Giovanni Kronenberg

Giovanni Kronenberg

Renata Fabbri Gallery, Milan

11 February – 28 March 2020 

Renata Fabbri announces Giovanni Kronenberg’s second solo show at the gallery. The exhibition includes a series of new drawings and sculptures, most of which have been conceived specifically for this project.

Giovanni Kronenberg, Conversione empirica di un silenzio in alfabeto, 2017, rosa del deserto, pigmento cobalto, cm 80x30x57

Since the early stage of his career, Kronenberg’s work has been characterized by a tight relation between sculpture – interpreted through a deeply physical approach – and drawing, which anticipates, re-iterates and expands upon its peculiarities as well as its ergonomic, tactile and transcendental features. Throughout the years his drawing practice has become more and more important in the work of the artist: since his use of pure graphite, which used to define the works on paper until few years ago, recently Kronenberg has started to explore colour in compositions of sinuous forms, suspended and free from spatial connotation.

Giovanni Kronenberg, Senza titolo, 2017, uovo di struzzo, cemento, cm 15×12

These mysterious figures and the sculptures share an ungraspable materiality, caught in a dimension that is abstracted from time and space. Hard to identify, some of them recall natural structures in progressive ramification – like crystals, gems, sea sponges or precious granites – all materials that Kronenberg has often used in his sculptures, drawn to their properties of self-germination and extension into space without following any narrative direction or chronological handholds.

Giovanni Kronenberg, La repubblica degli immortali, 2017, manichino ligneo, grasso di foca, cm 78x20x20

In recent years, the artist has started using the 22-carat gold leaf, as a characteristic element of the drawing and the sculptures. This passage seems natural considering Kronenberg’s frequent use of precious materials such as silver, malachite, ivory, agate, rock crystal and porcelain. The gold leaf brings his drawings closer to the immobility of the Byzantine aesthetic and in particular to the icons, sharing with them the isolation and the centrality of the image, as well as iconographic timelessness and transcendental characteristics.



UNTIL 13 APR 2020

This exhibition will bring together over two hundred original drawings, Kodak Instamatics, photographic grids, collages, diaries and films, that develop distinct thematic sections and document Antonio’s creative process, his visionary attitude, and the historical period in which he lived. “Fashion served him as a pretext to express beauty, sensuality, sexuality, life and time. His own time.” writes Anne Morin. An unbelievable talent of the 70s and 80s, he was an extraordinary illustrator whose life revealed an irreverent world made of moments, people, clothes, music, art, kitsch and visual culture.

Antonio Lopez – Sportmax, mantelli a ruota in colori fluorescenti, 1983

Lopez’s work represented a cultural crossroads. At a nexus of high and low culture between New York, Milan and Paris, he created a deep aesthetic shift in the way the physical representation of the body was presented in the fashion world. With a complete ethnic and racial awareness, Lopez searched for a beauty that was generous and full of energy. Considered one of the 20th century’s greatest fashion illustrators, the multifaceted talent of Antonio Lopez, along with creative collaborator Juan Ramos, contributed throughout the 80s to the Italian magazine Vanity (January 1982 – October 1989),directed by Anna Piaggi, Alberto Nodolini and Luca Stoppini.In Vanity the image of fashion entered unknown, new, and daring territories that were never seen before. This, along with his watercolors for Missoni, drawingsof male bodies created for Versace,powerful portraits of Grace Jones, Patti LaBelle, Pat Cleveland, Maria Callas, Josephine Baker, Carmen Miranda, photographyand videos, each testify to an era of extraordinary creative fertility.

Antonio Lopez – Paris, 1974, Phooto Booth Series

Adored by stylists, models and photographers from all over the world, Antonio occupies a place of honor in the history of fashion illustration and left a vital mark in his thirty years career. “I am interested in getting to know the figure better by taking it apart,”said Lopez, referring to his often- fragmented bodies. “The more I break it, the more I can examine it, the more I can understand what I have to do. For me it is a method. I don’t know where it will bring me, but I’m curious and I want to go until the end.” Lopez put glamor, creativity and fun at the center of everything. His days began late, and ended later, often listening to the best disco music of that time.

Antonio Lopez Pat Cleveland and Grace Jones, Paris, 1975, Blue water Series

Andrew Norman Wilson, Lavender Town Syndrome

Andrew Norman Wilson, Lavender Town Syndrome

ORDET, Milan

4 December – 1 February, 2020

Ordet presents “Lavender Town Syndrome”, a solo show by Andrew Norman Wilson. The exhibition is centered around Z = |Z/Z•Z-1 mod 2|-1, a multichannel video work commissioned by Ordet. In this new work Wilson uses three different imaging technologies—a photographic lens, photorealistic ray tracing animations, and fractal ray-marching animations—to zoom through three constructed environments.
The first section employs a 75mm to 1500mm Canon telephoto lens developed for wildlife cinematography. This uncannily prolonged zoom moves from a cityscape view to details on a single balcony of Bertrand Goldberg’s Marina City, a lotus-shaped oddity of “organic architecture” amidst Chicago’s thoroughly rectangular built environment that has been featured in movies such as I, RobotSource CodeThe Dark Knight, and Transformers 3

The second section employs 8K photorealistic computer generated materials commonly used in architectural renders, video games, and the motion picture industry. These “physically based rendering” (PBR) materials are sold through the online database Substance Source, in which the surfaces of metals, plastics, rocks, and more are previewed as spherical forms. The third section was procedurally generated using fractal software developed by the computer engineer Code Parade. Fractal algorithms are also commonly used in the fields of architecture, video games, and motion pictures, from computer-generated fractal surfaces in architectural renders to visual effects in science fiction films such as InceptionDoctor Strange, and Annihilation. Wilson worked with Code Parade to customize his program towards heightened cinematic realism and render what look like infinite synthetic 3d landscapes constructed for something other than the human body. Also included in the show is an exact replica of a papier-mâché Pikachu found in a photograph posted to Reddit in 2013 by a user who claimed it was made by their little sister. The image has since become a meme with captions like “Expectations/Reality” and “Kill me.” Another replica is also featured in the commissioned video, along with other translations of memes.

In the next room, a video loop based on the first eight seconds of the Charlie Brown Christmas Special from 1965 is installed on a 2002 iMac G4. In contrast to the repetitive zooming of the new commission, this video pans back and forth over a hand drawn animation sequence based on the narrative world of Charles M. Schulz’s newspaper comic strip Peanuts. The scene is accompanied by the original source sound of Vince Guaraldi’s jazz score—here reduced to the first two bars. These works all form the backstory of an ongoing project: a metafictional documentary about a group of artists who eventually drop out of the contemporary art world to pursue more socially productive design projects. In making these works, Wilson is interested in the role that technology plays in amplifying the impact of “truthiness” over truth. As sound, images, objects, computation, and bodies interrelate, they offer possibilities for intermedial imprints that provoke surprising new effects and complicated meanings.
In titling the show “Lavender Town Syndrome,” Wilson summons a conspiracy theory in which more than 200 Japanese children were driven to suicide by a particular board in the game Pokémon Red and Green for Game Boy. Many others suffered serious migraines or nosebleeds, or turned violent when their parents tried to take the game away. Some cried until they started vomiting. These incidents were later determined to have been caused by the unsettling background music in Lavender Town, which, aside from containing a high tone undetectable to adult ears, was also an early experiment in binaural beats which are said to affect human behavior by syncing with listeners’ brainwaves.

STEFANO SCHEDA Nudo, mani in alto! Naked, hands up!

STEFANO SCHEDA Nudo, mani in alto! Naked, hands up!

Fumagalli Gallery, Milan

17 January – 18 April, 2020

“Nudo, mani in alto! Naked, hands up!” is an invitation to reflect on concept of nudity, from art history to social networks. New works along with historical pieces are presented in an exhibition layout purposely left in half-light.

Stefano Scheda, Meteo, 2004 (still) 1’47”, video

«Why is nobody shocked by the Riace bronzes, why is nobody horrified in front of Michelangelo’s David or of the male nudes of neoclassic art whereas Same same but different, the work by Stefano Scheda with two naked men coming out of water and greeting each other, creates such a concern in those who see it? Why do social media ban it? Why does it raise public complain?». These are the questions that prompted the invite to Stefano Scheda to conceive an exhibition project for Galleria Fumagalli spaces and which introduce the text written by Angela Madesani – collected together with other critical contributions in a book in course of publication.

Stefano Scheda’s work is often characterized by the use of the nude, meant not in an erotic or voyeuristic turn but in its social outcomes. The title of the exhibition “Nudo, mani in alto! Naked, hands up!” deliberately refers to a body exposed to weaknesses and life complications, a body that is not protected even by clothes. «We are all bare in physical and spiritual vulnerability, but not certain of a brotherhood» – explains Stefano Scheda. Nudity, which is observed in the first encounter with the work, does not end with the exposition of a naked body and constitutes only the first grade of staging of the human condition. The observers are invited to question and test their own threshold of tolerance in front of a nude physique that, caught by the artist’s ironic eye, shows a sublimated and archetypical image of the body.

On display the video Meteo (2004), presented for the first time at the ZKM Center for Art and Media in Karlsruhe in 2006: naked bodies of men and women, not completely in focus, appear still on a shoreline with round mirrors at their stomachs height. Two disturbing elements, the sunlight reflected from the glasses and the sound of machine guns coming from a space capsule, act on the scene by creating an annoying and alienating effect. In this work nudity is evocative of the human limit in front of the greatness of historical and natural events, and in the photographic diptych Same same but different (2018) is captured in its innocence and purity portraying the bodies where the sea meets the earth. In and out of this confine, water is for the artist symbolic of the hope for a rebirth, as the title of the sculpture Terramare (2015), made with a tire and an air chamber, also evokes. The precariousness of being is expressed equally by the image photographed in Figura I (1996), a naked body that seems to surrender to life: “hands up”.

Gerold Miller, The Monoform Show

Gerold Miller, The Monoform Show

Cassina Projects, Milan

September 12 – December 21, 2019

Cassina Projects presents The Monoform Show, a solo show by Gerold Miller, one of the most internationally recognized German artists of his generation whose work blurs the line between Minimalist and Conceptual art. The exhibition itinerary develops through a retrospective that presents a selection of works from the Monoform series for the first time: from the first one dated 2014 to more recent works.

The Monoforms are a series of works which came into being in 2014 with Monoform 1: conceptually and formally, they reveal the maximum material reduction of Gerold Miller’s artistic process which draws inspiration from one of his earliest works; Anlage from 1994, a work that established the parameters of his art and challenged the common and preconceived notion of a traditional pictorial plane representing an open space, shaped and confined by a square or rectangular frame on the wall.

It was precisely during the 1990s that Miller began experimenting, often lacquering the steel frames with paint, dividing the middle space with an additional element, or doubling the width of the frame on one side. In fact, the progressive rejection of spatial boundaries in search of infinity arose in those years: a new concept of image that transcended conventional definitions and conceptually approached the use of space by Italian avant-garde artists of the 1960s. In particular, Miller had been struck by Enrico Castellani’s “Black Angular Surface ” for the innovative relationship between image, wall and space, whom Miller met in 1995 at Villa Merkel in Esslingen during an exhibition on the Zero Movement curated by Renate Wiehager. From the beginning of his artistic career, Gerold Miller has indeed pursued a radical and elegant strategy with the objective of getting outside the image without leaving it. Miller, himself, on the occasion of the inauguration of his solo show Gerold Miller. get ready at the Nationalgalerie im Hamburger Bahnhof – Museum für Gegenwart, in 2002 declared – “in my artistic work I try to formulate a new concept of image, which approaches the painting from the maximum possible distance .”

In recent years, Miller has pushed his minimalist approach more and more towards the conceptual through the Monoforms: the space confined by a frame disappears, giving way to works composed of two equally proportioned aluminium bars, hanging horizontally one above the other in which the void and the intermediate space in turn become the central motif of the work. Indicating the wall as the fundamental terrain of creation and dispensing colour and form as the only medium, Miller eliminates the boundaries of abstract painting and minimalist sculpture, taking these categories into the realm of the conceptual.

All Images > courtesy of Cassina Projects, Milan. Photos by Roberto Marossi.

Jay Heikes, Before Common Era

Jay Heikes, Before Common Era

Federica Schiavo, Milan

September 26 – January 18, 2020

Through his use of unexpected pairings of materials, Jay Heikes’ artistic practice reveals the precarious relationships found amongst the infinite matter of the universe. The only son of a chemist and educator, he is particularly fascinated by the alchemy inherent in the never-ending transformation of one substance into another, revealing the histories and processes sometimes hidden below the surface of our natural and unnatural worlds.

Recent political, social and environmental changes that have upset our way of life and, at times, overtaken the content of his recent work, have diverted Heikes’ attention toward the sky in a desperate attempt to escape a sort of post-contemporary society in which there is no solid ground, revealing a futility in dealing with hypocrisy of our times. His words act as a fatalistic warning: “If we heed the lessons in pursuing the sublime, where the beauty stands as the sole reason against fully disappearing into the void, I often wonder if the concept of beauty is becoming a thing of the past where the different set of conditions made such an embrace possible”. With this thought the artist confronts an era that he considers distracted, obsessively self-referential and hypocritical.

In a new series of canvases titled Mother Sky, Heikes approaches his work with the sensibility of a sculptor, employing the chemical processes that have long informed his three-dimensional work. Before screen printing forms resembling smoke and clouds, Heikes stains his surface using a combination of vinegar, salt and powdered pigment. During the chemical reaction, these substances generate vibrant and unpredictable tones that transform his skies into turbulent grounds that predict acidic and inscrutable climatic and social situations.

And as if to raise the spectre of an impossible, elemental presence, Heikes includes a series of sculptures known as Minor Planets, small orbs made of materials as diverse as Bismuth, Copper, Niobium and Lignum Vitae that seem as if they are as ancient as our common era. The metals and complementary materials, which over time oxidize and mutate are yet another testimony to the unpredictability of material and form in a way that for the artist “is not practiced, concise or refined”.

All Images > courtesy of Federica Schiavo, Milan



FONDAZIONE PRADA, Milan Osservatorio
21 Feb – 22 Jul 2019

Fondazione Prada presents “Surrogati. Un amore ideale” (Surrogate. A Love Ideal), an exhibition curated by Melissa Harris, from 21 February to 22 July 2019 at the Osservatorio venue in Galleria Vittorio Emanuele II, Milan. Comprising a selection of 42 photographic works by Jamie Diamond (Brooklyn, USA, 1983) and Elena Dorfman (Boston, USA, 1965), the project explores the notions of familial, romantic and sexual love. Both artists focus on a specific and unconventional aspect of this universal theme: the emotional link between a man or a woman and a synthetic representation of a human. As explained by Melissa Harris, “together, Diamond’s and Dorfman’s work presented in ‘Surrogati’ vividly and nonjudgmentally documents the interactions of humans with their lifelike, inanimate companions.”

In her series “Forever Mothers” (2012-2018) and “Nine Months of Reborning” (2014), Jamie Diamond documented the life of an outsider art making community called the Reborners, a group of self-taught female artists who hand-make, collect and interact with hyper-realistic dolls that fulfill a desire for motherhood. In her other exhibited project titled “I Promise to be a Good Mother” (2007-2012), Diamond played the role of a perfect mother, dressing up in her own mother’s clothes and interacting with Annabelle, a reborn doll. Inspired by and named after a diary she kept as a girl, the project evolved into an exploration of the complexity of social stereotypes and cultural conventions that surround and shape the relationship between mother and child.

“Still Lovers” (2001-04), a series of photographs that brought Elena Dorfman international acclaim, focuses on the domestic lives of men and women who devote themselves to lifesize, anatomically realistic sex dolls. Her photographs explore the emotional ties between humans and perfectly formed synthetic women, forcing us to evaluate our own notions of love and the value of an object that has the power to replace a human being. The artist’s interest was not to exploit the deviancy of these sexual surrogates, but rather to reveal the fascinating world of intimacy between flesh and silicone. Both photographers portrayed these lifelike surrogates as desired, fetishized, and idealized beings, “living” as such with their flesh and blood mothers and partners, and sometimes with their immediate families as well. As stated by Melissa Harris, “by showing these vignettes of traditional domesticity, love, and/or eroticism, Dorfman’s and Diamond’s representations take on an unexpected poignancy.”

All images > “Surrogati. Un amore ideale” Osservatorio Fondazione Prada. Photo: Mattia Balsamini

AGAINST COLOUR STROKE VECTORS at Massimo De Carlo gallery, Milan

AGAINST COLOUR STROKE VECTORS at Massimo De Carlo gallery, Milan

Massimo De Carlo, Milan, Belgioioso
From May 29 to July 12, 2019

Massimo De Carlo presents Against Colour Stroke Vectors presenting works by Günther Förg, Mario Merz, Emilio Vedova and Mary Weatherford. The exhibition brings together seminal works by each artist, with the aim to investigate the variations of the relationship between the dynamism of the medium, the spatial degrees of object-hood in the context of the canvas, and qualities of colour. All artists on display have, consciously or unconsciously, explored ideational, interpersonal or textual functions of the canvas and the work of art: from Förg’s daunting and materic bronze to Merz’s 1980’s investigations of nature, to Vedova’s propulsive energy and Mary Weatherford’s echoing glass light tubes – the discourse can always be drawn back to the complex yet unstructured space between thought and action. Absolute and infinite, void and darkness, gesture and logic, light and dimensionality are tangible in each work in the exhibition.

The two works on display by German artist Günther Förg, belonging to two different bodies of work, embody the artist’s reflections on spatiality and materials. In the bronze painting in the first room, a material that the artist started using in the late 1980’s, the artist challenges and evolves from the stereotypical notion of canvas by using bronze: the result is that these dimensional pieces have an immersive character, where the painterly gesture combined with the physicality of bronze draws the viewer to a reflection on the sublime and sobriety. The grey painting in the second room is part of a larger group of works that Förg first executed in 1973 continuing through to his death in 2013: these elegant, dense works showcase not only the artist’s evolving relationship with the monochrome, but also embody the multiple material and conceptual concerns found elsewhere across his broad practice.

In the second room, the viewer is confronted with a large-scale canvas by the Italian painter Emilio Vedova, that through Per la Spagna Nr. 14 (1962) expresses his radical stances on both paint and politics – combining his avant-garde techniques of exploring the dynamism of the painterly action between light and space to the desire to convey a message. The work is part of a cycle that the artist created for the 1962 exhibition organized at Ca ’Giustinian, in Venice, during the Biennale d’Arte. The canvas is aggressively covered in black and white oil marks and abstract symbols, a physical and creative answer to the spectacle of violence offered by the twentieth century, in this case in particular dedicated to Spain that at the time was living in dark times – under the helm of the dictator Francisco Franco. Mary Weatherford offers a contemporary reading of artists that use light and materials. In the second room, there is one of Weatherford’s signature works: a large abstract canvas is almost cut in half by a neon glass tube. The paintings are made using vinyl-based Flashe paint on linen canvasses made especially for the artist at a Belgian mill, and the neon tube is always made to order. The paintings are essentially invisible to the artist as she is working; only emerging after the canvas has dried. “Because the water reflects, I can’t really see what’s going to happen. It’s a quite a mystery,” Weatherford explained. “As the water dries overnight and the pigment sinks into the painting, it’s like watching a photograph develop. I come in the next morning and the image is there.” The combination of chance and manipulation is key in Mary Weatherford’s oeuvre that documents the orchestrated flow of organic material, where the artist alternates meticulous research to the creations of chance.

Iconic Italian artist Mario Merz, one of the key exponents of the Arte Povera movement, in his career explored the transmission of energy from the organic to the inorganic, using uncanny irony and the Shade of conceptualism to transform each thought into a vocabulary of sculptures and paintings. The small canvas in the reading room and the sculpture in the first symbolize Merz’s research of the late seventies- early eighties around the relationship between nature, logic and the varieties of gestures that can be encapsulated into art. Accumulation, reconfiguration and dynamism are some of the subjects that the eclectic artist conveyed into paintings and installations that capture force and delicacy and the wilderness of thought with the rigour of logic.

All images > Courtesy ©Massimo De Carlo gallery 




A Arte Invernizzi, Milan

23 May – 19 July 2019

Riccardo De Marchi presents his most recent works in a new exhibition installation specially created for the A arte Invernizzi gallery space. By using the Greek term opé – which can be translated as “hole“ or “opening“, but also as “sight“ or “eye socket“ – the title of the exhibition conveys the idea of vision “through“ a hole, or holes. In his works, as in the case of 12 pagine [12 Pages] and 9 pagine [9 Pages], on display in the first room on the upper floor, the artist perforates the material to create a continuous contrast between surface and volume, presence and absence. The perforation-script shows the traces of its passing in a journey that is both mental and metaphorical, as well as physical. De Marchi repeatedly brings to bear different ways of seeing, partly depending on the material used, as we see in the installation in the second room on the upper floor. Here, some steel works in the form of sheets rolled on themselves are placed on the ground.

Riccardo De Marchi, Partial view of the exhibition, 2019. A arte Invernizzi, Milan. Courtesy A arte Invernizzi, Milan

The artist‘s line of investigation, in which visual features emerge from carefully controlled and repeated gestures that nevertheless always lead to new results and countless new ways of seeing, continues on the lower floor of the gallery. Here the holes bring to life surfaces in aluminium, plexiglas, steel, and polyethylene, creating works such as the Senza titolo[Untitled] (2019) and ...Attraverso… […Through…] (2018). The spatial and material consistency of his art is even more evident in works such as Muro [Wall] (2019) and Nessun dove [Nowhere] (2019), in which a juxtaposition of different elements placed next to each other, as in the case of the “bricks“, or on top of each other, alternating sheets of plexiglas with mirror-finish stainless steel, intensify our perception of a space filled with different volumes of solids and voids, giving the image concrete form in a vision of even greater diversity.

CARSTEN HÖLLER, MUSHROOM MATHEMATICS / Massimo De Carlo, Milan, Belgioioso

CARSTEN HÖLLER, MUSHROOM MATHEMATICS / Massimo De Carlo, Milan, Belgioioso

16 Nov 2018 – 12 Jan 2019
Massimo De Carlo, Milan, Belgioioso

Massimo De Carlo presents Mushroom Mathematics, a new exhibition by Carsten Höller. The artist returns to Italy having presented The Florence Experiment at Palazzo Strozzi in Florence earlier this year. With a similar scientific approach, Carsten Höller premieres a series of sculptures and paintings that transform the gallery into a doubt machine.

Upon entering the first room of the gallery we are confronted with a large vitrine that accommodates 48 replicas of mushrooms in various colours, sizes, and shapes each composed by one half Fly-agaric and the second half made up of edible, inedible, or poisonous mushrooms. The Fly-agaric mushroom (also known as Amanita muscaria) is an important element in cultural history: it holds poisonous and psychoactive properties and it is widely used in shamanic rites. This extraordinary mushroom has also become a symbol for the unexpected as it appears in fairy tales, early Walt Disney movies, and even in videogames such as Super Mario Bros. In the Victorian Age these mushrooms started to appear also on Christmas cards and therefore it is believed they even have affected the representation of Santa Claus (before Coca-Cola would turn this character into a red-and-white-dressed commercial machine).

A similar dissection returns also in the main room of the gallery, populated by a series of Giant Triple Mushrooms that pop-up from the historical floor of Palazzo Belgioioso. These spectacular sculptures are composed of one-half Fly-agaric and two-quarters of other mushrooms. These mysterious vegetal elements (scientists still have many unanswered questions about them) are for Carsten Höller, the icon of uncertainty, ambiguity, as well as a symbol for an endless tension towards research: mushrooms not only open our mind to unpredictable effects, but they do so by living and reproducing in mostly incomprehensible ways.

The giant sculptures are surrounded by a number of round, square and diamond paintings of the same size realized in different colours. These Division Paintings are based on a simple mathematical partition principle: a line is painted on the canvas surface at the centre, splitting it into two parts of the exact same size. One section is subsequently divided again into two new halves, and following this geometric pattern, the canvas is divided over and over again. These paintings, with their clean and accessible appearance, exemplify a simple path to achieve infinity, the most complex of the concepts.

The minimalist L Platform, stands in stark contrast of the reading room, an accessible tin platform with turning circles, the diameter of each circle is calculated according to the overall dimensions of the platform. The arrangement of circles follows a principle of division lines, in which the centre of each following circle is at the spot where two lines meet. The final circle missing and left open.

Inhabited by giant and life-size mushrooms and abstract linear paintings, Mushroom Mathematics is a combination of geometry and magic, code and invention, rationality and the absurd, and invites everyone to explore new methods of understanding.

Images > Installation views Massimo De Carlo, Milan-Belgioioso, 2018. Ph. Roberto Marossi. Courtesy Massimo De Carlo





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