From 1 August to 31 December 2026, the Nuovo Spazio di Casso hosts XILOMONSTERS, a group exhibition curated by Dolomiti Contemporanee that redefines the relationship between art, nature, and memory.

Developed within the broader Xilogenesi Project—focused on the enhancement and artistic integration of the Xilario, a valuable collection of wooden books—the exhibition transforms plant matter into a philosophical medium. Among the artists and works involved in this collective narrative is Ludovico Bomben, whose research contributes to exploring the idea of an active forest that colonises space, transforming itself into “encephalic trunks” charged with thought.

Drawing on the Latin meaning of monstrum (a prodigy and a warning), the exhibition does not seek to frighten, but rather to question visitors about our relationship with the environment. Within the symbolic context of Vajont, cultural ecology becomes an essential tool for regeneration. Because where the landscape once trembled, today the forest returns to speak.

The 12th edition of Opera Viva Barriera di Milano, il Manifesto returns to Turin’s Piazza Bottesini. The urban art project, conceived by Alessandro Bulgini and produced by Flashback, presents the 2026 edition titled IN TIME, which uses sailing as a metaphor to connect past and present, addressing urgent themes such as migration and solidarity.

The billboards, created by international artists, will later be presented in a group exhibition at Flashback Habitat. The project opens with Matthew Attard’s work Follow the Ship(s): a monumental 6 x 3 metre billboard featuring a drawing created through eye-tracking technology, merging ancient Maltese nautical graffiti with digital aesthetics to convey a powerful message of hope.

Andrea Mastrovito participates in the first edition of the Bienal del Agua: The Traces of Water, taking place from 16 July to 6 September 2026 in Cascais, Portugal. The artist is featured in the main section of the Biennale at the Estoril Congress Center, curated by Demetrio Paparoni, the Biennale’s general curator.

The exhibited works are Quando il cielo finisce and La crociata dei bambini: a large-scale installation of open books spread across the floor and a monumental wall work in which engraving, inlay, painting, pastel drawing, and graphite frottage intersect to create a powerful and layered visual universe.

The first edition of the Bienal del Agua, opening to the public on 18 July, presents itself as an international platform of multidisciplinary excellence, bringing together artistic, technological, social, academic, and humanitarian perspectives. Its aim is to create a space for exchange between artists, scientists, researchers, activists, and citizens, fostering an interdisciplinary dialogue that contributes to greater ecological awareness and to the development of sustainable models for water resource management, as highlighted by Biennale director Consuelo Ciscar.

The exhibition unfolds across several venues, including the Estoril Congress Center, the Paula Rego House of Stories, NOVA University Lisbon, the gallery ThisMustBeThePlace, and the seafront area of the Cascais Cidadela Art District. In addition, the Oliver Water Capsule is located at the Cascais Cultural Centre.

The Museo Madre presents the third chapter of Gli anni, an exhibition project exploring key moments and protagonists in the recent history of art in Naples through artworks, archives, and shared memories. Among the exhibition's highlights is a special focus on Nanni Balestrini: Tristanoil (2012) takes centre stage in a room curated by Lorenzo Coletta, where it enters into dialogue with sound experiments by artists from different generations.

Bringing together significant works by Italian and international artists, the exhibition weaves together visual art, experimental practices, and reflections on the present. Gli anni presents the museum as a place where the memory of the past continues to generate new interpretations and critical dialogue. The exhibition unfolds throughout the Madre's galleries with new installations, commissions, and research projects, accompanied by a public programme of talks, conversations, and guided visits.

Until 27 September 2026, a major multi-venue exhibition brings together three leading cultural institutions in Rome—the National Roman Museum (Baths of Diocletian), the Colosseum Archaeological Park (Temple of Romulus), and VIVE (the Vittoriano and Palazzo Venezia)—to explore the historical relationship between numismatics, propaganda, and power.

At the VIVE venue (Sala Zanardelli), the exhibition opens up to a dialogue with contemporary art. Among the works on display are two historic pieces by Cesare Pietroiusti, whose inclusion is particularly significant. Through the artist's characteristic conceptual investigation of systems of exchange, the works question the symbolic and economic value of money, creating a compelling dialogue with the exhibition's historical narrative.

The Kunstraum Schwaz presents a solo exhibition by Austrian artist Michael Höpfner, an exhibition project that redefines the experience of landscape through his radical practice of walking in remote and desert regions. The title, Berg ohne Horizont (Mountain Without Horizon), perfectly encapsulates Höpfner's artistic research.

Through analogue black-and-white photographs, drawings, and site-specific installations, the visual horizon is deliberately removed. Deprived of geographical and romantic points of reference, the mountain loses its stability and is transformed into a conceptual and existential space, challenging the limits of our perception and our sense of orientation. A profound exploration of time, space, and isolation, the exhibition enters into a compelling dialogue with the architecture of the Kunstraum itself.