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Daniel González and Jared C. Deery

Two solo exhibitions from Argentina and the United States

A new chapter has begun for the Boccanera Gallery.

After having established its place in the art world over the last ten years as a representative for emerging Eastern European artists, while maintaining the same radical and innovative approach, Boccanera Gallery is now turning its attention towards the West. Giorgia Lucchi Boccanera welcomes the Americas with the exhibition of two artists from the new world - Argentina and the United States - reinforcing her support for emerging and mid-career artists.


With The Hanging Garden, Jared Deery recreates the fauna of the Hanging Gardens of Babylon through paintings of oil on canvas, acrylic on canvas, and Japanese ink on paper.
Deery presents a series of floral compositions which, just like in the wondrous garden, couldn’t possibly exist naturally in the same time and the same place. His gardens are gardens of memory; places where nocturnal flowers bloom in the sun alongside their diurnal counterparts, evergreens, and frail herbs.

This exhibition mimics the architectural structure of The Hanging Gardens, creating a composition of different levels, with paintings which, like centuries-old plants, come from the past and live together with seasonal flowers, or rather, the recent works.

The work of Jared Deery revisits still-life while maintaining the classic canon of inanimate, floral subjects. He combines North American painting traditions, suspended between the color field lyricism of Helen Frankenthaler and the irreverent, cartoonish style of Philip Guston, producing an isolated and contemplative study between meditation and a dreamlike state of consciousness.

With his paintings, Deery portrays still-life from his memory and reintroduces them into daily life. His work is a stream of consciousness which transforms the floral subjects into animated entities pulsing with life through his use of color and composition. The textures generated by the liquid paints flowing over the surface of canvas introduce a living, organic element to work. The petals are skin, and the stems are limbs existing in a oneiric state, creating a scene from somewhere between a dream and a memory.

The exhibition The Hanging Garden converge on the reflection of the personal dimension, the erected wonder of the world, monuments to memory with full awareness of Memento Mori.


Daniel González with his work creates monuments to everyday life, looking at his origins González combines the traditional Mexican hand-woven fabric craft with the deliriant South American philosophy, pushing the daily life to the extreme of pop art.

González’ project, Present Monuments, reinterprets the purpose of historical monuments in the digital era. González creates a memorial to daily life in response to our most straightforward needs, our state of mind, and our personal problems.
González portrait thoughts, which, embroidered on canvas, transform the transience of an instant into a monument to memory. The ephemerality of a moment is frozen through an act of conservation in his language, transforming these thoughts into monuments to every day, destined to last forever. The embroidered paintings and the sequins works on canvas emphasize the craftsmanship with which they were made. This practice which draws lines between repeated movements and humble everyday work is the element which creates the monument. The simple act of working is a fundamental part of the aesthetic of these mementos, and the time spent making them is an essential element of the monuments themselves. His work has an immediate power of attraction that pushes out the energy of his imaginary world—an explosion. The subjects are turned into objects that are up for grabs. The artisanal aspect of the labor preserves the link connecting the artwork to the functionality of the materials, and to the manual practice that constitutes it. González’ Monuments are the commemoration of simple acts of common people consecrated for eternity.

The consecration of gestures, of meditative practice, of work, and of the transience of the moment are elements of contemplation the artist.

The works and González look into the numerous aspects of the traditional, sixteenth-century European canon, Memento Mori, reintroducing it into contemporary art between postmodernism and pop art.


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