grave and Agnese Bedini Dsl Studio]]></image:caption>
		</image:image>
	</url>
	<url>
		<loc>https://www.arteecritica.it/lascolto-sta-nel-guardare-come-ci-si-muove-toccando-il-suono-su-derek-mf-di-fabio/</loc>
		<lastmod>2023-07-22T11:35:34+00:00</lastmod>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/11/bark-e1637404634645.jpg</image:loc>
			<image:title><![CDATA[Bark]]></image:title>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/11/1-min.jpg</image:loc>
			<image:title><![CDATA[Derek MF Di Fabio, Erratic Orbits, 2019. Tour and itinerant reading in collaboration with m and “GALLA” helmets. Photo Gloria Pasotti]]></image:title>
			<image:caption><![CDATA[Derek MF Di Fabio, Erratic Orbits, 2019. Tour and itinerant reading in collaboration with m and “GALLA” helmets. Photo Gloria Pasotti]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/11/2-min.jpg</image:loc>
			<image:title><![CDATA[Derek MF Di Fabio, TANA (Megafono), 2020. Reclaimed car pieces, paint. Produced in collaboration with Tana]]></image:title>
			<image:caption><![CDATA[Derek MF Di Fabio, TANA (Megafono), 2020. Reclaimed car pieces, paint. Produced in collaboration with Tana]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/11/6-min.jpg</image:loc>
			<image:title><![CDATA[BARK, 2021. Performers group photo. Photo Sebastiano Pellion Di Persano]]></image:title>
			<image:caption><![CDATA[BARK, 2021. Performers group photo. Photo Sebastiano Pellion Di Persano]]></image:caption>
		</image:image>
	</url>
	<url>
		<loc>https://www.arteecritica.it/tracciare-linvisibile-laura-grisi/</loc>
		<lastmod>2023-07-22T11:39:28+00:00</lastmod>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2023/04/9-e1681216324163.jpg</image:loc>
			<image:title><![CDATA[AeC 96.indd]]></image:title>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2023/04/1-min.jpg</image:loc>
			<image:title><![CDATA[Photograph by Laura Grisi, A nomad and “his mosque” (a stone square in the desert), Saudi Arabia © Laura Grisi Estate]]></image:title>
			<image:caption><![CDATA[Photograph by Laura Grisi, A nomad and “his mosque” (a stone square in the desert), Saudi Arabia © Laura Grisi Estate]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2023/04/4-min.jpg</image:loc>
			<image:title><![CDATA[Laura Grisi, East Village, 1967. Photo Carlo Favero. Courtesy Laura Grisi Estate and P420, Bologna]]></image:title>
			<image:caption><![CDATA[Laura Grisi, East Village, 1967. Photo Carlo Favero. Courtesy Laura Grisi Estate and P420, Bologna]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2023/04/8-min.jpg</image:loc>
			<image:title><![CDATA[Laura Grisi, The Measuring of Time, 1969 © Laura Grisi Estate. Photo Folco Quilici]]></image:title>
			<image:caption><![CDATA[Laura Grisi, The Measuring of Time, 1969 © Laura Grisi Estate. Photo Folco Quilici]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2023/04/6-min.jpg</image:loc>
			<image:title><![CDATA[Laura Grisi and her work Light Melting Time, 1968, installation view, Galleria Del Naviglio, Milan, 1970 © Laura Grisi Estate]]></image:title>
			<image:caption><![CDATA[Laura Grisi and her work Light Melting Time, 1968, installation view, Galleria Del Naviglio, Milan, 1970 © Laura Grisi Estate]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2023/04/5-min.jpg</image:loc>
			<image:title><![CDATA[Laura Grisi, Volume of Air, 1968, installation view, Nuovi Materiali, Nuove Tecniche, Caorle, Venice, 1969 © Laura Grisi Estate]]></image:title>
			<image:caption><![CDATA[Laura Grisi, Volume of Air, 1968, installation view, Nuovi Materiali, Nuove Tecniche, Caorle, Venice, 1969 © Laura Grisi Estate]]></image:caption>
		</image:image>
	</url>
	<url>
		<loc>https://www.arteecritica.it/diego-perrone-stupirsi-e-pensare-lo-stupore-being-amazed-and-thinking-of-the-amazement/</loc>
		<lastmod>2023-07-22T11:43:40+00:00</lastmod>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2022/07/diego-Perrone-Il-Servo-Astuto-2013-e1680877238781.jpg</image:loc>
			<image:title><![CDATA[diego perrone, il servo astuto]]></image:title>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2022/07/diego-Perrone-vittoria-Adolfo-Wildt-2013-min.jpg</image:loc>
			<image:title><![CDATA[Diego Perrone, Vittoria (Adolfo Wildt), 2013. Courtesy Massimo De Carlo, Milan/London/Hong Kong]]></image:title>
			<image:caption><![CDATA[Diego Perrone, Vittoria (Adolfo Wildt), 2013, installation view, 53. Venice Biennale. Courtesy Massimo De Carlo, Milan/London/Hong Kong]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2022/07/diego-Perrone-I-pensatori-di-buchi-2002-min.jpg</image:loc>
			<image:title><![CDATA[Diego Perrone, I pensatori di buchi, 2002. Courtesy Massimo De Carlo, Milan/London/Hong Kong]]></image:title>
			<image:caption><![CDATA[Diego Perrone, I pensatori di buchi, 2002, lambda print mounted on aluminium. Courtesy Massimo De Carlo, Milan/London/Hong Kong]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2022/07/diego-Perrone-Senza-titolo-2016-min-1.jpg</image:loc>
			<image:title><![CDATA[Diego Perrone, Senza titolo, 2016. Photo Roberto Marossi. Courtesy Massimo De Carlo, Milan/London/Hong Kong]]></image:title>
			<image:caption><![CDATA[Diego Perrone, Senza titolo, 2016, glass, 86x80x30 cm. Photo Roberto Marossi. Courtesy Massimo De Carlo, Milan/London/Hong Kong]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2022/07/diego-Perrone-Come-suggestionati-da-quello-che-dietro-di-loro-min.jpg</image:loc>
			<image:title><![CDATA[Diego Perrone, Come suggestionati da quello che dietro di loro rimane  fermo, 2000. Courtesy Massimo De Carlo, Milan/London/Hong Kong]]></image:title>
			<image:caption><![CDATA[Diego Perrone, Come suggestionati da quello che dietro di loro rimane  fermo, 2000, photographic  print  mounted  on  aluminum. Courtesy Massimo De Carlo, Milan/London/Hong Kong]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2022/07/Senza-titolo-1994-min.jpg</image:loc>
			<image:title><![CDATA[Diego Perrone, Senza titolo, 1994. Courtesy  Massimo De Carlo,  Milan/London/Hong  Kong]]></image:title>
			<image:caption><![CDATA[Diego Perrone, Senza titolo, 1994, video, 15’. Courtesy  Massimo De Carlo,  Milan/London/Hong  Kong]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2022/07/diego-Perrone-Herbivorous-Carnivorous-min.jpg</image:loc>
			<image:title><![CDATA[Diego Perrone, Herbivorous Carnivorous, 2017.  Photo Roberto Marossi. Courtesy Massimo De Carlo, Milan/London/Hong Kong]]></image:title>
			<image:caption><![CDATA[Diego Perrone, Herbivorous Carnivorous, 2017, installation view Massimo De Carlo, Milan-Ventura.  Photo Roberto Marossi. Courtesy Massimo De Carlo, Milan/London/Hong Kong]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2022/07/installation-view-53.-venice-Biennale-min.jpg</image:loc>
			<image:title><![CDATA[Diego Perrone, Vittoria (Adolfo Wildt), 2013. Courtesy Massimo De Carlo, Milan/London/Hong Kong]]></image:title>
			<image:caption><![CDATA[Diego Perrone, Vittoria (Adolfo Wildt), 2013, installation view, 53. Venice Biennale. Courtesy Massimo De Carlo, Milan/London/Hong Kong]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2022/07/diego-Perrone-Senza-titolo-2016-min.jpg</image:loc>
			<image:caption><![CDATA[Diego Perrone, Senza titolo, 2016, glass, 62x80x30 cm. Photo Roberto  Marossi. Courtesy  Massimo De Carlo,  Milan/London/Hong Kong]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2022/07/diego-perrone-senza-titolo-min.jpg</image:loc>
			<image:title><![CDATA[Diego Perrone, Senza titolo, 1996. Courtesy Massimo De Carlo, Milan/London/Hong Kong]]></image:title>
			<image:caption><![CDATA[Diego Perrone, Senza titolo, 1996. Courtesy Massimo De Carlo, Milan/London/Hong Kong]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2022/07/diego-Perrone-Senza-titolo-2016-glass-min.jpg</image:loc>
			<image:title><![CDATA[Diego Perrone, Senza titolo, 2016. Photo Roberto Marossi. Courtesy Massimo De Carlo,  Milan/London/Hong Kong]]></image:title>
			<image:caption><![CDATA[Diego Perrone, Senza titolo, 2016, glass, 73x80x34 cm. Photo Roberto Marossi. Courtesy Massimo De Carlo,  Milan/London/Hong Kong]]></image:caption>
		</image:image>
	</url>
	<url>
		<loc>https://www.arteecritica.it/studio-visit-e-tarwuk-alla-collezione-maramotti/</loc>
		<lastmod>2023-07-22T11:46:54+00:00</lastmod>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/12/Collezione-Maramotti_Studio-Visit_102021_0078-min-e1639220072938.jpg</image:loc>
			<image:title><![CDATA[Collezione Maramotti_Studio Visit_10,2021_0078-min]]></image:title>
		</image:image>
	</url>
	<url>
		<loc>https://www.arteecritica.it/mark-dion-by-the-sea/</loc>
		<lastmod>2023-07-22T12:15:30+00:00</lastmod>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/06/immagine-in-evidenza-compressa.jpg</image:loc>
			<image:title><![CDATA[immagine in evidenza compressa]]></image:title>
		</image:image>
	</url>
	<url>
		<loc>https://www.arteecritica.it/luca-vitone-romanistan/</loc>
		<lastmod>2023-07-22T12:29:31+00:00</lastmod>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/02/Vitone-Romanistan-.jpg</image:loc>
			<image:title><![CDATA[Vitone Romanistan]]></image:title>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/02/AeC95-57.jpg</image:loc>
		</image:image>
	</url>
	<url>
		<loc>https://www.arteecritica.it/franco-vimercati-vedere-il-tempo-seeing-time/</loc>
		<lastmod>2023-07-22T12:31:24+00:00</lastmod>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2023/07/2-min-2-e1689433958416.jpg</image:loc>
			<image:title><![CDATA[2-min]]></image:title>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2023/07/1-min-3.jpg</image:loc>
			<image:title><![CDATA[Franco Vimercati, Senza titolo (Zuppiera), 1991. Photo Archivio Franco Vimercati © Eredi Franco Vimercati. Courtesy archivio Franco Vimercati, Milan and Galleria Raffaella Cortese, Milan]]></image:title>
			<image:caption><![CDATA[Franco Vimercati, Senza titolo (Zuppiera), 1991, gelatin silver print, 17.7 × 22.5 cm. ed. 6 + 3aP. Photo Archivio Franco Vimercati © Eredi Franco Vimercati. Courtesy archivio Franco Vimercati, Milan and Galleria Raffaella Cortese, Milan]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2023/07/2-min-3.jpg</image:loc>
			<image:title><![CDATA[Franco Vimercati, Esposizioni multiple, 1999-2020. Photo Archivio Vimercati © Eredi Franco Vimercati. Courtesy Archivio Franco Vimercati, Milan and Galleria Raffaella Cortese, Milan]]></image:title>
			<image:caption><![CDATA[Franco Vimercati, Esposizioni multiple, 1999-2020, series of 5 photographs, gelatin silver prints, 30,5x24,5 cm each. ed.6. Photo Archivio Vimercati © Eredi Franco Vimercati. Courtesy Archivio Franco Vimercati, Milan and Galleria Raffaella Cortese, Milan]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2023/07/4-min-3.jpg</image:loc>
			<image:title><![CDATA[Franco Vimercati, Un minuto, 2020, installation view, Galleria Raffaella Cortese, Milan. Photo Lorenzo Palmieri]]></image:title>
			<image:caption><![CDATA[Franco Vimercati, Un minuto, 2020, installation view, Galleria Raffaella Cortese, Milan. Photo Lorenzo Palmieri]]></image:caption>
		</image:image>
	</url>
	<url>
		<loc>https://www.arteecritica.it/virus-2020-germano-celant-maurizio-calvesi/</loc>
		<lastmod>2023-07-22T14:10:22+00:00</lastmod>
	</url>
	<url>
		<loc>https://www.arteecritica.it/ernesto-de-sousa-arte-contemporanea-portoghese/</loc>
		<lastmod>2023-07-22T14:31:17+00:00</lastmod>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/02/OEI_80-81_release_image_highres-2.jpg</image:loc>
			<image:title><![CDATA[OEI_80-81_release_image_highres]]></image:title>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/02/OEI_80_81-Ernesto-De-Sousa-pagine-da-OEI80-81.jpg</image:loc>
			<image:title><![CDATA[Ernesto De Sousa, Revolution. My Body #2]]></image:title>
			<image:caption><![CDATA[Ernesto De Sousa, Revolution. My Body #2]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/02/OEI_80_81-De-Melo-e-Castro-pagine-da-OEI80-81.jpg</image:loc>
			<image:caption><![CDATA[One can write with this. E.M De Melo e Castro]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/02/OEI_80_81-Alberto_Carneiro-pagine-da-OEI80-81.jpg</image:loc>
			<image:title><![CDATA[Alberto Carneiro, pagine da OEI#80-81]]></image:title>
			<image:caption><![CDATA[Alberto Carneiro, pagine da OEI#80-81]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/02/OEI-Ana-Jotta-pagine-da-OEI80-81.jpg</image:loc>
			<image:title><![CDATA[Ana Jotta, pagine da OEI#80-81]]></image:title>
			<image:caption><![CDATA[Ana Jotta, pagine da OEI#80-81]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/02/OEI_80_81Lourdes-Castro-pagine-da-OEI80-81.jpg</image:loc>
			<image:title><![CDATA[Lourdes Castro, pagine da OEI#80-81]]></image:title>
			<image:caption><![CDATA[Lourdes Castro, pagine da OEI#80-81]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/02/OEI_80_81_cover.jpg</image:loc>
			<image:title><![CDATA[OEI # 80/81. The Zero Alternative: Ernesto De Sousa And Some Other Aesthetic Operators In Portuguese Art And Poetry From The 1960s Onwards]]></image:title>
			<image:caption><![CDATA[C. Grönberg, J. Magnusson (ed.),  OEI # 80/81. The Zero Alternative: Ernesto De Sousa And Some Other Aesthetic Operators In Portuguese Art And Poetry From The 1960s Onwards, OEI Editör, Svezia, 2018]]></image:caption>
		</image:image>
	</url>
	<url>
		<loc>https://www.arteecritica.it/cesare-viel-a-un-passo-dal-vuoto/</loc>
		<lastmod>2023-07-22T15:10:40+00:00</lastmod>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/02/Cesare-Viel_infinita-ricomposizione-immag.in-evidenza-min.jpg</image:loc>
			<image:title><![CDATA[Cesare Viel_infinita ricomposizione-immag.in evidenza-min]]></image:title>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/02/Cesare-Viel-Avvicinandoti-a-distanza-2008-scritta-a-parete-Courtesy-Pinksummer-Genova-Foto-Francesco-Cardarelli.jpg</image:loc>
			<image:title><![CDATA[Cesare Viel, Avvicinandoti a distanza, 2008]]></image:title>
			<image:caption><![CDATA[Cesare Viel, Avvicinandoti a distanza, 2008, scritta a parete. Foto Francesco Cardarelli. Courtesy Pinksummer, Genova]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/02/Cesare-Viel-Esterni-di-se-1998-stampa-fotografica.jpg</image:loc>
			<image:title><![CDATA[Cesare Viel, Esterni di sé, 1998]]></image:title>
			<image:caption><![CDATA[Cesare Viel, Esterni di sé, 1998, stampa fotografica]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/02/Cesare-Viel-Vie-di-fuga-performance-2015-Universita-degli-Studi-Genova-Foto-Margherita-Merega.jpg</image:loc>
			<image:title><![CDATA[Cesare Viel, Vie di fuga, 2015, performance]]></image:title>
			<image:caption><![CDATA[Cesare Viel, Vie di fuga, 2015, performance, Università degli Studi, Genova. Foto Margherita Merega]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/02/Cesare-Viel-Infinita-ricomposizione-perfomance-2015-Courtesy-Pinksummer-Genova-Foto-Francesco-Cardarelli.jpg</image:loc>
			<image:title><![CDATA[Cesare Viel, Infinita ricomposizione, 2015, performance]]></image:title>
			<image:caption><![CDATA[Cesare Viel, Infinita ricomposizione, 2015, performance. Foto Francesco Cardarelli. Courtesy Pinksummer, Genova]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/02/Cesare-Viel-Infinita-ricomposizione-performance-2015-Courtesy-Pinksummer-Genova-Foto-Francesco-Cardarelli.jpg</image:loc>
			<image:title><![CDATA[Cesare Viel, Infinita ricomposizione, 2015, performance]]></image:title>
			<image:caption><![CDATA[Cesare Viel, Infinita ricomposizione, 2015, performance. Foto Francesco Cardarelli. Courtesy Pinksummer, Genova]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/02/Cesare-Viel-Infinita-ricomposizione-performance-Courtesy-Pinksummer-Genova-Foto-Francesco-Cardarelli-2015.jpg</image:loc>
			<image:title><![CDATA[Cesare Viel, Infinita ricomposizione, 2015, performance]]></image:title>
			<image:caption><![CDATA[Cesare Viel, Infinita ricomposizione, 2015, performance. Foto Francesco Cardarelli. Courtesy Pinksummer, Genova]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/02/Cesare-Viel-Domande-per-il-corpo-2006-2007-particolare-dellinstallazione-striscione-in-pvc-Via-San-Lorenzo-Genova-Courtesy-P.jpg</image:loc>
			<image:title><![CDATA[Cesare Viel, Domande per il corpo, 2006-2007]]></image:title>
			<image:caption><![CDATA[Cesare Viel, Domande per il corpo, 2006-2007, particolare dell'installazione, striscione in pvc, Via San Lorenzo, Genova. Foto Rokma. Courtesy Pinksummer, Genova]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/02/Cesare-Viel-Tu-che-mi-hai-disegnato-2004-particolare-dellinstallazione-facciata-di-Palazzo-Bricherasio-Torino-Courtesy-Pinks.jpg</image:loc>
			<image:title><![CDATA[Cesare Viel, Tu che mi hai disegnato, 2004, Palazzo Bricherasio, Torino]]></image:title>
			<image:caption><![CDATA[Cesare Viel, Tu che mi hai disegnato, 2004, particolare dell'installazione, facciata di Palazzo Bricherasio, Torino. Foto Alvin Crea. Courtesy Pinksummer, Genova]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/02/Cesare-Viel-Esterni-di-se-1998-stampa-fotografica-e-colori-su-alluminio-min.jpg</image:loc>
			<image:title><![CDATA[Cesare Viel, Esterni di sé, 1998]]></image:title>
			<image:caption><![CDATA[Cesare Viel, Esterni di sé, 1998, stampa fotografica e colori su alluminio]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/02/Cesare-Viel-Diario-Contemporaneo-2004-inchiostro-e-matita-su-carta-Courtesy-Pinksummer-Genova-min.jpg</image:loc>
			<image:title><![CDATA[Cesare Viel, Diario Contemporaneo, 2004]]></image:title>
			<image:caption><![CDATA[Cesare Viel, Diario Contemporaneo, 2004, inchiostro e matita su carta. Courtesy Pinksummer, Genova]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/02/Cesare-Viel-Diario-Contemporaneo-2004-inchiostro-e-matita-su-carta-Courtesy-Pinksummer-Genova02-min.jpg</image:loc>
			<image:title><![CDATA[Cesare Viel, Diario Contemporaneo, 2004]]></image:title>
			<image:caption><![CDATA[Cesare Viel, Diario Contemporaneo, 2004, inchiostro e matita su carta. Courtesy Pinksummer, Genova]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/02/Cesare-Viel-Thank-you-Emily-2002-disegno-stampato-e-plastificato-Courtesy-Pinksummer-Genova-part2-min.jpg</image:loc>
			<image:title><![CDATA[Cesare Viel, Thank you Emily (part.2), 2002]]></image:title>
			<image:caption><![CDATA[Cesare Viel, Thank you Emily (part.2), 2002, disegno stampato e plastificato. Courtesy Pinksummer, Genova]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/02/Cesare-Viel-Thank-you-Emily-2002-disegno-stampato-e-plastificato-Courtesy-Pinksummer-Genova-part3-min.jpg</image:loc>
			<image:title><![CDATA[Cesare Viel, Thank you Emily (part.3), 2002]]></image:title>
			<image:caption><![CDATA[Cesare Viel, Thank you Emily (part.3), 2002, disegno stampato e plastificato. Courtesy Pinksummer, Genova]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/02/Cesare-Viel-Thank-you-Emily-2002-disegno-stampato-e-plastificato-Courtesy-Pinksummer-Genova-part4-min.jpg</image:loc>
			<image:title><![CDATA[Cesare Viel, Thank you Emily (part.4), 2002]]></image:title>
			<image:caption><![CDATA[Cesare Viel, Thank you Emily (part.4), 2002, disegno stampato e plastificato. Courtesy Pinksummer, Genova]]></image:caption>
		</image:image>
	</url>
	<url>
		<loc>https://www.arteecritica.it/hans-schabus-ricerche-e-declinazioni-spazio-performative-dellessere-nel-nome/</loc>
		<lastmod>2023-07-22T15:23:51+00:00</lastmod>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2022/07/3-e1658389183920.jpg</image:loc>
			<image:title><![CDATA[3]]></image:title>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2022/07/6.jpg</image:loc>
			<image:title><![CDATA[Hans Schabus, Cafe Hansi, 2015. Photo Stefan Lux. Courtesy the artist and Kerstin Engholm Galerie, Vienna]]></image:title>
			<image:caption><![CDATA[Hans Schabus, Cafe Hansi, 2015, installation view Autopsie mit Hubwagen, 2015, Kerstin Engholm Galerie, Vienna. Photo Stefan Lux. Courtesy the artist and Kerstin Engholm Galerie, Vienna]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2022/07/3-min-2.jpg</image:loc>
			<image:title><![CDATA[Hans Schabus, Cafe Hansi, 2015. Photo Stefan Lux. Courtesy the artist and Kerstin Engholm Galerie, Vienna]]></image:title>
			<image:caption><![CDATA[Hans Schabus, Cafe Hansi, 2015, installation view Autopsie mit Hubwagen, 2015, Kerstin Engholm Galerie, Vienna. Photo Stefan Lux. Courtesy the artist and Kerstin Engholm Galerie, Vienna]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2022/07/5-min-2.jpg</image:loc>
			<image:title><![CDATA[Hans Schabus, Cafe Hansi, 2015. Photo Stefan Lux. Courtesy the artist and Kerstin Engholm Galerie, Vienna]]></image:title>
			<image:caption><![CDATA[Hans Schabus, Cafe Hansi, 2015, installation view Autopsie mit Hubwagen, 2015, Kerstin Engholm Galerie, Vienna. Photo Stefan Lux. Courtesy the artist and Kerstin Engholm Galerie, Vienna]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2022/07/4-min-2.jpg</image:loc>
			<image:title><![CDATA[Hans Schabus, Cafe Hansi, 2015. Photo Stefan Lux. Courtesy the artist and Kerstin Engholm Galerie, Vienna]]></image:title>
			<image:caption><![CDATA[Hans Schabus, Cafe Hansi, 2015, installation view Autopsie mit Hubwagen, 2015, Kerstin Engholm Galerie, Vienna. Photo Stefan Lux. Courtesy the artist and Kerstin Engholm Galerie, Vienna]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2022/07/1-min-2.jpg</image:loc>
			<image:title><![CDATA[Hans Schabus, Cafe Hansi, 2015. Photo Stefan Lux. Courtesy the artist and Kerstin Engholm Galerie, Vienna]]></image:title>
			<image:caption><![CDATA[Hans Schabus, Cafe Hansi, 2015, installation view Autopsie mit Hubwagen, 2015, Kerstin Engholm Galerie, Vienna. Photo Stefan Lux. Courtesy the artist and Kerstin Engholm Galerie, Vienna]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2022/07/2-min-2.jpg</image:loc>
			<image:title><![CDATA[Hans Schabus, Cafe Hansi, 2015. Photo Stefan Lux. Courtesy the artist and Kerstin Engholm Galerie, Vienna]]></image:title>
			<image:caption><![CDATA[Hans Schabus, Cafe Hansi, 2015, installation view Autopsie mit Hubwagen, 2015, Kerstin Engholm Galerie, Vienna. Photo Stefan Lux. Courtesy the artist and Kerstin Engholm Galerie, Vienna]]></image:caption>
		</image:image>
	</url>
	<url>
		<loc>https://www.arteecritica.it/roman-opalka-timeless-homeless-oeuvre/</loc>
		<lastmod>2023-07-22T15:24:02+00:00</lastmod>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2022/07/opalka-rid.jpg</image:loc>
			<image:title><![CDATA[opalka-rid]]></image:title>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2022/07/ROMAN-OPALKA-a008.jpg</image:loc>
			<image:caption><![CDATA[Roman Opalka al lavoro]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2022/07/ROMAN-OPALKA-a002.jpg</image:loc>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2022/07/ROMAN-OPALKA-a003.jpg</image:loc>
		</image:image>
	</url>
	<url>
		<loc>https://www.arteecritica.it/limmagine-tra-saturno-e-venere-tempo-della-ripetizione-e-tempo-trasformativo-nellarte-visiva-dagli-anni-sessanta/</loc>
		<lastmod>2023-07-23T10:09:07+00:00</lastmod>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/07/1-min.jpg</image:loc>
			<image:title><![CDATA[1-min]]></image:title>
		</image:image>
	</url>
	<url>
		<loc>https://www.arteecritica.it/life-olafur-eliasson-at-fondation-beyeler-2/</loc>
		<lastmod>2023-07-23T10:10:21+00:00</lastmod>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/04/21.04.09.FB_OlafurEliasson_Life_People_10604_Def_Mark_Niedermann_Cover1920-e1619105515592.jpg</image:loc>
			<image:title><![CDATA[Olafur Eliasson, Life, Fondation Beyeler. Photo Mark Niedermann]]></image:title>
		</image:image>
	</url>
	<url>
		<loc>https://www.arteecritica.it/annina-nosei-il-faut-que-tu-te-transforme-in-argent/</loc>
		<lastmod>2023-07-23T10:35:45+00:00</lastmod>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2019/06/3-min.jpg</image:loc>
			<image:title><![CDATA[3-min]]></image:title>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/01/Annina_with-gallery-name.jpg</image:loc>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/01/Basquiat-Annina-Nosei-photo.jpg</image:loc>
			<image:caption><![CDATA[Annina Nosei e Jean-Michel Basquiat]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/01/photo.jpg</image:loc>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/01/schifano.jpg</image:loc>
			<image:caption><![CDATA[Mario Schifano]]></image:caption>
		</image:image>
	</url>
	<url>
		<loc>https://www.arteecritica.it/annina-nosei-il-faut-que-tu-te-transforme-in-argent-2/</loc>
		<lastmod>2023-07-23T10:37:30+00:00</lastmod>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/02/galan2.jpg</image:loc>
			<image:title><![CDATA[galan2]]></image:title>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/02/John-Weber-e-Annina-Nosei-a-Venezia-1966-min.jpg</image:loc>
			<image:title><![CDATA[John Weber e Annina Nosei, Venezia, 1966]]></image:title>
			<image:caption><![CDATA[John Weber e Annina Nosei a Venezia, 1966]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/02/volantino-programma-mostra-Discussions-min.jpg</image:loc>
			<image:title><![CDATA[Discussions, 9-20 maggio 1977, New York University]]></image:title>
			<image:caption><![CDATA[Discussions, volantino per il programma della mostra, 9-20 maggio 1977, New York University, New York  ]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/02/busta-Claudio-Cintoli-Annina-Nosei-min.jpg</image:loc>
			<image:title><![CDATA[busta fatta a mano di una lettera inviata da Claudio Cintoli ad Annina Nosei ]]></image:title>
			<image:caption><![CDATA[busta fatta a mano di una lettera che Claudio Cintoli ha inviato ad Annina Nosei mentre lavorava alla Ileana Sonnabend Gallery a Parigi]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/02/ONcE-group-flyer-min.jpg</image:loc>
			<image:title><![CDATA[ONCE Group, volantino per il tour europeo dell'happening Kittyhawk]]></image:title>
			<image:caption><![CDATA[ONCE Group, volantino per il tour europeo dell'happening Kittyhawk]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/02/ONcE-group-invitation-card-to-the-performance-Once-off-min.jpg</image:loc>
			<image:title><![CDATA[ONCE Group, biglietto d'invito per Once-off , Ann Arbor High School Auditorium, 9 aprile 1966]]></image:title>
			<image:caption><![CDATA[ONCE Group, biglietto d'invito per lo spettacolo Once-off presso l'Ann Arbor High School Auditorium, 9 aprile 1966]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/02/john-weber-at-dwan-gallery-min.jpg</image:loc>
			<image:title><![CDATA[John Weber, Dwan Gallery, 1966]]></image:title>
			<image:caption><![CDATA[John Weber  alla Dwan Gallery, 1966]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/02/Annina-Nosei-e-John-Weber-min.jpg</image:loc>
			<image:title><![CDATA[Annina Nosei e John Weber]]></image:title>
			<image:caption><![CDATA[Annina Nosei e John Weber]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/02/copertina-del-libro-discussion-min.jpg</image:loc>
			<image:title><![CDATA[copertina del libro Discussion, Out of London Press]]></image:title>
			<image:caption><![CDATA[copertina del libro Discussion, edito da Out of London Press]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/02/invito-della-mostra-Painting-al-Fine-Arts-Building-New-York-min.jpg</image:loc>
			<image:title><![CDATA[invito della mostra Painting al Fine Arts Building, New York]]></image:title>
			<image:caption><![CDATA[invito della mostra Painting al Fine Arts Building, New York]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/02/veduta-della-mostra-personale-di-Jean-Michel-Basquiat-Annina-Nosei-Gallery-New-York-1982-min.jpg</image:loc>
			<image:title><![CDATA[veduta della mostra personale di Jean-Michel Basquiat, Annina Nosei Gallery, New York, 1982]]></image:title>
			<image:caption><![CDATA[veduta della mostra personale di Jean-Michel Basquiat, Annina Nosei Gallery, New York, 1982]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/03/Mario-Schifano-Untitled-1982.-Courtesy-Annina-Nosei-Gallery-New-York.jpg</image:loc>
			<image:title><![CDATA[Mario Schifano, Untitled, 1982]]></image:title>
			<image:caption><![CDATA[Mario Schifano, Untitled, 1982. Courtesy Annina Nosei Gallery, New York]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/03/Julio-Gal%E2%80%A0n-El-encantamiento-3-1989.-Courtesy-Annina-Nosei-Gallery-New-York.jpg</image:loc>
			<image:title><![CDATA[Julio Galán, El encantamiento 3, 1989]]></image:title>
			<image:caption><![CDATA[Julio Galán, El encantamiento 3, 1989. Courtesy Annina Nosei Gallery, New York]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/02/Teresa-Serrano-The-three-mountains-1993-min.jpg</image:loc>
			<image:title><![CDATA[Teresa  Serrano, The three mountains,  1993]]></image:title>
			<image:caption><![CDATA[Teresa  Serrano, The three mountains,  1993  (pubblicato nel catalogo della mostra Latin American artists, Annina Nosei Gallery, New York, 1993)]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/02/jenny-watson-Purse-2003-min.jpg</image:loc>
			<image:title><![CDATA[Jenny Watson, Purse, 2003]]></image:title>
			<image:caption><![CDATA[Jenny Watson, Purse, 2003, cm 225 x 107 (pubblicato nel catalogo 1998-2003, Annina Nosei Gallery, New York, 2003)]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/02/liliana-porter-To-be-There-2001-min.jpg</image:loc>
			<image:title><![CDATA[Liliana Porter, To be There, 2001, dettaglio]]></image:title>
			<image:caption><![CDATA[Liliana Porter, To be There, 2001, dettaglio, acrilico su tela e stampa digitale incorniciata (pubblicato nel catalogo della mostra 1998-2003, Annina Nosei Gallery, New York, 2003)]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/02/invite-della-mostra-Intermissions-di-Liliana-Porter-nella-Annina-Nosei-Gallery-New-York-2004-min.jpg</image:loc>
			<image:title><![CDATA[invito della mostra Intermissions di Liliana Porter, Annina Nosei Gallery, New York, 2004]]></image:title>
			<image:caption><![CDATA[invito della mostra Intermissions di Liliana Porter nella Annina Nosei Gallery, New York, 2004]]></image:caption>
		</image:image>
	</url>
	<url>
		<loc>https://www.arteecritica.it/lamberto-pignotti-riflessioni-sugli-anni-sessanta/</loc>
		<lastmod>2023-07-23T10:40:06+00:00</lastmod>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/02/ScansioneD.jpg</image:loc>
			<image:title><![CDATA[ScansioneD]]></image:title>
		</image:image>
	</url>
	<url>
		<loc>https://www.arteecritica.it/margherita-moscardini-the-fountains-of-zaatari/</loc>
		<lastmod>2023-07-23T10:49:14+00:00</lastmod>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/02/moscardini-collezione-maramotti-3.jpg</image:loc>
			<image:title><![CDATA[moscardini collezione maramotti 3]]></image:title>
		</image:image>
	</url>
	<url>
		<loc>https://www.arteecritica.it/capire-larchitettura/</loc>
		<lastmod>2023-07-23T11:23:07+00:00</lastmod>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/03/nero-scaled.jpg</image:loc>
			<image:title><![CDATA[Senza titolo-9]]></image:title>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/01/Bruno-Zevi-ritratto-01.jpg</image:loc>
			<image:caption><![CDATA[Bruno Zevi, ritratto. Foto Elisabetta Catalano, Gli Architetti di Zevi, MAXXI, Roma, 2018.]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/01/Bruno-Zevi-Gli-Architetti-di-Zevi-04.jpg</image:loc>
			<image:caption><![CDATA[Gli Architetti di Zevi, una veduta della mostra, MAXXI, Roma, 2018.]]></image:caption>
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			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/01/Bruno-Zevi-Gli-Architetti-di-Zevi-03.jpg</image:loc>
			<image:caption><![CDATA[una veduta della mostra Gli Architetti di Zevi, 2018, MAXXI, Roma]]></image:caption>
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			<image:title><![CDATA[01 EvgenyAntufiev_WhenArtBecamePartOfTheLandscapeChapterI_2018_InstallationView_MuseoSalinas_Palermo_CollateralEventManifesta12]]></image:title>
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			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/02/Ada-Ardessi-Proiezioni-Dirette-Direct-Projections-by-Bruno-Munari_imm.-in-evidenza-min.jpg</image:loc>
			<image:title><![CDATA[Ada Ardessi, Proiezioni Dirette (Direct Projections) by Bruno Munari_imm. in evidenza-min]]></image:title>
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			<image:title><![CDATA[Ada Ardessi, Proiezioni Dirette di Bruno Munari ©1985]]></image:title>
			<image:caption><![CDATA[Ada Ardessi, Proiezioni Dirette di Bruno Munari ©1985 Courtesy Isisuf. Istituto Internazionale di studi sul Futurismo]]></image:caption>
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			<image:title><![CDATA[Ada Ardessi, Proiezioni Dirette di Bruno Munari ©1985 ]]></image:title>
			<image:caption><![CDATA[Ada Ardessi, Proiezioni Dirette di Bruno Munari ©1985 Courtesy Isisuf. Istituto Internazionale di studi sul Futurismo]]></image:caption>
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			<image:title><![CDATA[Giovanni Anselmo. Entrare nell’opera_imm in evidenza]]></image:title>
			<image:caption><![CDATA["Giovanni Anselmo. Entrare nell'opera", veduta della mostra, Palazzo Carpegna, Roma, 2020]]></image:caption>
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	<url>
		<loc>https://www.arteecritica.it/lara-vinca-masini-la-memoria-del-futuro/</loc>
		<lastmod>2023-07-23T11:56:30+00:00</lastmod>
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			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/03/Senza-titolo.jpg</image:loc>
			<image:title><![CDATA[Senza titolo]]></image:title>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/02/copertina-lara-vinca-masini-min.jpg</image:loc>
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		<loc>https://www.arteecritica.it/conversazione-biografica-con-maurizio-camerani/</loc>
		<lastmod>2023-07-23T12:17:22+00:00</lastmod>
		<image:image>
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			<image:title><![CDATA[Maurizio Camerani-Make a better world now-Quartz Studio-2020]]></image:title>
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			<image:title><![CDATA[Maurizio Camerani, Make a Better World Now, 2020]]></image:title>
			<image:caption><![CDATA[Maurizio Camerani, Make a Better World Now, 2020, veduta della mostra. Foto Beppe Giardino. Courtesy l’artista e Quartz Studio, Torino]]></image:caption>
		</image:image>
		<image:image>
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			<image:title><![CDATA[Maurizio Camerani, Make a Better World Now, 2020]]></image:title>
			<image:caption><![CDATA[Maurizio Camerani, Make a Better World Now, 2020, due vedute della mostra. Foto Beppe Giardino. Courtesy l’artista e Quartz Studio, Torino]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/02/maurizio-camerani-Corpi-gemelli-1995-min.jpg</image:loc>
			<image:title><![CDATA[Maurizio Camerani, Corpi gemelli, 1995; Maurizio Camerani, Mutamenti, 1995]]></image:title>
			<image:caption><![CDATA[da sinistra: Maurizio Camerani, Corpi gemelli, 1995. Courtesy l’artista; Maurizio Camerani, Mutamenti, 1995. Courtesy l’artista]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/02/maurizio-camerani_veduta-dinsieme-min.jpg</image:loc>
			<image:title><![CDATA[Maurizio Camerani, Altrove, 1981; Make a Better World Now, 1977; Osservatorio, 1994; Boa, 1993;  Tutti lo sanno, lo scandalo è inarrestabile come il nuovo in marcia, 1977]]></image:title>
			<image:caption><![CDATA[da sinistra in alto, in senso orario: Maurizio Camerani, Altrove, 1981, Video ¾ U-Matic PAL trasferito su supporto digitale, 8’20”, Collezione GAM Torino. Courtesy l’artista; Maurizio Camerani, Make a Better World Now, 1977, stampa fotografica su carta, cm 40 x 60. Courtesy l’artista e Quartz Studio, Torino; Maurizio Camerani, Osservatorio, 1994, Collezione Campiani, Brescia. Courtesy l’artista; Maurizio Camerani, Boa, 1993. Courtesy l’artista; Maurizio Camerani, Tutti lo sanno, lo scandalo è inarrestabile come il nuovo in marcia, 1977, stampa fotografica su carta, cm 30 x 40. Courtesy l’artista e MLB Gallery, Ferrara]]></image:caption>
		</image:image>
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			<image:title><![CDATA[Maurizio Camerani, Make a Better World Now, 2020, Quartz Studio, Torino]]></image:title>
			<image:caption><![CDATA[Maurizio Camerani, Make a Better World Now, 2020, veduta della mostra. Foto Beppe Giardino. Courtesy l’artista e Quartz Studio, Torino]]></image:caption>
		</image:image>
	</url>
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		<loc>https://www.arteecritica.it/hypermaremma-nuove-energie-in-una-placida-immobilita/</loc>
		<lastmod>2023-07-23T12:20:36+00:00</lastmod>
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			<image:title><![CDATA[aec COVER.indd]]></image:title>
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			<image:title><![CDATA[Arborea Ascensore]]></image:title>
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			<image:title><![CDATA[Simone Berti,  Arboree Volanti,  Milano, 2020]]></image:title>
			<image:caption><![CDATA[Simone Berti, 4 immagini del progetto Arboree Volanti, oggetti 3D in realtà aumentata, Milano, 2020. Courtesy Atelier Simone Berti. Dall’alto in senso orario: Arborea Verde; Arborea Ascensore; Arborea Blu Pavone; Arborea Marrone]]></image:caption>
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			<image:title><![CDATA[GROSSIMAGLIONI]]></image:title>
			<image:caption><![CDATA[Grossi Maglioni]]></image:caption>
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		<loc>https://www.arteecritica.it/mostrare-architettura-e-design/</loc>
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			<image:title><![CDATA[aec95 01_13 con sommario.indd]]></image:title>
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		<lastmod>2023-07-23T12:33:54+00:00</lastmod>
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			<image:title><![CDATA[aec95 01_13 con sommario.indd]]></image:title>
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			<image:title><![CDATA[Jorge Pardo, Cesar Reyes House, 2005]]></image:title>
			<image:caption><![CDATA[Jorge Pardo, Cesar Reyes House, 2005. Courtesy Petzel Gallery, New York]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/02/Jorge-Pardo-Cesar-Reyes-House-2005_4-min.jpg</image:loc>
			<image:title><![CDATA[Jorge Pardo, Cesar Reyes House, 2005]]></image:title>
			<image:caption><![CDATA[Jorge Pardo, Cesar Reyes House, 2005. Courtesy Petzel Gallery, New York]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/02/Gordon-matta-clarkNotebook-FOOD-min.jpg</image:loc>
			<image:title><![CDATA[Gordon Matta-Clark, Notebook FOOD]]></image:title>
			<image:caption><![CDATA[Gordon Matta-Clark, Notebook FOOD. Courtesy Harold Berg]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/02/philippe-Rahm-Spectral-Light-min.jpg</image:loc>
			<image:title><![CDATA[Philippe Rahm, Spectral Light, Artemide Showroom, Milano]]></image:title>
			<image:caption><![CDATA[Philippe Rahm, Spectral Light, Artemide Showroom, Milano. Foto Federico Villa]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/02/philippe-Rahm-architectes_veduta-dinsieme-min.jpg</image:loc>
			<image:title><![CDATA[Philippe Rahm architectes, Terroirs déterritorialisés; Philippe Rahm architects, The Effusivity pool]]></image:title>
			<image:caption><![CDATA[Philippe Rahm architectes, Terroirs déterritorialisés, Carte blanche VIA, 2009. Foto A. Dupuis / VIA; Philippe Rahm architectes, Terroirs déterritorialisés, Carte blanche VIA, 2009. Foto A. Dupuis / VIA; Philippe Rahm architects, The Effusivity pool, 2018, veduta della mostra, Istituto Svizzero, Milano. Foto Giulio Boem. Courtesy Philippe Rahm architects e Istituto Svizzero, Milano]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/02/lewittkounelliswest_artforum_west_veduta-min-1.jpg</image:loc>
			<image:title><![CDATA[Camere #1 – Sol LeWitt, Jannis Kounellis, Franz West; Franz West, To Build A House You Start With The Roof; Franz West, Divan; Franz West, Lamp; Franz West, Auditorium]]></image:title>
			<image:caption><![CDATA[Camere #1 – Sol LeWitt, Jannis Kounellis, Franz West, 2005, veduta della mostra, RAM radioartemobile, Roma. Foto Marco Fedele di Catrano. Courtesy RAM radioartemobile; copertina di “Artforum”, 12 ottobre 2008 - 4 gennaio 2009 (Franz West, To Build A House You Start With The Roof, 1972-2008); Franz West, Divan, 2003. Courtesy Archiv Franz West, Vienna; Franz West, Lamp. Courtesy Archiv Franz West, Vienna; Franz West, Auditorium, 1992. Courtesy Archiv Franz West, Vienna]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/02/Joe-scanlan-Artisanal-Complex-2019-min.jpg</image:loc>
			<image:title><![CDATA[ Joe Scanlan, Artisanal Complex, 2019, Andriesse – Eyck Galerie, Amsterdam]]></image:title>
			<image:caption><![CDATA[Joe Scanlan, Artisanal Complex, 2019, veduta della mostra, Andriesse – Eyck Galerie, Amsterdam. Courtesy l'artista e Andriesse – Eyck Galerie, Amsterdam; Joe Scanlan, Palermo, 2018. Font digitale derivato dalle forme di base dell'opera Blaue Scheibe und Stab, 1968, di Blinky Palermo. Inkjet d'archivio su varie carte fotografiche Epson con pacchetto campione interleaving, scatola di archiviazione, edizione di 26. Courtesy l'artista e Andriesse – Eyck Galerie, Amsterdam; Joe Scanlan, Stretchers, 2018. Courtesy l'artista e Andriesse – Eyck Galerie, Amsterdam;  Joe Scanlan, Artisanal Complex I, 2019. Inkjet d'archivio su carta montata su tela gessata, carta da parati vinilica, cm 300 x 360 x 5. Courtesy l'artista e Andriesse – Eyck Galerie, Amsterdam; Joe Scanlan, Palermo, 2018. Font digitale derivato dalle forme di base dell'opera Blaue Scheibe und Stab, 1968, di Blinky Palermo. Inkjet d'archivio su varie carte fotografiche Epson con pacchetto campione interleaving, scatola di archiviazione, edizione di 26. Courtesy l'artista]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/02/Jorge-Pardo_visione-dinsieme-min.jpg</image:loc>
			<image:title><![CDATA[Restaurant im Abgeordnetenhaus; Jorge Pardo, Untitled (set of 6 lamps); Jorge Pardo, House; Jorge Pardo, Untitled (wine credenza)]]></image:title>
			<image:caption><![CDATA[Jorge Pardo, Restaurant im Abgeordnetenhaus (restaurant for delegates of the German Parliament), 2002, veduta della mostra, ristorante del Parlamento, Paul-Löbe-Haus, Berlino. Courtesy Petzel Gallery, New York; Jorge Pardo, Untitled (set of 6 lamps), 2003. Courtesy Petzel Gallery, New York; Jorge Pardo, House, 2008, veduta della mostra, The Museum of Contemporary Art, Miami. Courtesy Petzel Gallery, New York; Jorge Pardo, Untitled (wine credenza), 2007. Courtesy Petzel Gallery, New York]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/02/Jorge-pardo-House-2008-min.jpg</image:loc>
			<image:title><![CDATA[Jorge Pardo, House, 2008, veduta della mostra, The Museum of Contemporary Art, Miami]]></image:title>
			<image:caption><![CDATA[Jorge Pardo, House, 2008, veduta della mostra, The Museum of Contemporary Art, Miami. Courtesy Petzel Gallery, New York]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/02/Franck-Scurti_veduta-dinsieme-min.jpg</image:loc>
			<image:title><![CDATA[Franck Scurti, Chairs, Dialogues;  Franck Scurti, Lampe du 3 janvier au 18 avril; Franck Scurti, Kiwi lamp]]></image:title>
			<image:caption><![CDATA[Franck Scurti, Chairs, 1994. Chairs, Dialogues, 1994, veduta della mostra, Provinciaal Museum, Hasselt, Belgio. Collection Musée les Abattoirs / FRAC Midi-Pyrénées, Tolosa; Franck Scurti, Chairs (model), 1994. Courtesy Collection Mara Scurti, Parigi; Franck Scurti, Lampe du 3 janvier au 18 avril, 2005. Collection Eric Decelle, Bruxelles; Franck Scurti, Kiwi lamp, 2006. collezione privata, Parigi]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/02/andrea-zittel-A-Z-WAGON-STATIONS_veduta-dinsieme-min.jpg</image:loc>
			<image:title><![CDATA[Andrea Zittel, A-Z WAGON STATIONS: SECOND GENERATION AT A-Z WEST, 2012-present, Joshua Tree, CA, Usa; Andrea Zittel, Bench (after Judd) #2, 2014; Andrea Zittel, A-Z Escape Vehicle Owned and Customized by Bob Shiffler, 1996]]></image:title>
			<image:caption><![CDATA[Andrea Zittel, A-Z WAGON STATIONS: SECOND GENERATION AT A-Z WEST, 2012-present, Joshua Tree, CA, Usa © Andrea Zittel. Foto Lance Brewer. Courtesy Andrea Zittel e Sadie Coles HQ, Londra; Andrea Zittel, A-Z WAGON STATIONS: SECOND GENERATION AT A-Z WEST, 2012-present, Joshua Tree, CA, Usa © Andrea Zittel. Foto Lance Brewer. Courtesy Andrea Zittel e Sadie Coles HQ, Londra; Andrea Zittel, Bench (after Judd) #2, 2014 © Andrea Zittel. Courtesy Andrea Zittel e Sadie Coles HQ, Londra; Andrea Zittel, A-Z Escape Vehicle Owned and Customized by Bob Shiffler, 1996 © Andrea Zittel. Courtesy Andrea Zittel e Sadie Coles HQ, Londra]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/02/clay-Ketter-Wide-Angel-2005-min.jpg</image:loc>
			<image:title><![CDATA[Clay Ketter, Wide Angel, 2005]]></image:title>
			<image:caption><![CDATA[Clay Ketter, Wide Angel, 2005. Courtesy l'artista]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/02/clay-ketter-Perssons-Dream-2019-min.jpg</image:loc>
			<image:title><![CDATA[Clay Ketter, Persson’s Dream, 2019]]></image:title>
			<image:caption><![CDATA[Clay Ketter, Persson’s Dream, 2019, laminato per fibre di legno su multistrato, struttura in legno, lamiera acrilica Lasercut, legno di teak, ferramenta, cm 245 x 248 x 58. Courtesy Cecilia Hillström Gallery, Stoccolma]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/02/Lazar-Lyutakov-Untitled-Lamp-Series-Edition-Tulette-2017-Edition-Plovdiv-2019-min.jpg</image:loc>
			<image:title><![CDATA[Lazar Lyutakov, Untitled (Lamp Series, # Edition Tulette 2017, # Edition Plovdiv, 2019), EVN Collection at SKLAD, 2019, , Sklad Plovdiv]]></image:title>
			<image:caption><![CDATA[Lazar Lyutakov, Untitled (Lamp Series, # Edition Tulette 2017, # Edition Plovdiv, 2019), EVN Collection at SKLAD, 2019, veduta della mostra, Sklad Plovdiv. Courtesy l'artista]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/02/cesare-tacchi-Poltrona-inutile-min.jpg</image:loc>
			<image:title><![CDATA[Cesare Tacchi, Poltrona inutile, 1967, Palazzo Ancaiani, Spoleto]]></image:title>
			<image:caption><![CDATA[Cesare Tacchi, Poltrona inutile, 1967, Palazzo Ancaiani, Spoleto. Foto Renato Mambor. Courtesy Archivio Cesare Tacchi, Roma]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/02/cesare-tacchi-Poltrona-inutile_2-min.jpg</image:loc>
			<image:title><![CDATA[Cesare Tacchi, Poltrona inutile, 1967, Palazzo Ancaiani, Spoleto]]></image:title>
			<image:caption><![CDATA[Cesare Tacchi, Poltrona inutile, 1967, Palazzo Ancaiani, Spoleto. Foto Renato Mambor. Courtesy Archivio Cesare Tacchi, Roma]]></image:caption>
		</image:image>
	</url>
	<url>
		<loc>https://www.arteecritica.it/vittorio-brandi-rubiu-un-critico-inattuale/</loc>
		<lastmod>2023-07-23T12:39:58+00:00</lastmod>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/02/Rob-Rubiu-Brandi-6.jpg</image:loc>
			<image:title><![CDATA[Rob Rubiu Brandi 6]]></image:title>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/02/vittorio-brandi-Rubiu-pinella-Rubiu-cesare-brandi-min.jpg</image:loc>
			<image:title><![CDATA[Vittorio Brandi Rubiu, Pinella Rubiu, Cesare Brandi, Ex Seccatoi del Tabacco, Città di Castello]]></image:title>
			<image:caption><![CDATA[Vittorio Brandi Rubiu, Pinella Rubiu, Cesare Brandi, Ex Seccatoi del Tabacco, Città di Castello, primi anni ’80]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/02/vittorio-brandi-Rubiu-e-cesare-brandi-min.jpg</image:loc>
			<image:title><![CDATA[Vittorio Brandi Rubiu e Cesare Brandi, numero zero di “Arte e Critica” (1993)]]></image:title>
			<image:caption><![CDATA[Vittorio Brandi Rubiu e Cesare Brandi in una foto pubblicata sul numero zero di “Arte e Critica” (1993) all’interno dello speciale dedicato a Brandi e Argan]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/02/pino-pascali-in-unassemblea-alla-biennale-di-venezia-del-1968-min.jpg</image:loc>
			<image:title><![CDATA[Pino Pascali in un’assemblea alla Biennale di Venezia del 1968]]></image:title>
			<image:caption><![CDATA[Pino Pascali in un’assemblea alla Biennale di Venezia del 1968. Courtesy Archivio L’Attico, Roma]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/02/funerale-di-pino-pascali-min.jpg</image:loc>
			<image:title><![CDATA[Vittorio Brandi Rubiu, Maurizio Calvesi, Cesare Tacchi, Fabio Sargentini al funerale di Pino Pascali, Roma, 1968]]></image:title>
			<image:caption><![CDATA[da sinistra: Vittorio Brandi Rubiu, Maurizio Calvesi, Cesare Tacchi, Fabio Sargentini al funerale di Pino Pascali, Roma, 1968]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/02/rubiu_when-attitudes-become-form-min.jpg</image:loc>
			<image:title><![CDATA[Gilberto Zorio, Fabio Sargentini, Vittorio Brandi Rubiu, Eliseo Mattiacci, Jannis Kounellis a Berna in occasione della mostra When Attitudes Become Forms, 1969]]></image:title>
			<image:caption><![CDATA[da sinistra: Gilberto Zorio, Fabio Sargentini, Vittorio Brandi Rubiu, Eliseo Mattiacci, Jannis Kounellis a Berna in occasione della mostra When Attitudes Become Forms, marzo 1969. Foto Claudio Abate]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/02/steve-paxton-Contact-Improvisations-min.jpg</image:loc>
			<image:title><![CDATA[Steve Paxton, Contact Improvisations, Galleria L’Attico, Roma, 25-28 giugno 1973]]></image:title>
			<image:caption><![CDATA[Steve Paxton, Contact Improvisations, Galleria L’Attico, Roma, 25-28 giugno 1973]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/02/rubiusargentinimattiacci-min.jpg</image:loc>
			<image:title><![CDATA[Vittorio Brandi Rubiu, Fabio Sargentini, Eliseo Mattiacci, Berna, 1969]]></image:title>
			<image:caption><![CDATA[da sinistra: Vittorio Brandi Rubiu, Fabio Sargentini, Eliseo Mattiacci a Berna in occasione della mostra When Attitudes Become Forms, marzo 1969. Foto Claudio Abate. Archivio L’Attico, Roma]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/02/sargentini-rubiu_attico-min.jpg</image:loc>
			<image:title><![CDATA[Fabio Sargentini e Vittorio Brandi Rubiu all’Attico, Roma]]></image:title>
			<image:caption><![CDATA[Fabio Sargentini e Vittorio Brandi Rubiu all’Attico, Roma]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/02/beuys-mattiacci-rubiu-min.jpg</image:loc>
			<image:title><![CDATA[Joseph Beuys, Eliseo Mattiacci, Vittorio Brandi Rubiu, Berna, When Attitudes Become Forms, 1969]]></image:title>
			<image:caption><![CDATA[Joseph Beuys, Eliseo Mattiacci, Vittorio Brandi Rubiu a Berna in occasione della mostra When Attitudes Become Forms, marzo 1969. Foto Claudio Abate. Archivio L’Attico, Roma]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/02/bucarelli-angeli-rubiu-min.jpg</image:loc>
			<image:title><![CDATA[Palma Bucarelli, Franco Angeli, Vittorio Brandi Rubiu, Galleria Nazionale d’Arte Moderna, Roma, 1960]]></image:title>
			<image:caption><![CDATA[da sinistra: Palma Bucarelli, Franco Angeli, Vittorio Brandi Rubiu, Galleria Nazionale d’Arte Moderna, Roma, 1960]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/02/premio-extemporanea-min.jpg</image:loc>
			<image:title><![CDATA[Achille Bonito Oliva, Roberto Lambarelli, Palma Bucarelli, Filiberto Menna, Vittorio Brandi Rubiu, Premio Extemporanea, L’Attico, Roma, 13 maggio 1984]]></image:title>
			<image:caption><![CDATA[da sinistra: Achille Bonito Oliva, Roberto Lambarelli, Palma Bucarelli, Filiberto Menna, Vittorio Brandi Rubiu durante l’assegnazione del Premio Extemporanea, L’Attico, Roma, 13 maggio 1984]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/02/verbale-premio-extemporanea-min.jpg</image:loc>
			<image:title><![CDATA[verbale del Premio Extemporanea, L’Attico, Roma, 13 maggio 1984]]></image:title>
			<image:caption><![CDATA[verbale stilato dalla Giuria per l’assegnazione del Premio Extemporanea, L’Attico, Roma, 13 maggio 1984]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/02/extemporanea_veduta-min.jpg</image:loc>
			<image:title><![CDATA[artisti al lavoro durante Extemporanea, L’Attico, Roma, maggio 1984]]></image:title>
			<image:caption><![CDATA[artisti al lavoro durante Extemporanea, L’Attico, Roma, maggio 1984. Da sinistra a destra, dall’alto: Marco Tirelli, Enrico Luzzi, Maurizio Corona, Sergio Ragalzi, Giancarlo Limoni, Silvio Merlino, Pizzi Cannella con Rocco Perna; Nunzio con Pizzi Cannella, Giancarlo Limoni, Rocco Perna]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/02/nunzio-Conca-1982.-Foto-mimmo-capone-min.jpg</image:loc>
			<image:title><![CDATA[Nunzio, Conca, 1982]]></image:title>
			<image:caption><![CDATA[Nunzio, Conca, 1982. Foto Mimmo Capone]]></image:caption>
		</image:image>
	</url>
	<url>
		<loc>https://www.arteecritica.it/per-le-strade-del-cairo/</loc>
		<lastmod>2023-07-23T12:54:16+00:00</lastmod>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2022/07/2-e1658312706396.jpg</image:loc>
			<image:title><![CDATA[2]]></image:title>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2022/07/1-min.jpg</image:loc>
			<image:title><![CDATA[The martyrs of the massacre in Port Said at Mohamed Mahmoud street. Photo Maria Antonietta Malleo]]></image:title>
			<image:caption><![CDATA[The martyrs of the massacre in Port Said at Mohamed Mahmoud street. Photo Maria Antonietta Malleo]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2022/07/2-min-1.jpg</image:loc>
			<image:title><![CDATA[The tank of Ganzeer in the district of Zamelek. Photo Maria Antonietta Malleo]]></image:title>
			<image:caption><![CDATA[The tank of Ganzeer in the district of Zamelek. Photo Maria Antonietta Malleo]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2022/07/6-min.jpg</image:loc>
			<image:title><![CDATA[The victims of the repression of the revolution of January 25. Photo Maria Antonietta Malleo]]></image:title>
			<image:caption><![CDATA[The victims of the repression of the revolution of January 25. Photo Maria Antonietta Malleo]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2022/07/3-min.jpg</image:loc>
			<image:title><![CDATA[A stencil of Dokko (spray). Photo Maria Antonietta Malleo]]></image:title>
			<image:caption><![CDATA[A stencil of Dokko (spray). Photo Maria Antonietta Malleo]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2022/07/4-min.jpg</image:loc>
			<image:title><![CDATA[Mural of Keizer. Photo Maria Antonietta Malleo]]></image:title>
			<image:caption><![CDATA[Mural of Keizer. Photo Maria Antonietta Malleo]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2022/07/5-min.jpg</image:loc>
			<image:title><![CDATA[A stencil on one of the walls erected to prevent new protests in Tahrir Square. Photo Maria Antonietta Malleo]]></image:title>
			<image:caption><![CDATA[A stencil on one of the walls erected to prevent new protests in Tahrir Square. Photo  Maria Antonietta Malleo]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2022/07/7-min.jpg</image:loc>
			<image:title><![CDATA[A stencil on one of the walls erected to prevent new protests in Tahrir Square. Photo Maria Antonietta Malleo]]></image:title>
			<image:caption><![CDATA[A stencil on one of the walls erected to prevent new protests in Tahrir Square. Photo  Maria Antonietta Malleo]]></image:caption>
		</image:image>
	</url>
	<url>
		<loc>https://www.arteecritica.it/conversazione-con-rachel-monosov/</loc>
		<lastmod>2023-07-23T13:00:18+00:00</lastmod>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/03/imm-in-evidenza_Rachell-Bo-Clark_Liminal_2021-c-Rachel-Monosov-2-e1615901017593.jpg</image:loc>
			<image:title><![CDATA[imm in evidenza_Rachell Bo Clark_Liminal_2021 (c) Rachel Monosov (2)]]></image:title>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/03/03-min.jpg</image:loc>
			<image:caption><![CDATA[Rachel Monosov, Olympia, performance al Palazzo delle Esposizioni, Roma, 2019. Courtesy Galleria Giorgio Galotti]]></image:caption>
		</image:image>
	</url>
	<url>
		<loc>https://www.arteecritica.it/sul-principio-di-contraddizione/</loc>
		<lastmod>2023-07-23T13:05:16+00:00</lastmod>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/05/06_BARUZZI_Linea-del-ritorno-2021_-imm-in-evidenza-min-e1620726621579.jpg</image:loc>
			<image:title><![CDATA[06_BARUZZI_Linea del ritorno 2021_ imm in evidenza-min]]></image:title>
		</image:image>
	</url>
	<url>
		<loc>https://www.arteecritica.it/gli-anni-ottanta-una-modalita-di-uscita-dallavanguardia/</loc>
		<lastmod>2023-07-23T13:11:35+00:00</lastmod>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/04/immagine-in-evidenza-nero.jpg</image:loc>
			<image:title><![CDATA[immagine in evidenza nero]]></image:title>
		</image:image>
	</url>
	<url>
		<loc>https://www.arteecritica.it/gernot-wieland-like-ink-in-milk/</loc>
		<lastmod>2023-07-23T13:16:03+00:00</lastmod>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/06/bg-QZ-Gernot-Wieland-ike-ink-in-milk-011y-min-1-e1624447200585.jpg</image:loc>
			<image:title><![CDATA[©bg QZ-Gernot Wieland-ike ink in milk 011y-min]]></image:title>
		</image:image>
	</url>
	<url>
		<loc>https://www.arteecritica.it/la-bourse-de-commerce-di-parigi-tra-ideologia-dellincontro-e-mise-en-abyme-spaziale/</loc>
		<lastmod>2023-07-23T13:17:44+00:00</lastmod>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/09/Domage-BDC-3-min-1.jpg</image:loc>
			<image:title><![CDATA[Domage, BDC (3)-min]]></image:title>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/09/Cattelan-Others-2011-min.jpg</image:loc>
			<image:caption><![CDATA[Maurizio Cattelan, Others, 2011, Ouverture, installation view, 2021, Bourse de Commerce - Pinault Collection, Parigi. Copyright Maurizio Cattelan. Foto Marc Domage. Courtesy l’artista e Bourse de Commerce - Pinault Collection]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/09/Vue-d_exposition-Hammons-Ouverture-2021-min.jpg</image:loc>
			<image:caption><![CDATA[David Hammons, Ouverture, installation view, Bourse de Commerce - Pinault Collection, Parigi, 2021. Foto Aurélien Mole. Courtesy l'artista e Bourse de Commerce - Pinault Collection]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/09/Domage-BDC-3-min.jpg</image:loc>
			<image:caption><![CDATA[Bourse de Commerce — Pinault Collection © Tadao Ando Architect &amp; Associates, Niney et Marca Architectes, Agence Pierre-Antoine Gatier. Foto Marc Domage]]></image:caption>
		</image:image>
	</url>
	<url>
		<loc>https://www.arteecritica.it/carla-lonzi-una-presenza-alle-mie-spalle/</loc>
		<lastmod>2023-07-23T13:21:59+00:00</lastmod>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/04/immagine-in-evidenza-nero.jpg</image:loc>
			<image:title><![CDATA[immagine in evidenza nero]]></image:title>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/04/Anne_Marie-Sauzeau-Boetti_.jpg</image:loc>
			<image:title><![CDATA[Anne-Marie Sauzeau Boetti. Courtesy Archivio Alighiero Boetti]]></image:title>
			<image:caption><![CDATA[Anne-Marie Sauzeau Boetti. Courtesy Archivio Alighiero Boetti]]></image:caption>
		</image:image>
	</url>
	<url>
		<loc>https://www.arteecritica.it/sara-enrico-enigmatico-abito-habitus/</loc>
		<lastmod>2023-07-23T13:29:04+00:00</lastmod>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/02/cover-sara-enrico-MART-2.jpg</image:loc>
			<image:title><![CDATA[cover sara enrico MART 2]]></image:title>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/02/Introducing-Sara-Enrico_The-Jumpsuit-Theme_2019_2-min.jpg</image:loc>
			<image:title><![CDATA[Introducing Sara Enrico: The Jumpsuit Theme, 2019, Národní galerie Praha]]></image:title>
			<image:caption><![CDATA[Introducing Sara Enrico: The Jumpsuit Theme, veduta della mostra, 2019, Národní galerie Praha. Foto Národní galerie Praha, Katarina Hudačinová]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/02/sara-enrico_Mirroring_2019-min.jpg</image:loc>
			<image:title><![CDATA[Sara Enrico, Mirroring, dettaglio, 2019, Quartz Studio, Torino]]></image:title>
			<image:caption><![CDATA[Sara Enrico, Mirroring, dettaglio, 2019, Quartz Studio, Torino. Foto Beppe Giardino. Courtesy Quartz Studio e l'artista]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/02/sara-enrico-Mirroring-2019-min.jpg</image:loc>
			<image:title><![CDATA[Sara Enrico, Mirroring, 2019, Quartz Studio, Torino]]></image:title>
			<image:caption><![CDATA[Sara Enrico, Mirroring, veduta della mostra, 2019, Quartz Studio, Torino. Foto Beppe Giardino. Courtesy Quartz Studio e l'artista]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/02/Sare-Enrico-the-jumpsuit-theme-2019-mart-rovereto.jpg</image:loc>
			<image:title><![CDATA[Sara Enrico, The Jumpsuit Theme, 2019, MART, Rovereto]]></image:title>
			<image:caption><![CDATA[Sara Enrico, The Jumpsuit Theme, veduta della mostra, dettaglio, 2019, MART, Rovereto. Foto Archivio fotografico MART, Alessandro Nassiri. Courtesy MART e l'artista]]></image:caption>
		</image:image>
	</url>
	<url>
		<loc>https://www.arteecritica.it/dal-teatro-immagine-alla-post-avanguardia-nuovo-teatro-in-italia-negli-anni-settanta/</loc>
		<lastmod>2023-07-23T13:33:14+00:00</lastmod>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/06/13.-Magazzini-Criminali-ex-Carrozzone-Crollo-nervoso-Teatro-Comunale-Manzoni-min-1-e1624971908639.jpg</image:loc>
			<image:title><![CDATA[13. Magazzini Criminali (ex Carrozzone), Crollo nervoso, Teatro Comunale Manzoni-min]]></image:title>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/06/2.-Patagruppo-La-conquista-del-Messico-regia-Bruno-Mazzali-min.jpg</image:loc>
			<image:title><![CDATA[Patagruppo, La conquista del Messico, regia Bruno Mazzali, teatro Beat 72, Roma, gennaio 1973. Foto Giorgio Piredda]]></image:title>
			<image:caption><![CDATA[Patagruppo, La conquista del Messico, regia Bruno Mazzali, teatro Beat 72, Roma, gennaio 1973. Foto Giorgio Piredda]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/06/3.-Il-risveglio-di-primavera-regia-Giancarlo-Nanni-min.jpg</image:loc>
			<image:title><![CDATA[Il risveglio di primavera, regia Giancarlo Nanni, con Manuela Kustermann, 1972. Foto Agnese De Donato]]></image:title>
			<image:caption><![CDATA[Il risveglio di primavera, regia Giancarlo Nanni, con Manuela Kustermann, 1972. Foto Agnese De Donato]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/06/1.-Le-120-giornate-di-Sodoma-regia-Giuliano-Vasilico-min.jpg</image:loc>
			<image:title><![CDATA[Le 120 giornate di Sodoma, regia Giuliano Vasilicò, teatro Beat 72, Roma, novembre 1972. Foto Giorgio Piredda]]></image:title>
			<image:caption><![CDATA[Le 120 giornate di Sodoma, regia Giuliano Vasilicò, teatro Beat 72, Roma, novembre 1972. Foto Giorgio Piredda]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/06/14.-Magazzini-Criminali-ex-Carrozzone-Crollo-nervoso-Teatro-Comunale-Manzoni-min.jpg</image:loc>
		</image:image>
	</url>
	<url>
		<loc>https://www.arteecritica.it/in-cerca-di-cloti-ricciardi-ritratto-collettivo-di-uneterna-adolescente-dellarte-contemporanea/</loc>
		<lastmod>2023-07-25T12:55:32+00:00</lastmod>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2023/07/3-min-2.jpg</image:loc>
			<image:title><![CDATA[3-min]]></image:title>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2023/07/1-min-6.jpg</image:loc>
			<image:title><![CDATA[Cloti Ricciardi, Expertise, conferma di identità, Roma, Milano 1972]]></image:title>
			<image:caption><![CDATA[Cloti Ricciardi, Expertise, conferma di identità, Roma, Milano 1972]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2023/07/3-min-4.jpg</image:loc>
			<image:title><![CDATA[Cloti Ricciardi, Autoritratto, 1976]]></image:title>
			<image:caption><![CDATA[Cloti Ricciardi, Autoritratto, 1976]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2023/07/7-min-1.jpg</image:loc>
			<image:title><![CDATA[Cloti Ricciardi, Trasparenze, 2010, MACRO, Roma]]></image:title>
			<image:caption><![CDATA[Cloti Ricciardi, Trasparenze, 2010, MACRO, Roma]]></image:caption>
		</image:image>
	</url>
	<url>
		<loc>https://www.arteecritica.it/topazia-alliata-un-coraggioso-spirito-novecentesco/</loc>
		<lastmod>2024-07-16T14:20:58+00:00</lastmod>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2024/07/AeC97_98-17-min.jpg</image:loc>
			<image:title><![CDATA[AeC97_98-17-min]]></image:title>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2024/07/1-min.jpg</image:loc>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2024/07/2-min.jpg</image:loc>
			<image:title><![CDATA[Movimento Federalista europeo, Tessera d’iscrizione di Topazia Maraini, Palermo, 1952. Archivio Toni Maraini]]></image:title>
			<image:caption><![CDATA[Movimento Federalista europeo, Tessera d’iscrizione di Topazia Maraini, Palermo, 1952. Archivio Toni Maraini]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2024/07/3-min.jpg</image:loc>
			<image:title><![CDATA[Giappone, settembre 1945: Topazia Alliata, Fosco Maraini e le figlie Dacia, Yuki e Toni (in braccio al padre) dopo la liberazione dal campo di concentramento di Nagoya. Archivio Toni Maraini]]></image:title>
			<image:caption><![CDATA[Giappone, settembre 1945: Topazia Alliata, Fosco Maraini e le figlie Dacia, Yuki e Toni (in braccio al padre) dopo la liberazione dal campo di concentramento di Nagoya. Archivio Toni Maraini]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2024/07/5-min.jpg</image:loc>
			<image:title><![CDATA[Topazia Alliata, Autoritratto da alpinista, 1933. Collezione Dacia e Toni Maraini]]></image:title>
			<image:caption><![CDATA[Topazia Alliata, Autoritratto da alpinista, 1933. Collezione Dacia e Toni Maraini]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2024/07/12-min.jpg</image:loc>
			<image:title><![CDATA[Copertina del catalogo della mostra I sette pittori sul Tevere a Ponte Sant’Angelo, Roma, 1955. Archivio Toni Maraini]]></image:title>
			<image:caption><![CDATA[Copertina del catalogo della mostra I sette pittori sul Tevere a Ponte Sant’Angelo, Roma, 1955. Archivio Toni Maraini]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2024/07/14-min.jpg</image:loc>
			<image:title><![CDATA[Galleria Rome-New York Art Foundation, Roma, 1962: Frances McCann, Alexander Calder, Palma Bucarelli, Topazia Alliata. Per gentile concessione Milton Gendel]]></image:title>
			<image:caption><![CDATA[Galleria Rome-New York Art Foundation, Roma, 1962: Frances McCann, Alexander Calder, Palma Bucarelli, Topazia Alliata. Per gentile concessione Milton Gendel]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2024/07/17-min.jpg</image:loc>
			<image:title><![CDATA[Topazia Alliata con Emilio Villa, Rieti, 2002. Foto Nour Shems Melehi (per gentile concessione)]]></image:title>
			<image:caption><![CDATA[Topazia Alliata con Emilio Villa, Rieti, 2002. Foto Nour Shems Melehi (per gentile concessione)]]></image:caption>
		</image:image>
	</url>
	<url>
		<loc>https://www.arteecritica.it/straperetana-2023-oltre-la-modernita/</loc>
		<lastmod>2024-07-16T14:21:45+00:00</lastmod>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2023/10/7-min.jpg</image:loc>
			<image:title><![CDATA[7-min]]></image:title>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2023/10/1-min.jpg</image:loc>
			<image:title><![CDATA[Tomaso Binga, Mater, 1977-2015, una veduta della mostra Straperetana 2023, Ultramoderne, Pereto (AQ). Foto Giorgio Benni. Courtesy Galleria Tiziana di Caro, Napoli, Galleria Frittelli Arte, Firenze]]></image:title>
			<image:caption><![CDATA[Tomaso Binga, Mater, 1977-2015, una veduta della mostra Straperetana 2023, Ultramoderne, Pereto (AQ). Foto Giorgio Benni. Courtesy Galleria Tiziana di Caro, Napoli, Galleria Frittelli Arte, Firenze]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2023/10/06_Ricciardi-Cloti-Expertise.-Conferma-didentita-1972.-Courtesy-lartista-min.jpg</image:loc>
			<image:title><![CDATA[Cloti Ricciardi, Expertise. Conferma d’identità, 1972. Courtesy l'artista]]></image:title>
			<image:caption><![CDATA[Cloti Ricciardi, Expertise. Conferma d’identità, 1972. Courtesy l'artista]]></image:caption>
		</image:image>
	</url>
	<url>
		<loc>https://www.arteecritica.it/charlemagne-palestine-maximalist/</loc>
		<lastmod>2024-07-16T14:22:57+00:00</lastmod>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2023/05/5jpg-e1683451104307.jpg</image:loc>
			<image:title><![CDATA[5jpg]]></image:title>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2023/05/palestine-03.jpg</image:loc>
			<image:title><![CDATA[Charlemagne Palestine, Temple de Peluche, 1990]]></image:title>
			<image:caption><![CDATA[Charlemagne Palestine, Temple de Peluche, 1990]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2023/05/palestine-02.jpg</image:loc>
			<image:title><![CDATA[Charlemagne Palestine, 2003 © Marc Lander]]></image:title>
			<image:caption><![CDATA[Charlemagne Palestine, 2003 © Marc Lander]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2023/05/palestine-01.jpg</image:loc>
			<image:title><![CDATA[Charlemagne Palestine, Blind Monkey, 2005]]></image:title>
			<image:caption><![CDATA[Charlemagne Palestine, Blind Monkey, 2005]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2023/05/palestine-06.jpg</image:loc>
			<image:title><![CDATA[Charlemagne Palestine, Raga Todi, 1984 ca © Kevin Clarke]]></image:title>
			<image:caption><![CDATA[Charlemagne Palestine, Raga Todi, 1984 ca © Kevin Clarke]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2023/05/palestine-05.jpg</image:loc>
			<image:caption><![CDATA[Charlemagne Palestine, Partecipazione di nozze, Luisa e Carlo Orsacchiotti (I testimoni), 1992. Courtesy Galleria Franco Toselli]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2023/05/palestine-04.jpg</image:loc>
			<image:title><![CDATA[Charlemagne Palestine, Partecipazione di nozze, Luisa e Carlo Orsacchiotti, 1992. Courtesy Galleria Franco Toselli]]></image:title>
			<image:caption><![CDATA[Charlemagne Palestine, Partecipazione di nozze, Luisa e Carlo Orsacchiotti, 1992. Courtesy Galleria Franco Toselli]]></image:caption>
		</image:image>
	</url>
	<url>
		<loc>https://www.arteecritica.it/beuys-antipolitico-per-un-concetto-ampliato-di-ecologia/</loc>
		<lastmod>2024-07-16T14:24:24+00:00</lastmod>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/07/Senza-titolo-2.jpg</image:loc>
			<image:title><![CDATA[Senza titolo-2]]></image:title>
		</image:image>
	</url>
	<url>
		<loc>https://www.arteecritica.it/alcune-riflessioni-sulle-pratiche-di-silvia-calderoni-fluire-tra-diversi-linguaggi-per-dare-corpo-ai-passaggi-di-stato-dellidentita/</loc>
		<lastmod>2024-07-16T14:32:38+00:00</lastmod>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2024/07/3-min-1-e1719915317132.jpg</image:loc>
			<image:title><![CDATA[3-min]]></image:title>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2024/07/1-min-2.jpg</image:loc>
			<image:title><![CDATA[Silvia Calderoni and Ilenia Caleo, Flu水o (Covered in Detergent on Stage, Bathing in Water di Nam June Paik), 2021, perfomance. Pirelli HangarBicocca, Milan. Photo t-space studio]]></image:title>
			<image:caption><![CDATA[Silvia Calderoni and Ilenia Caleo, Flu水o (Covered in Detergent on Stage, Bathing in Water di Nam June Paik), 2021, perfomance. Pirelli HangarBicocca, Milan. Photo t-space studio]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2024/07/4-min-1.jpg</image:loc>
			<image:title><![CDATA[Still with Silvia Calderoni taken from Non mi uccidere, directed by Andrea De Sica.  Italia: Warner Bros. Entertainment Italia e Vivo Film, 90:00 min, 2021]]></image:title>
			<image:caption><![CDATA[Still with Silvia Calderoni taken from Non mi uccidere, directed by Andrea De Sica.  Italia: Warner Bros. Entertainment Italia e Vivo Film, 90:00 min, 2021]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2024/07/12-min-1.jpg</image:loc>
			<image:title><![CDATA[Silvia Calderoni in La leggenda di Kaspar Hauser, directed by Davide Manuli. Italia: Blue Film, Shooting Hope Production e Fourlab, 87:00 min, 2012]]></image:title>
			<image:caption><![CDATA[Silvia Calderoni in La leggenda di Kaspar Hauser, directed by Davide Manuli. Italia: Blue Film, Shooting Hope Production e Fourlab, 87:00 min, 2012]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2024/07/7-min-1.jpg</image:loc>
			<image:title><![CDATA[Silvia Calderoni and Ilenia Caleo, Pick Pocket Paradise (Il paradiso dei borseggiatori), 2022. Courtesy the artists. Reproduction of Frank Hallam’s photograph En Masse, Sunners Seen from Pier 45, 1982 © Frank Hallam. Courtesy The LGBT Community Center National History Archive and Leslie-Lohman Museum of Art. Installation view at Castello di Rivoli, Espressioni con frazioni, 2022. Photo © Sebastiano Pellion di Persano. Courtesy Castello di Rivoli Museo d’arte Contemporanea, Rivoli]]></image:title>
			<image:caption><![CDATA[Silvia Calderoni and Ilenia Caleo, Pick Pocket Paradise (Il paradiso dei borseggiatori), 2022. Courtesy the artists. Reproduction of Frank Hallam’s photograph En Masse, Sunners Seen from Pier 45, 1982 © Frank Hallam. Courtesy The LGBT Community Center National History Archive and Leslie-Lohman Museum of Art. Installation view at Castello di Rivoli, Espressioni con frazioni, 2022. Photo © Sebastiano Pellion di Persano. Courtesy Castello di Rivoli Museo d’arte Contemporanea, Rivoli]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2024/07/8-min.jpg</image:loc>
			<image:title><![CDATA[Silvia Calderoni and Ilenia Caleo, Flu水o (Covered in Detergent on Stage, Bathing in Water di Nam June Paik), 2021, performance. Pirelli HangarBicocca, Milan. Photo t-space studio ]]></image:title>
			<image:caption><![CDATA[Silvia Calderoni and Ilenia Caleo, Flu水o (Covered in Detergent on Stage, Bathing in Water di Nam June Paik), 2021, performance. Pirelli HangarBicocca, Milan. Photo t-space studio ]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2024/07/3-min-2.jpg</image:loc>
			<image:title><![CDATA[Silvia Calderoni in Ouverture Of Something That Never Ended. Episode 3: At The Post Office, directed by Gus Van Sant, Italia: Gucci, 10:02 min, 18 November 2020 (https://www.youtube.com/watch?v=9ur2cr6ke_a&amp;t=519s)]]></image:title>
			<image:caption><![CDATA[Silvia Calderoni in Ouverture Of Something That Never Ended. Episode 3: At The Post Office, directed by Gus Van Sant, Italia: Gucci, 10:02 min, 18 November 2020 (https://www.youtube.com/watch?v=9ur2cr6ke_a&amp;t=519s)]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2024/07/2-min-2.jpg</image:loc>
			<image:title><![CDATA[Silvia Calderoni in X(ics) Racconti crudeli della giovinezza, directed by Enrico Casagrande and Daniela Niccolò. Italia, Francia, Germania: Motus, la Biennale Danza di Venezia, Lux-Scène National De Valence, Theater der Welt 2008 in Halle, Istituzione Musica Teatro Eventi – Comune Di Rimini “Progetto Reti”, 2007]]></image:title>
			<image:caption><![CDATA[Silvia Calderoni in X(ics) Racconti crudeli della giovinezza, directed by Enrico Casagrande and Daniela Niccolò. Italia, Francia, Germania: Motus, la Biennale Danza di Venezia, Lux-Scène National De Valence, Theater der Welt 2008 in Halle, Istituzione Musica Teatro Eventi – Comune Di Rimini “Progetto Reti”, 2007]]></image:caption>
		</image:image>
	</url>
	<url>
		<loc>https://www.arteecritica.it/simone-berti-farsi-uomo-che-sogna/</loc>
		<lastmod>2024-07-17T15:51:10+00:00</lastmod>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2024/07/3-min-4-e1721231440148.jpg</image:loc>
			<image:title><![CDATA[3-min]]></image:title>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2024/07/2-min-1.jpg</image:loc>
			<image:title><![CDATA[Simone Berti, Untitled, 2019, 180 x 290cm. Photo Andrea Rossetti. Courtesy Federica Schiavo Gallery, Rome]]></image:title>
			<image:caption><![CDATA[Simone Berti, Untitled, 2019, 180 x 290cm. Photo Andrea Rossetti. Courtesy Federica Schiavo Gallery, Rome]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2024/07/4-min-2.jpg</image:loc>
			<image:title><![CDATA[Simone Berti, immagini dal libro d’artista / images from the artist book L’attesa non è tempo sprecato, 2023, “Libro d’artista di San Leonardo”, un progetto di / a project by Anselmo Guerrieri Gonzaga and Ilaria Tronchetti Provera, a cura di / curated by Giovanna Amadasi]]></image:title>
			<image:caption><![CDATA[Simone Berti, immagini dal libro d’artista / images from the artist book L’attesa non è tempo sprecato, 2023, “Libro d’artista di San Leonardo”, un progetto di / a project by Anselmo Guerrieri Gonzaga and Ilaria Tronchetti Provera, a cura di / curated by Giovanna Amadasi]]></image:caption>
		</image:image>
	</url>
	<url>
		<loc>https://www.arteecritica.it/costantino-dardi-una-logica-delle-sensazioni-artistiche/</loc>
		<lastmod>2024-07-17T18:37:03+00:00</lastmod>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2024/07/4-min-3.jpg</image:loc>
			<image:title><![CDATA[4-min]]></image:title>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2024/07/1.jpg</image:loc>
			<image:title><![CDATA[Fotogramma dal film Il ventre dell’architetto di Peter Greenaway, 1987. Collezione MAXXI Architettura]]></image:title>
			<image:caption><![CDATA[Fotogramma dal film Il ventre dell’architetto di Peter Greenaway, 1987. Collezione MAXXI Architettura]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2024/07/3.jpg</image:loc>
			<image:title><![CDATA[Fotogramma dal film Il ventre dell’architetto di Peter Greenaway, 1987. Collezione MAXXI Architettura]]></image:title>
			<image:caption><![CDATA[Fotogramma dal film Il ventre dell’architetto di Peter Greenaway, 1987. Collezione MAXXI Architettura]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2024/07/9.jpg</image:loc>
			<image:title><![CDATA[Fotografia di Costantino Dardi alle architetture di Djerba, Kodachrome, Collezione MAXXI Architettura]]></image:title>
			<image:caption><![CDATA[Fotografia di Costantino Dardi alle architetture di Djerba, Kodachrome, Collezione MAXXI Architettura]]></image:caption>
		</image:image>
	</url>
	<url>
		<loc>https://www.arteecritica.it/emma-talbot-dal-lato-lunare-nuovi-paradigmi-per-un-nuovo-mondo/</loc>
		<lastmod>2024-07-22T09:44:23+00:00</lastmod>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2024/07/3-min-6-e1721323654931.jpg</image:loc>
			<image:title><![CDATA[3-min]]></image:title>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2024/07/4-min-4.jpg</image:loc>
			<image:title><![CDATA[Emma Talbot (vincitrice del Max Mara Art Prize for Women 2019-2022) nel suo studio a Reggio Emilia durante la residenza di 6 mesi in Italia organizzata dalla Collezione Maramotti, 2022 / Emma Talbot (winner of the Max Mara Art Prize for Women 2019-2022) in her studio in Reggio Emilia during her six-month italian residency organised by Collezione Maramotti, 2022. Photo Bruno Cattani – Fotosuperstudio]]></image:title>
			<image:caption><![CDATA[Emma Talbot (vincitrice del Max Mara Art Prize for Women 2019-2022) nel suo studio a Reggio Emilia durante la residenza di 6 mesi in Italia organizzata dalla Collezione Maramotti, 2022 / Emma Talbot (winner of the Max Mara Art Prize for Women 2019-2022) in her studio in Reggio Emilia during her six-month italian residency organised by Collezione Maramotti, 2022. Photo Bruno Cattani – Fotosuperstudio]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2024/07/3-min-5.jpg</image:loc>
			<image:title><![CDATA[Emma Talbot, The Age / L’Età, veduta della mostra / exhibition view, Collezione Maramotti, Reggio Emilia, 2022-2023. Photo Dario Lasagni]]></image:title>
			<image:caption><![CDATA[Emma Talbot, The Age / L’Età, veduta della mostra / exhibition view, Collezione Maramotti, Reggio Emilia, 2022-2023. Photo Dario Lasagni]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2024/07/7-min-2.jpg</image:loc>
			<image:title><![CDATA[Emma Talbot (vincitrice del Max Mara Art Prize for Women 2019-2022) alla Modateca Deanna durante la residenza di 6 mesi in Italia organizzata dalla Collezione Maramotti / Emma Talbot (winner of the Max Mara Art Prize for Women 2019-2022) at Modateca Deanna during her six-month italian residency, organised by the Collezione Maramotti, 2022. Photo Tiwi]]></image:title>
			<image:caption><![CDATA[Emma Talbot (vincitrice del Max Mara Art Prize for Women 2019-2022) alla Modateca Deanna durante la residenza di 6 mesi in Italia organizzata dalla Collezione Maramotti / Emma Talbot (winner of the Max Mara Art Prize for Women 2019-2022) at Modateca Deanna during her six-month italian residency, organised by the Collezione Maramotti, 2022. Photo Tiwi]]></image:caption>
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	<url>
		<loc>https://www.arteecritica.it/spregiudicata-avanguardia-antica-sostanza-la-vita-larte-e-lo-spazio-di-luigi-moretti/</loc>
		<lastmod>2024-07-22T09:51:46+00:00</lastmod>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2024/07/2-min-5-e1721484688725.jpg</image:loc>
			<image:title><![CDATA[2-min]]></image:title>
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	</url>
	<url>
		<loc>https://www.arteecritica.it/appropriazione-di-linguaggi-tra-arte-e-teatro-e-viceversa-citazione-re-citazione-azione/</loc>
		<lastmod>2024-10-05T08:04:22+00:00</lastmod>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2024/07/6-min-7-e1722438315117.jpg</image:loc>
			<image:title><![CDATA[6-min]]></image:title>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2024/07/1-min-7.jpg</image:loc>
			<image:title><![CDATA[Pino Pacali, Requiescat, 1965]]></image:title>
			<image:caption><![CDATA[Pino Pacali, Requiescat, 1965]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2024/07/2-min-9.jpg</image:loc>
			<image:title><![CDATA[Catalogo della mostra Teatro delle mostre, 1968]]></image:title>
			<image:caption><![CDATA[Catalogo della mostra Teatro delle mostre, 1968]]></image:caption>
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			<image:title><![CDATA[William Kentridge, The Refusal of Time, un progetto per dOCUMENTA(13) - Kassel, Documenta und Museum Fridericianum Veranstaltungs - GmbH, 2012, veduta dell’installazione. Courtesy Galleria Lia Rumma, Milano / Napoli. Credito fotografico Henrik Stromberg]]></image:title>
			<image:caption><![CDATA[William Kentridge, The Refusal of Time, un progetto per dOCUMENTA(13) - Kassel, Documenta und Museum Fridericianum Veranstaltungs - GmbH, 2012, veduta dell’installazione. Courtesy Galleria Lia Rumma, Milano / Napoli. Credito fotografico Henrik Stromberg]]></image:caption>
		</image:image>
	</url>
	<url>
		<loc>https://www.arteecritica.it/un-percorso-fatto-insieme-agli-artisti-i-40-anni-di-tucci-russo-studio-per-larte-contemporanea/</loc>
		<lastmod>2024-10-05T08:13:32+00:00</lastmod>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2024/07/4-min-8.jpg</image:loc>
			<image:title><![CDATA[4-min]]></image:title>
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		<lastmod>2024-11-15T15:35:24+00:00</lastmod>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/03/Senza-titolo-1.jpg</image:loc>
			<image:title><![CDATA[Senza titolo-1]]></image:title>
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		<loc>https://www.arteecritica.it/burri-un-viaggio-tra-europa-e-usa-a-centanni-dalla-sua-nascita/</loc>
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		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2024/11/4-min-1-e1731583827990.jpg</image:loc>
			<image:title><![CDATA[4-min]]></image:title>
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		<image:image>
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			<image:title><![CDATA[ginevra_aec86_01-45rob.indd]]></image:title>
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		<lastmod>2024-11-15T15:45:48+00:00</lastmod>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2024/10/3-min-5.jpg</image:loc>
			<image:title><![CDATA[3-min]]></image:title>
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	</url>
	<url>
		<loc>https://www.arteecritica.it/carla-lonzi-e-lautocoscienza-della-critica-darte/</loc>
		<lastmod>2024-11-18T13:46:21+00:00</lastmod>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2024/11/Immagine2.jpg</image:loc>
			<image:title><![CDATA[Immagine2]]></image:title>
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		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2024/11/lonzi.jpg</image:loc>
			<image:caption><![CDATA[Carla Lonzi, Scritti sullarte]]></image:caption>
		</image:image>
	</url>
	<url>
		<loc>https://www.arteecritica.it/tucci-russo-un-racconto-condiviso/</loc>
		<lastmod>2025-04-17T13:03:41+00:00</lastmod>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2025/04/4.jpg</image:loc>
			<image:title><![CDATA[4]]></image:title>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2025/04/2.jpg</image:loc>
			<image:title><![CDATA[Tucci Russo, Maurizio Mochetti, Giulio Paolini, 1970, Palazzo Pretorio, Prato. Foto © Paolo Mussat Sartor]]></image:title>
			<image:caption><![CDATA[Tucci Russo, Maurizio Mochetti, Giulio Paolini, 1970, Palazzo Pretorio, Prato. Foto © Paolo Mussat Sartor]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2025/04/3.jpg</image:loc>
			<image:title><![CDATA[Ugo Mulas, Gian Enzo Sperone, Tucci Russo, 1971, Galleria Sperone, Torino. Foto © Paolo Mussat Sartor]]></image:title>
			<image:caption><![CDATA[Ugo Mulas, Gian Enzo Sperone, Tucci Russo, 1971, Galleria Sperone, Torino. Foto © Paolo Mussat Sartor]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2025/04/5.jpg</image:loc>
			<image:title><![CDATA[Pier Paolo Calzolari, Luogo, Persona, Tempo, ognuno dei quali influisce sull’altro, 22 febbraio 1977, veduta della mostra, Galleria Tucci Russo, Torino. Foto © Paolo Mussat Sartor]]></image:title>
			<image:caption><![CDATA[Pier Paolo Calzolari, Luogo, Persona, Tempo, ognuno dei quali influisce sull’altro, 22 febbraio 1977, veduta della mostra, Galleria Tucci Russo, Torino. Foto © Paolo Mussat Sartor]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2025/04/6.jpg</image:loc>
			<image:title><![CDATA[Una veduta della mostra di Sandro Chia La spada e il culo, 10 maggio 1976, Galleria Tucci Russo, Torino. Foto © Paolo Mussat Sartor]]></image:title>
			<image:caption><![CDATA[Una veduta della mostra di Sandro Chia La spada e il culo, 10 maggio 1976, Galleria Tucci Russo, Torino. Foto © Paolo Mussat Sartor]]></image:caption>
		</image:image>
		<image:image>
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			<image:title><![CDATA[Giovanni Anselmo, Mentre l’ago magnetico si orienta e oltremare verso mezzogiorno e verso mezzanotte appare, 13 maggio 2012, veduta della mostra, Galleria Tucci Russo, Torre Pellice. Foto © Paolo Mussat Sartor]]></image:title>
			<image:caption><![CDATA[Giovanni Anselmo, Mentre l’ago magnetico si orienta e oltremare verso mezzogiorno e verso mezzanotte appare, 13 maggio 2012, veduta della mostra, Galleria Tucci Russo, Torre Pellice. Foto © Paolo Mussat Sartor]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2025/04/22.jpg</image:loc>
			<image:title><![CDATA[Richard Long, veduta della mostra, Galleria Tucci Russo, Torre Pellice, 19 ottobre 2002. Foto © Enzo Ricci]]></image:title>
			<image:caption><![CDATA[Richard Long, veduta della mostra, Galleria Tucci Russo, Torre Pellice, 19 ottobre 2002. Foto © Enzo Ricci]]></image:caption>
		</image:image>
	</url>
	<url>
		<loc>https://www.arteecritica.it/francesco-arena-un-pavimento-rosso-per-la-hutte/</loc>
		<lastmod>2025-04-19T09:37:08+00:00</lastmod>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2025/04/3-1.jpg</image:loc>
			<image:title><![CDATA[3]]></image:title>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2025/04/3-min.jpg</image:loc>
			<image:title><![CDATA[Francesco Arena, veduta della mostra Il fulmine governa ogni cosa, Fondazione Nicola Del Roscio, Roma, 2023. Foto Sebastiano Luciano]]></image:title>
			<image:caption><![CDATA[Francesco Arena, veduta della mostra Il fulmine governa ogni cosa, Fondazione Nicola Del Roscio, Roma, 2023. Foto Sebastiano Luciano]]></image:caption>
		</image:image>
		<image:image>
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			<image:title><![CDATA[Francesco Arena, Cassetta, 2023, una veduta della mostra Il fulmine governa ogni cosa, Fondazione Nicola Del Roscio, Roma, 2023. Foto Sebastiano Luciano. Courtesy Raffaella Cortese, Milano / Sprovieri, Londra / Studio Trisorio, Napoli]]></image:title>
			<image:caption><![CDATA[Francesco Arena, Cassetta, 2023, una veduta della mostra Il fulmine governa ogni cosa, Fondazione Nicola Del Roscio, Roma, 2023. Foto Sebastiano Luciano. Courtesy Raffaella Cortese, Milano / Sprovieri, Londra / Studio Trisorio, Napoli]]></image:caption>
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	<url>
		<loc>https://www.arteecritica.it/maurizio-fagiolo-dellarco-una-militanza-esemplare/</loc>
		<lastmod>2025-04-19T15:32:50+00:00</lastmod>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2025/04/2-min-2.jpg</image:loc>
			<image:title><![CDATA[2-min]]></image:title>
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	<url>
		<loc>https://www.arteecritica.it/fagiolo-dellarco-lo-savio-e-argan-nello-spirito-degli-anni-ottanta-tra-modernita-e-post-modernita-una-testimonianza/</loc>
		<lastmod>2025-04-19T15:35:43+00:00</lastmod>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2024/11/1-1-e1732022338497.jpg</image:loc>
			<image:title><![CDATA[1]]></image:title>
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		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2024/11/4-min-2.jpg</image:loc>
			<image:title><![CDATA[Copertina del catalogo (Arnoldo Mondadori editore - De Luca editore) della mostra Le scuole romane. Sviluppi e continuità 1927-1988, a cura di F. Benzi, E. Mascelloni, R. Lambarelli, coordinamento a cura di G. Cortenova, Palazzo Forti, Verona, 1988 / Cover of the catalogue (Arnoldo Mondadori editore - De Luca editore) of the exhibition Le scuole romane. Sviluppi e continuità 1927-1988, curated by F. Benzi, E. Mascelloni, R. Lambarelli, coordination by G. Cortenova, Palazzo Forti, Verona, 1988]]></image:title>
			<image:caption><![CDATA[Copertina del catalogo (Arnoldo Mondadori editore - De Luca editore) della mostra Le scuole romane. Sviluppi e continuità 1927-1988, a cura di F. Benzi, E. Mascelloni, R. Lambarelli, coordinamento a cura di G. Cortenova, Palazzo Forti, Verona, 1988 / Cover of the catalogue (Arnoldo Mondadori editore - De Luca editore) of the exhibition Le scuole romane. Sviluppi e continuità 1927-1988, curated by F. Benzi, E. Mascelloni, R. Lambarelli, coordination by G. Cortenova, Palazzo Forti, Verona, 1988]]></image:caption>
		</image:image>
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			<image:loc>https://www.arteecritica.it/wp-content/uploads/2024/11/5-min-1.jpg</image:loc>
			<image:title><![CDATA[Copertina del catalogo (Mazzotta editore) della mostra Scuola Romana. Artisti tra le due guerre, a cura di M. Fagiolo dell’Arco, Palazzo Reale, Milano, 1988 / Cover of the catalogue of the exhibition Scuola Romana. Artisti tra le due guerre, curated by M. Fagiolo dell’Arco, Palazzo Reale, Milan, 1988]]></image:title>
			<image:caption><![CDATA[Copertina del catalogo (Mazzotta editore) della mostra Scuola Romana. Artisti tra le due guerre, a cura di M. Fagiolo dell’Arco, Palazzo Reale, Milano, 1988 / Cover of the catalogue of the exhibition Scuola Romana. Artisti tra le due guerre, curated by M. Fagiolo dell’Arco, Palazzo Reale, Milan, 1988]]></image:caption>
		</image:image>
	</url>
	<url>
		<loc>https://www.arteecritica.it/il-mutevole-scambio-tra-critica-darte-e-storia-intervista-a-maurizio-fagiolo/</loc>
		<lastmod>2025-04-19T15:37:04+00:00</lastmod>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2024/11/1.jpg</image:loc>
			<image:title><![CDATA[1]]></image:title>
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		<loc>https://www.arteecritica.it/francesco-cavaliere-membrane-opalescenti-moti-ondosi-e-miraggi-ossalini/</loc>
		<lastmod>2025-07-19T13:13:57+00:00</lastmod>
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			<image:loc>https://www.arteecritica.it/wp-content/uploads/2025/07/2-min.jpg</image:loc>
			<image:title><![CDATA[2-min]]></image:title>
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		<loc>https://www.arteecritica.it/irene-fenara-la-visione-oltre-limmagine/</loc>
		<lastmod>2025-07-21T14:59:53+00:00</lastmod>
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			<image:title><![CDATA[1-min]]></image:title>
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		<loc>https://www.arteecritica.it/caterina-de-nicola-traslocare/</loc>
		<lastmod>2025-07-21T15:00:28+00:00</lastmod>
		<image:image>
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			<image:title><![CDATA[6-min]]></image:title>
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		<loc>https://www.arteecritica.it/carola-bonfili-uno-specchio-per-scovare-il-secondo-ordine-della-realta/</loc>
		<lastmod>2025-07-21T15:03:08+00:00</lastmod>
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			<image:loc>https://www.arteecritica.it/wp-content/uploads/2025/07/8-min-1.jpg</image:loc>
			<image:title><![CDATA[8-min]]></image:title>
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			<image:loc>https://www.arteecritica.it/wp-content/uploads/2025/07/1.jpg</image:loc>
			<image:title><![CDATA[Carola Bonfili, Second Order Reality, veduta della mostra, Aksioma - Institute for Contemporary Art, Lubiana, 2023; M’ling and Tanky Pear, 2023, stampa 3D, PLA, resina poliestere, pittura acrilica, cm 110x50x50; Acoustic Mirrors, resina poliestere, pittura acrilica, cemento, cristalli di sale, cm 60x60x25; Woods, cemento, dimensioni variabili. Foto Domen Pal / Aksioma. Courtesy Fondazione MAXXI, Roma]]></image:title>
			<image:caption><![CDATA[Carola Bonfili, Second Order Reality, veduta della mostra, Aksioma - Institute for Contemporary Art, Lubiana, 2023; M’ling and Tanky Pear, 2023, stampa 3D, PLA, resina poliestere, pittura acrilica, cm 110x50x50; Acoustic Mirrors, resina poliestere, pittura acrilica, cemento, cristalli di sale, cm 60x60x25; Woods, cemento, dimensioni variabili. Foto Domen Pal / Aksioma. Courtesy Fondazione MAXXI, Roma]]></image:caption>
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	<url>
		<loc>https://www.arteecritica.it/alessandro-sarra-altri-appunti-per-la-rivoluzione/</loc>
		<lastmod>2025-07-23T17:01:09+00:00</lastmod>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2024/10/3.-Alessandro-Sarra.jpg</image:loc>
			<image:title><![CDATA[Alessandro Sarra, Senza titolo (Paesaggio) 01S, 2012. Foto Davide Franceschini, Altrospazio]]></image:title>
			<image:caption><![CDATA[Alessandro Sarra, Senza titolo (Paesaggio) 01S, 2012. Foto Davide Franceschini, Altrospazio]]></image:caption>
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	<url>
		<loc>https://www.arteecritica.it/grossi-maglioni-la-madre-bestia-e-altri-suggerimenti/</loc>
		<lastmod>2025-12-05T17:42:27+00:00</lastmod>
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			<image:loc>https://www.arteecritica.it/wp-content/uploads/2025/07/8-min-3-e1753458992915.jpg</image:loc>
			<image:title><![CDATA[8-min]]></image:title>
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			<image:loc>https://www.arteecritica.it/wp-content/uploads/2025/07/1-min-4.jpg</image:loc>
			<image:title><![CDATA[Grossi Maglioni, alcune pagine dal libro Beast Mother, Postmedia books, 2023]]></image:title>
			<image:caption><![CDATA[Grossi Maglioni, alcune pagine dal libro Beast Mother, Postmedia books, 2023]]></image:caption>
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		<loc>https://www.arteecritica.it/acque-dolci-femminismi-spazi-e-pratiche-di-cura-conversazione-con-sara-basta/</loc>
		<lastmod>2025-12-06T11:33:15+00:00</lastmod>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2025/07/2-min-5-e1753019623684.jpg</image:loc>
			<image:title><![CDATA[2-min]]></image:title>
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		<loc>https://www.arteecritica.it/maria-thereza-alves-seeds-of-change/</loc>
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		<image:image>
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			<image:title><![CDATA[adv 1-7:A&amp;C da 76 a 112]]></image:title>
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			<image:title><![CDATA[Maria Thereza Alves, Seeds of Change, still da video, 1999-2009. Courtesy l’artista, aMAZElab]]></image:title>
			<image:caption><![CDATA[Maria Thereza Alves, Seeds of Change, still da video, 1999-2009. Courtesy l’artista, aMAZElab]]></image:caption>
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			<image:loc>https://www.arteecritica.it/wp-content/uploads/2024/10/4-min-4.jpg</image:loc>
			<image:title><![CDATA[Maria Thereza Alves, Seeds of Change, still da video, 1999-2009. Courtesy l’artista, aMAZElab]]></image:title>
			<image:caption><![CDATA[Maria Thereza Alves, Seeds of Change, still da video, 1999-2009. Courtesy l’artista, aMAZElab]]></image:caption>
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		<loc>https://www.arteecritica.it/lara-favaretto-via-terra-e-via-mare-momentary-monument/</loc>
		<lastmod>2025-12-06T11:49:38+00:00</lastmod>
		<image:image>
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			<image:title><![CDATA[3-min]]></image:title>
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			<image:loc>https://www.arteecritica.it/wp-content/uploads/2024/10/4-min-3.jpg</image:loc>
			<image:title><![CDATA[Lara Favaretto, Good luck, installation view, MAXXI, Rome, 2015. Photo Musacchio Ianniello. Courtesy Fondazione MAXXI, Rome]]></image:title>
			<image:caption><![CDATA[Lara Favaretto, Good luck, installation view, MAXXI, Rome, 2015. Photo Musacchio Ianniello. Courtesy Fondazione MAXXI, Rome]]></image:caption>
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			<image:loc>https://www.arteecritica.it/wp-content/uploads/2024/10/1-min-5.jpg</image:loc>
			<image:title><![CDATA[Lara Favaretto, Good luck, installation view, MAXXI, Rome, 2015. Photo Musacchio Ianniello. Courtesy Fondazione MAXXI, Rome]]></image:title>
			<image:caption><![CDATA[Lara Favaretto, Good luck, installation view, MAXXI, Rome, 2015. Photo Musacchio Ianniello. Courtesy Fondazione MAXXI, Rome]]></image:caption>
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	<url>
		<loc>https://www.arteecritica.it/giocare-con-le-cose-morte-il-collezionismo-perturbante-di-mike-kelley/</loc>
		<lastmod>2026-06-17T11:43:47+00:00</lastmod>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2025/12/1-min-1-e1765032434985.jpg</image:loc>
			<image:title><![CDATA[1-min]]></image:title>
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		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2025/12/5-min.jpg</image:loc>
			<image:title><![CDATA[Mike Kelley, The Uncanny, 1993, installation view, Sonsbeek 93, Gemeentemuseum, Arnhem. Photo credit Museum Arnhem]]></image:title>
			<image:caption><![CDATA[Mike Kelley, The Uncanny, 1993, installation view, Sonsbeek 93, Gemeentemuseum, Arnhem. Photo credit Museum Arnhem]]></image:caption>
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	<url>
		<loc>https://www.arteecritica.it/john-armleder-stockage-il-sogno-moderno-in-formato-domestico/</loc>
		<lastmod>2026-06-17T13:04:23+00:00</lastmod>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2024/10/is_33.jpg</image:loc>
			<image:title><![CDATA[is_33]]></image:title>
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	<url>
		<loc>https://www.arteecritica.it/piero-gilardi-e-la-biopolitica-del-vivente/</loc>
		<lastmod>2026-06-27T12:39:57+00:00</lastmod>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2024/10/2-3-e1728317349486.jpg</image:loc>
			<image:title><![CDATA[cop 85.indd]]></image:title>
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		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2024/10/6.jpg</image:loc>
			<image:title><![CDATA[Piero Gilardi, Phosphor, 2008, exhibition view Ecosoft Art, PAV Parco Arte Vivente, Turin, 2008. Photo Leo Gilardi]]></image:title>
			<image:caption><![CDATA[Piero Gilardi, Phosphor, 2008, exhibition view Ecosoft Art, PAV Parco Arte Vivente, Turin, 2008. Photo Leo Gilardi]]></image:caption>
		</image:image>
	</url>
	<url>
		<loc>https://www.arteecritica.it/piero-gilardi-dalla-natura-allarte/</loc>
		<lastmod>2026-06-27T12:41:56+00:00</lastmod>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/02/cover-REIN_090820_PieroGilardi_014-Panofull.jpg</image:loc>
			<image:title><![CDATA[cover REIN_090820_PieroGilardi_014-Panofull]]></image:title>
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		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/02/Piero-Gilardi_Dalla-natura-allarte_veduta-della-mostra_1-min.jpg</image:loc>
			<image:title><![CDATA[Piero Gilardi, Dalla Natura all’Arte, Michel Rein, Parigi, 2020]]></image:title>
			<image:caption><![CDATA[Piero Gilardi, Dalla Natura all’Arte, veduta della mostra, Michel Rein, Parigi, 2020. Foto Florian Kleinefenn. Courtesy l'artista e Michel Rein, Paris/Brussels]]></image:caption>
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		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/02/Piero-Gilardi_Dalla-natura-allarte_veduta-della-mostra_2-min.jpg</image:loc>
			<image:title><![CDATA[Piero Gilardi, Dalla Natura all’Arte, Michel Rein, Parigi, 2020]]></image:title>
			<image:caption><![CDATA[Piero Gilardi, Dalla Natura all’Arte, veduta della mostra, Michel Rein, Parigi, 2020. Foto Florian Kleinefenn. Courtesy l'artista e Michel Rein, Paris/Brussels]]></image:caption>
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		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/02/Piero-Gilardi_Dalla-natura-allarte_veduta-della-mostra_3-min.jpg</image:loc>
			<image:title><![CDATA[Piero Gilardi, Dalla Natura all’Arte, Michel Rein, Parigi, 2020]]></image:title>
			<image:caption><![CDATA[Piero Gilardi, Dalla Natura all’Arte, due vedute della mostra, Michel Rein, Parigi, 2020. Foto Florian Kleinefenn. Courtesy l'artista e Michel Rein, Paris/Brussels]]></image:caption>
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		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2021/02/Piero-Gilardi_Dalla-natura-allarte_veduta-della-mostra_4-min.jpg</image:loc>
			<image:title><![CDATA[Piero Gilardi, Dalla Natura all’Arte, Michel Rein, Parigi, 2020]]></image:title>
			<image:caption><![CDATA[Piero Gilardi, Dalla Natura all’Arte, due vedute della mostra, Michel Rein, Parigi, 2020. Foto Florian Kleinefenn. Courtesy l'artista e Michel Rein, Paris/Brussels]]></image:caption>
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	</url>
	<url>
		<loc>https://www.arteecritica.it/gabriella-ciancimino-piante-pirata-e-scatole-di-latta/</loc>
		<lastmod>2026-06-27T13:41:43+00:00</lastmod>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2024/10/1-min-4-e1728309584310.jpg</image:loc>
			<image:title><![CDATA[1-min]]></image:title>
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	<url>
		<loc>https://www.arteecritica.it/michelangelo-consani-una-pura-formalita/</loc>
		<lastmod>2026-06-27T13:43:47+00:00</lastmod>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2025/07/9-min-2-e1753095565633.jpg</image:loc>
			<image:title><![CDATA[9-min]]></image:title>
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			<image:loc>https://www.arteecritica.it/wp-content/uploads/2025/07/3-min-4.jpg</image:loc>
			<image:title><![CDATA[Michelangelo Consani, Orione, 2023, grafite su carta, cm 15x8. Courtesy collezione privata]]></image:title>
			<image:caption><![CDATA[Michelangelo Consani, Orione, 2023, grafite su carta, cm 15x8. Courtesy collezione privata]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2025/07/9-min-3.jpg</image:loc>
			<image:title><![CDATA[Michelangelo Consani, Sopra i figli dei figli il sole, 2019, bronzo, patata ed erba prelevata dal PAV - Parco Arte Vivente, Torino. Foto Michelangelo Consani. Courtesy Gallery Side2, Tokyo]]></image:title>
			<image:caption><![CDATA[Michelangelo Consani, Sopra i figli dei figli il sole, 2019, bronzo, patata ed erba prelevata dal PAV - Parco Arte Vivente, Torino. Foto Michelangelo Consani. Courtesy Gallery Side2, Tokyo]]></image:caption>
		</image:image>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2025/07/10-min-1.jpg</image:loc>
			<image:title><![CDATA[Michelangelo Consani, Il Malatiello, 2023, marmo nero del Belgio, legno, cm 34x32x133, particolare della mostra Michelangelo Consani – Emanuele Becheri. Opere/Costellazioni, ME Vannucci, Pistoia, 2024. Foto Nicola Gnesi. Courtesy ME Vannucci, Pistoia]]></image:title>
			<image:caption><![CDATA[Michelangelo Consani, Il Malatiello, 2023, marmo nero del Belgio, legno, cm 34x32x133, particolare della mostra Michelangelo Consani – Emanuele Becheri. Opere/Costellazioni, ME Vannucci, Pistoia, 2024. Foto Nicola Gnesi. Courtesy ME Vannucci, Pistoia]]></image:caption>
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	</url>
	<url>
		<loc>https://www.arteecritica.it/michelangelo-consani-gli-elefanti-bianchi-e-le-patate/</loc>
		<lastmod>2026-06-27T13:44:39+00:00</lastmod>
		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2024/10/2-min-2-e1728302934707.jpg</image:loc>
			<image:title><![CDATA[2-min]]></image:title>
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		<image:image>
			<image:loc>https://www.arteecritica.it/wp-content/uploads/2024/10/1-min-2.jpg</image:loc>
			<image:title><![CDATA[Michelangelo Consani, Elefante n. 7, 2013-14. Courtesy Side 2 Gallery, Tokyo]]></image:title>
			<image:caption><![CDATA[Michelangelo Consani, Elefante n. 7, 2013-14. Courtesy Side 2 Gallery, Tokyo]]></image:caption>
		</image:image>
	</url>
</urlset>
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