{"id":36025,"date":"2026-08-20T11:17:05","date_gmt":"2026-08-20T11:17:05","guid":{"rendered":"http:\/\/artelagunaprize.com\/?p=36025"},"modified":"2026-08-20T12:33:04","modified_gmt":"2026-08-20T12:33:04","slug":"premio-speciale-mamam-museum-arte-laguna-prize-in-brasile","status":"publish","type":"post","link":"https:\/\/artelagunaprize.com\/it\/premio-speciale-mamam-museum-arte-laguna-prize-in-brasile\/","title":{"rendered":"Tra natura e algoritmo: 15 artisti di Arte Laguna Prize in mostra al MAMAM Museum di Recife Brasile"},"content":{"rendered":"

[vc_row css=”.vc_custom_1732271539690{padding-bottom: 1.5em !important;}”][vc_column][vc_column_text css=””]Nel\u00a0cuore\u00a0del Nordeste\u00a0brasiliano, dove il\u00a0fiume\u00a0Capibaribe\u00a0incontra\u00a0l\u2019Atlantico, il Museo\u00a0d\u2019Arte\u00a0Moderna Alo\u00edsio Magalh\u00e3es (MAMAM) di Recife\u00a0diventa, dall\u20198\u00a0agosto\u00a0al 18\u00a0ottobre\u00a02026, un\u00a0nodo\u00a0centrale di un\u00a0circuito\u00a0artistico\u00a0globale. Grazie alla\u00a0collaborazione\u00a0di Arte Laguna Prize,\u00a0l\u2019associazione\u00a0MoCA, il SAMAM (Associazione\u00a0Amici del MAMAM), il Consolato Italiano e la\u00a0Segreteria\u00a0alla Cultura di Recife, il\u00a0museo\u00a0brasiliano\u00a0ospita\u00a0le opere di\u00a0quindici\u00a0artisti\u00a0premiati\u00a0alla 20\u00aa\u00a0edizione\u00a0di Arte Laguna Prize,\u00a0creando\u00a0una\u00a0mostra\u00a0collettiva\u00a0internazionale\u00a0dal\u00a0titolo:\u00a0Can Artificial Intelligence Help Save and Protect\u00a0Nature?.<\/p>\n

La concomitanza con la tappa ufficiale della mostra itinerante della 36\u00aa Biennale di San Paolo \u2013 ospitata in contemporanea a Recife presso l’Oficina Francisco Brennand \u2013 non \u00e8 mera contingenza calendariale ma segnale di una geografia culturale in movimento.
\nIn questo scenario, il Sud America si afferma come epicentro di una nuova modernit\u00e0 critica, volta a creare un \u201cmese dell\u2019arte\u201d che attira curatori, collezionisti e critici da tutto il mondo.[\/vc_column_text][vc_empty_space height=”30px”][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”35996″ img_size=”full” onclick=”custom_link” img_link_target=”_blank” css=”” lazy_load=”yes”][vc_column_text css=””]Mamam Museum a Recife, Brasile<\/em><\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=””]<\/p>\n

Dall\u2019Arsenale<\/span>\u00a0di Venezia al MAMAM in Brasile: un\u00a0<\/span>premio<\/span>\u00a0come\u00a0<\/span>trampolino<\/span><\/span>\u00a0<\/span><\/h3>\n

[\/vc_column_text][vc_empty_space height=”20px”][vc_column_text css=””]Il percorso di Arte Laguna Prize non si esaurisce nella selezione dei finalisti all\u2019Arsenale di Venezia: i Premi Speciali si trasformano in residenze, mostre e progetti site-specific in musei, gallerie e istituzioni partner in tutto il mondo.<\/p>\n

Quello che nasce come riconoscimento si converte cos\u00ec in opportunit\u00e0 concreta di esposizione e di incontro: una rete culturale internazionale che conferma la vocazione del premio come acceleratore di carriere oltre che come vetrina.[\/vc_column_text][vc_empty_space height=”30px”][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row css=”.vc_custom_1732271539690{padding-bottom: 1.5em !important;}”][vc_column][vc_column_text css=””]Recife,\u00a0infatti, non \u00e8 un\u00a0approdo\u00a0casuale. Il MAMAM,\u00a0fondato\u00a0nel 1960 e intitolato\u00a0ad Alo\u00edsio Magalh\u00e3es \u2014 designer, architetto\u00a0e\u00a0figura\u00a0chiave\u00a0della\u00a0modernit\u00e0\u00a0brasiliana\u00a0\u2014 \u00e8\u00a0esso\u00a0stesso\u00a0un manifesto di\u00a0un\u2019idea\u00a0di\u00a0arte\u00a0come\u00a0pratica\u00a0sociale. La\u00a0sua\u00a0sede, un edificio\u00a0moderno\u00a0sulla\u00a0Rua da Aurora,\u00a0dialoga\u00a0con il\u00a0tessuto\u00a0urbano\u00a0della\u00a0citt\u00e0-porto,\u00a0storicamente\u00a0aperta\u00a0alle\u00a0influenze\u00a0transatlantiche.<\/p>\n

 <\/p>\n

In\u00a0questo\u00a0contesto, la\u00a0collaborazione\u00a0che\u00a0ha\u00a0reso\u00a0possibile\u00a0la\u00a0mostra al MAMAM si\u00a0configura\u00a0come un\u00a0esempio\u00a0di\u00a0diplomazia\u00a0culturale in azione: non si\u00a0tratta\u00a0di\u00a0esportare\u00a0un\u00a0modello\u00a0europeo, ma di\u00a0creare\u00a0un\u00a0circuito\u00a0orizzontale\u00a0in cui le idee\u00a0si\u00a0muovono\u00a0in\u00a0entrambe\u00a0le\u00a0direzioni, da Venezia a qualsiasi\u00a0altro\u00a0Paese\u00a0nel\u00a0mondo.[\/vc_column_text][vc_empty_space height=”30px”][vc_column_text css=””]<\/p>\n

15\u00a0artisti,\u00a0una\u00a0domanda: \u201cCan Artificial Intelligence Help Save and Protect Nature?\u201d<\/span><\/b><\/h3>\n

[\/vc_column_text][vc_column_text css=””]Il titolo della collettiva non offre una risposta, ma apre a un dubbio: \u201c<\/span>Pu\u00f2\u00a0l\u2019IA\u00a0salvare\u00a0e\u00a0proteggere\u00a0la natura?\u201d.<\/span><\/i>\u00a0<\/span><\/p>\n

L\u2019intelligenza artificiale non appare come una tecnologia salvifica, n\u00e9 come un semplice strumento al servizio dell\u2019artista: \u00e8 piuttosto uno specchio instabile, capace di riflettere le nostre contraddizioni, amplificare le nostre responsabilit\u00e0, costringerci a guardare ci\u00f2 che preferiremmo ignorare.\u00a0<\/span><\/p>\n

Curata da<\/span>\u00a0Vladimir P\u0103un-Vrapciu<\/span><\/b>\u00a0insieme\u00a0all\u2019architetto\u00a0e\u00a0presidente di MoCA <\/span>Massimo Faranda<\/span><\/b>\u00a0e a\u00a0<\/span>Sara\u00a0Tortato<\/span><\/b>, la mostra non propone un\u2019estetica uniforme dell\u2019innovazione: costruisce piuttosto un campo di forze in cui linguaggi diversi \u2014 analogici e computazionali, materici e immateriali, individuali e collettivi \u2014 si incontrano attorno a una stessa urgenza.<\/span>\u00a0<\/span><\/p>\n

Nelle sale del MAMAM,\u00a0infatti, le opere compongono\u00a0un\u00a0atlante\u00a0di\u00a0pratiche\u00a0differenti: la land art, la\u00a0scultura\u00a0e\u00a0l\u2019installazione, il video, la\u00a0fotografia,\u00a0l\u2019olografia\u00a0e\u00a0i\u00a0dispositivi\u00a0digitali.<\/span>
\nIn Ancestral Echoes \u2013 Wounded Trees<\/span><\/i>,\u00a0<\/span>Gioia Maria Aloisi<\/span><\/b><\/a>\u00a0interviene\u00a0su\u00a0alberi di Angophora con flanella\u00a0bianca\u00a0tessuta a mano e resina rossa\u00a0naturale,\u00a0trasformando\u00a0la\u00a0ferita\u00a0del\u00a0paesaggio\u00a0in un\u00a0gesto di cura e memoria. <\/span>Anatomy of Posidonia<\/span><\/i>\u00a0di\u00a0<\/span>Echo Morgan <\/span><\/b><\/a>sposta l\u2019attenzione sull\u2019ecosistema marino attraverso il linguaggio della scu tura e dell\u2019installazione, mentre <\/span>Sveva Maria Eichmann<\/span><\/b>, con\u00a0<\/span>Ginestra\u00a0\u2013 A corporal cartoon<\/span><\/i>,\u00a0prosegue\u00a0una\u00a0ricerca\u00a0che\u00a0intreccia\u00a0architettura, danza e film.<\/span>\u00a0<\/span>[\/vc_column_text][vc_empty_space height=”30px”][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”36010″ img_size=”full” onclick=”custom_link” img_link_target=”_blank” css=”” lazy_load=”yes” link=”https:\/\/artelaguna.world\/artist\/wasilewski-andrzej\/”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_single_image image=”36013″ img_size=”full” onclick=”custom_link” img_link_target=”_blank” css=”” lazy_load=”yes” link=”https:\/\/artelaguna.world\/artist\/lin-chang-rong\/”][\/vc_column_inner][\/vc_row_inner][vc_empty_space height=”30px”][vc_column_text css=””]Il\u00a0<\/span>futuro<\/span>\u00a0assume\u00a0<\/span>una<\/span>\u00a0forma\u00a0<\/span>apertamente<\/span>\u00a0<\/span>ambigua<\/span>\u00a0in\u00a0<\/span><\/span>El Jard\u00edn del Futuro \u2013 <\/span>Brotes<\/span>\u00a0de\u00a0<\/span>una<\/span>\u00a0<\/span>Distop<\/span>-IA<\/span><\/span>\u00a0di\u00a0<\/span><\/span>Luichi<\/span>\u00a0Gasca<\/span><\/span><\/strong><\/a>, un <\/span>cortometraggio<\/span>\u00a0<\/span>distopico<\/span>\u00a0<\/span>che<\/span>\u00a0<\/span>interroga<\/span>\u00a0<\/span>l\u2019affidabilit\u00e0<\/span> di ogni <\/span>previsione<\/span>\u00a0e\u00a0<\/span>restituisce<\/span>\u00a0alla\u00a0<\/span>realt\u00e0<\/span>\u00a0la\u00a0<\/span>sua<\/span>\u00a0<\/span>irriducibile<\/span>,\u00a0<\/span>imprevedibile<\/span>\u00a0<\/span>capacit\u00e0<\/span>\u00a0di\u00a0<\/span>deviare<\/span>.\u00a0<\/span><\/span>Juergen Eichler<\/span><\/span><\/strong><\/a>\u00a0<\/span>presenta<\/span>\u00a0<\/span><\/span>Pinguin Society<\/span><\/span>, un\u00a0<\/span>paesaggio<\/span>\u00a0<\/span>montano<\/span>\u00a0<\/span>ispirato<\/span>\u00a0a Humboldt\u00a0<\/span>che<\/span>\u00a0<\/span>si<\/span>\u00a0<\/span>sovrappone<\/span>\u00a0a\u00a0<\/span>pinguini<\/span>\u00a0<\/span>olografici<\/span>\u00a0<\/span>sospesi<\/span>\u00a0<\/span>nello<\/span>\u00a0<\/span>spazio<\/span>, in cui il <\/span>riferimento<\/span>\u00a0\u00e8 la\u00a0<\/span>diversa<\/span>\u00a0<\/span>immaginazione<\/span>\u00a0del\u00a0<\/span>collettivo<\/span>. Con\u00a0<\/span><\/span>It\u2019s<\/span>\u00a0Fantastic<\/span><\/span>,\u00a0<\/span><\/span>Andrea Penteado<\/span><\/span><\/strong><\/a>\u00a0<\/span>costruisce<\/span>\u00a0un \u201c<\/span>libro<\/span>\u00a0senza carta\u201d\u00a0<\/span>fatto<\/span>\u00a0di\u00a0<\/span>suono<\/span>\u00a0e\u00a0<\/span>immagini<\/span>: un audio-experience <\/span>book <\/span>che <\/span>d\u00e0 <\/span>spazio <\/span>alle <\/span>storie <\/span>di <\/span>donne <\/span>che <\/span>hanno <\/span>subito <\/span>molestie<\/span>, <\/span>violenza <\/span>o <\/span>censura <\/span>nel <\/span>Brasile del XX e XXI\u00a0<\/span>secolo<\/span>.<\/span><\/span>\u00a0<\/span>
<\/span>\u00a0<\/span>
<\/span>La\u00a0<\/span>mostra<\/span>\u00a0continua\u00a0<\/span>con<\/span>\u00a0<\/span><\/span>Surface Truth II<\/span><\/span>\u00a0di\u00a0<\/span><\/span>Filip Sendal <\/span><\/span><\/strong><\/a>che<\/span>\u00a0<\/span>trasforma<\/span>\u00a0la\u00a0<\/span>pelle<\/span>,\u00a0<\/span>fotografata<\/span>\u00a0e\u00a0<\/span>manipolata<\/span>\u00a0<\/span>digitalmente<\/span>, in <\/span>una<\/span>\u00a0<\/span>superficie<\/span>\u00a0<\/span>geologica<\/span>\u00a0<\/span>attraversata<\/span>\u00a0da\u00a0<\/span>erosioni<\/span>,\u00a0<\/span>cicatrici<\/span>\u00a0e\u00a0<\/span>tracce<\/span>\u00a0del tempo.\u00a0<\/span><\/span>The Plastic Bag<\/span><\/span>\u00a0di\u00a0<\/span><\/span>Andrzej Wasilewski<\/span><\/span><\/strong><\/a>\u00a0<\/span>mette<\/span> in scena <\/span>una<\/span>\u00a0<\/span>discarica<\/span>\u00a0<\/span>installativa<\/span>\u00a0di\u00a0<\/span>sacchetti<\/span>,\u00a0<\/span>rifiuti<\/span>, monitor, video e <\/span>suoni<\/span>\u00a0<\/span>ambientali<\/span>\u00a0<\/span>elaborati<\/span>\u00a0<\/span>digitalmente<\/span>\u00a0con il\u00a0<\/span>ricorso<\/span> al morphing e <\/span>all\u2019IA<\/span>\u00a0<\/span>generativa<\/span>.\u00a0<\/span>Attorno<\/span>\u00a0a\u00a0<\/span>queste<\/span>\u00a0opere, la\u00a0<\/span>mostra<\/span>\u00a0<\/span>si<\/span>\u00a0<\/span>espande<\/span>\u00a0<\/span>attraverso<\/span> le coordinate, le <\/span>architetture<\/span>\u00a0e le\u00a0<\/span>immagini<\/span>\u00a0<\/span>suggerite<\/span>\u00a0da\u00a0<\/span><\/span>Spatial Reality, Norway<\/span><\/span>\u00a0di\u00a0<\/span><\/span>Chang-Rong Lin<\/span><\/span><\/a><\/strong>,<\/span><\/span>\u00a0The Tomb of the Unknown Civilian\u00a0<\/span><\/span>di\u00a0<\/span><\/span>Mariana e Dominic Fantich & Young<\/span><\/span><\/strong><\/a>,\u00a0<\/span><\/span>Canal de Luz\u00a0<\/span><\/span>di\u00a0<\/span><\/span>Susana Mazzarino<\/span><\/span><\/a><\/strong>,\u00a0<\/span><\/span>Canon 3<\/span><\/span>\u00a0di\u00a0<\/span><\/span>Rosalinda\u00a0<\/span>Bing\u00fcl<\/span>\u00a0<\/span>Sardo\u011fan<\/span><\/span><\/a><\/strong>,<\/span><\/span>\u00a0Senza\u00a0<\/span>soluzione<\/span>\u00a0(Seamless)\u00a0<\/span><\/span>di\u00a0<\/span><\/span>Rudina\u00a0<\/span>Simicija<\/span><\/span><\/a><\/strong>\u00a0e\u00a0<\/span><\/span>The Vicious Sea<\/span><\/span>\u00a0di\u00a0<\/span><\/span>Kian-Peng Ong<\/span><\/span><\/a><\/strong>.\u00a0<\/span>Questi<\/span>\u00a0<\/span>lavori<\/span>\u00a0<\/span>ampliano<\/span>\u00a0il\u00a0<\/span>percorso<\/span> in un <\/span>sistema<\/span>\u00a0di\u00a0<\/span>risonanze<\/span>\u00a0<\/span>tra<\/span>\u00a0<\/span>geografie<\/span>\u00a0<\/span>reali<\/span>\u00a0e\u00a0<\/span>immaginate<\/span>,\u00a0<\/span>memorie<\/span>\u00a0<\/span>collettive<\/span>,\u00a0<\/span>paesaggi<\/span>\u00a0e\u00a0<\/span>flussi<\/span>\u00a0<\/span>immateriali<\/span>. Non\u00a0<\/span>una<\/span>\u00a0<\/span>sequenza<\/span>\u00a0<\/span>lineare<\/span>,\u00a0<\/span>dunque<\/span>, ma uno <\/span>spazio<\/span>\u00a0<\/span>attraversabile<\/span>.<\/span><\/span> \u00a0<\/span><\/span>A\u00a0<\/span>completare<\/span>\u00a0il\u00a0<\/span>percorso<\/span>,\u00a0<\/span>lasciando<\/span>\u00a0<\/span>aperta<\/span>\u00a0la\u00a0<\/span>domanda<\/span>\u00a0<\/span>iniziale<\/span>, \u00e8\u00a0<\/span><\/span>Snapshots from the Pink Planet<\/span><\/span>\u00a0di\u00a0<\/span><\/span>Vladimir P\u0103un- <\/span>Vrapciu<\/span><\/span><\/a><\/strong>.\u00a0<\/span>L\u2019opera<\/span>\u00a0<\/span>introduce<\/span>\u00a0<\/span>una<\/span>\u00a0<\/span>prospettiva<\/span>\u00a0<\/span>cosmica<\/span>\u00a0e\u00a0<\/span>straniante<\/span>: uno <\/span>sguardo<\/span>\u00a0<\/span>rivolto<\/span>\u00a0a un\u00a0<\/span>pianeta<\/span>\u00a0<\/span>possibile<\/span>,\u00a0<\/span>forse<\/span>\u00a0<\/span>reale<\/span>,\u00a0<\/span>forse<\/span>\u00a0<\/span>immaginato<\/span>, dal quale <\/span>osservare<\/span>\u00a0la Terra come\u00a0<\/span>se<\/span>\u00a0fosse\u00a0<\/span>gi\u00e0<\/span>\u00a0<\/span>diventata<\/span>\u00a0un\u00a0<\/span>reperto<\/span>.<\/span><\/span>\u00a0<\/span>[\/vc_column_text][vc_empty_space height=”30px”][vc_column_text css=””]Il\u00a0<\/span>risultato<\/span>\u00a0\u00e8\u00a0<\/span>una<\/span>\u00a0<\/span>mostra<\/span>\u00a0<\/span>che<\/span>\u00a0non\u00a0<\/span>separa<\/span>\u00a0natura e\u00a0<\/span>tecnologia<\/span>, ma le <\/span>costringe<\/span>\u00a0a\u00a0<\/span>coesistere<\/span>\u00a0<\/span>nello<\/span>\u00a0<\/span>stesso<\/span>\u00a0campo\u00a0<\/span>visivo<\/span>.\u00a0<\/span>Gli<\/span>\u00a0<\/span>artisti<\/span>\u00a0non\u00a0<\/span>illustrano<\/span>\u00a0la\u00a0<\/span>crisi<\/span>\u00a0<\/span>climatica<\/span>: ne\u00a0<\/span>traducono<\/span>\u00a0le\u00a0<\/span>fratture<\/span>,\u00a0<\/span>i<\/span>\u00a0<\/span>ritmi<\/span>, le\u00a0<\/span>tracce<\/span>\u00a0e le\u00a0<\/span>possibilit\u00e0<\/span>. Il <\/span>codice<\/span>\u00a0<\/span>pu\u00f2<\/span>\u00a0<\/span>simulare<\/span>\u00a0la\u00a0<\/span>crescita<\/span>\u00a0di un\u00a0<\/span>ecosistema<\/span>, la <\/span>fotografia<\/span>\u00a0<\/span>pu\u00f2<\/span>\u00a0<\/span>trasformare<\/span>\u00a0un\u00a0<\/span>oggetto<\/span>\u00a0<\/span>banale<\/span>\u00a0in uno\u00a0<\/span>originale<\/span>, la performance <\/span>pu\u00f2<\/span>\u00a0<\/span>restituire<\/span>\u00a0un\u00a0<\/span>corpo<\/span>\u00a0alla\u00a0<\/span>sua<\/span>\u00a0<\/span>vulnerabilit\u00e0<\/span>,\u00a0<\/span>mentre<\/span>\u00a0<\/span>l\u2019architettura<\/span>\u00a0<\/span>pu\u00f2<\/span>\u00a0<\/span>diventare<\/span> un\u00a0 <\/span>spazio<\/span>\u00a0<\/span>mentale<\/span>.<\/span><\/span>\u00a0<\/span>
<\/span>Al MAMAM, la\u00a0<\/span>tecnologia<\/span>\u00a0non\u00a0<\/span>risolve<\/span> il mondo: lo <\/span>rende<\/span>\u00a0<\/span>pi\u00f9<\/span>\u00a0<\/span>complesso<\/span>,\u00a0<\/span>pi\u00f9<\/span>\u00a0<\/span>instabile<\/span>\u00a0e\u00a0<\/span>forse<\/span>, proprio per <\/span>questo<\/span>,\u00a0<\/span>pi\u00f9<\/span>\u00a0difficile<\/span>\u00a0da\u00a0<\/span>ignorare<\/span>.<\/span><\/span><\/p>\n

Guarda il reportage video completo della mostra a Recife direttamente sul canale ufficiale di Globoplay ->https:\/\/g1.globo.com\/pe\/pernambuco\/bom-dia-pe\/video\/exposicoes-no-mamam-usam-inteligencia-artificial-para-alertar-sobre-mudancas-climaticas-14860791.ghtml<\/a><\/span>[\/vc_column_text][vc_empty_space height=”30px”][vc_single_image image=”36016″ img_size=”full” alignment=”center” css=””][\/vc_column][\/vc_row]<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"

[vc_row css=”.vc_custom_1732271539690{padding-bottom: 1.5em !important;}”][vc_column][vc_column_text css=””]Nel\u00a0cuore\u00a0del Nordeste\u00a0brasiliano, dove il\u00a0fiume\u00a0Capibaribe\u00a0incontra\u00a0l\u2019Atlantico, il Museo\u00a0d\u2019Arte\u00a0Moderna Alo\u00edsio Magalh\u00e3es (MAMAM) di Recife\u00a0diventa, dall\u20198\u00a0agosto\u00a0al 18\u00a0ottobre\u00a02026, un\u00a0nodo\u00a0centrale di un\u00a0circuito\u00a0artistico\u00a0globale. Grazie alla\u00a0collaborazione\u00a0di Arte Laguna Prize,\u00a0l\u2019associazione\u00a0MoCA, il SAMAM (Associazione\u00a0Amici del MAMAM), il Consolato Italiano e la\u00a0Segreteria\u00a0alla Cultura di Recife, il\u00a0museo\u00a0brasiliano\u00a0ospita\u00a0le opere di\u00a0quindici\u00a0artisti\u00a0premiati\u00a0alla 20\u00aa\u00a0edizione\u00a0di Arte Laguna Prize,\u00a0creando\u00a0una\u00a0mostra\u00a0collettiva\u00a0internazionale\u00a0dal\u00a0titolo:\u00a0Can Artificial Intelligence Help Save and Protect\u00a0Nature?. La concomitanza con la…<\/p>\n","protected":false},"author":8,"featured_media":35993,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"rs_blank_template":"","rs_page_bg_color":"","slide_template_v7":"","footnotes":""},"categories":[48],"tags":[],"class_list":["post-36025","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-blog-it"],"acf":[],"yoast_head":"\nArte Laguna Prize: 15 artisti al MAMAM Museum di Recife<\/title>\n<meta name=\"description\" content=\"Tra natura e algoritmo: 15 artisti di Arte Laguna Prize esposti grazie a un Premio Speciale al Mamam Museum a Recife in Brasile\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/artelagunaprize.com\/it\/premio-speciale-mamam-museum-arte-laguna-prize-in-brasile\/\" \/>\n<meta property=\"og:locale\" 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