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Federica Schiavo Gallery, Lungotevere dei Vallati 8, Roma (2026)

07/10/2026

We are delighted to announce our participation in the 22nd Contemporary Art Day, taking place on Saturday, October 10.

An event promoted by with the support of the Directorate-General for Contemporary Creativity, as part of the Department for Cultural Activities of the Italian Ministry of Culture, and in collaboration with the Directorate-General for the Promotion of the Export System of the Ministry of Foreign Affairs and International Cooperation.

We look forward to welcoming you!

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Siamo lieti di annunciare la nostra partecipazione alla Ventiduesima Giornata del Contemporaneo, in programma Sabato 10 Ottobre.

Evento promosso da con il sostegno della Direzione Generale DG Creatività Contemporanea MiC, nell’ambito del Dipartimento attività culturali - Ministero della Cultura del Ministero della Cultura e la collaborazione della della Direzione Generale per la Crescita e la Promozione delle Esportazioni del Ministero degli affari Esteri e della Cooperazione Internazionale.

Vi aspettiamo!

29/09/2026

SVENJA DEININGER | ON LEANING

OPENING OCTOBER 13 | FROM 6:30 PM

OCTOBER 14, 2026 - 30 JANUARY, 2027
FEDERICA SCHIAVO GALLERY
LUNGOTEVERE DEI VALLATI 8, ROMA

Svenja Deininger
Untitled, 2026
oil on linen
28 x 21 cm

Svenja Jill Deininger

Photo: .eu

10/09/2026

SVENJA DEININGER | ON LEANING

OPENING OCTOBER 13 | FROM 6 PM

OCTOBER 14, 2026 - 30 JANUARY, 2027
FEDERICA SCHIAVO GALLERY
LUNGOTEVERE DEI VALLATI 8, ROMA

Svenja Deininger
Untitled, 2026
oil on linen
28 x 21 cm

Svenja Jill Deininger

Photo: .eu

05/09/2026

Jay Heikes is presenting his artwork Lily Pad at The Franklin in Chicago, as part of the exhibition Human-Nature.

Opening on September 17, 2026 from 7pm to 9pm.

Jay Heikes
Lily Pad, 2023
Oil, sand, freshwater pearls, BB’s on anodized aluminum
50,17 x 41,9 cm
Signed and dated in ink (verso)

Jay Heikes
Edra Soto

15/07/2026

Benoît Maire
Outil de mesure, 2026
arrowhead in knapped flint copper leather and raku ceramic
1 × 30 × 6 cm

In Outil de mesure (2026), Benoît Maire develops a reflection on measuring instruments and their symbolic meaning. The artist defines as “weapons” all those tools that measure reality—objects designed to measure, record, or organize aspects of the real—yet he shifts their technical function away from neutral use toward a conceptual and critical dimension.

From this perspective, the weapon is not an object of aggression in the traditional sense, but a tool for reading and relating to the world. Objects become weapons both through performative actions recorded in video and through processes of assemblage that transform their meaning and function. As the artist suggests, these tools are embedded in our everyday life in an almost invisible way: from time to weight, from weather information to economic data, down to the regulation of bodily and experiential rhythms. In this sense, every measuring instrument also becomes a device that organizes and shapes our relationship with the world.

As the artist explains: “I wear on my wrist a weapon that gives me time. In the bathroom, I stand on a weapon that says a weight. In my pocket, I have a multi-function weapon that gives me the next day’s weather and today’s price of gold and wakes me up when I need to. I have a weapon that destroys time, one that destroys my being, others that destroy the landscape, the market, and the dream.”

The work thus highlights a consequence of this pervasiveness: the constant measurement and quantification of the real as a force capable of altering or even destroying our existential relationship with what surrounds us. This suggests the hypothesis that such a process may produce a progressive transformation in the way we inhabit the world.

14/07/2026

Benoît Maire
A**e, 2026
flint arrowhead, plastic, brass wire
variable dimensions

In “A**e” (2026), Benoît Maire develops a reflection on measuring instruments and their symbolic meaning. The artist defines as “weapons” all those tools that measure reality—objects designed to measure, record, or organize aspects of the real—yet he shifts their technical function away from neutral use toward a conceptual and critical dimension.

From this perspective, the weapon is not an object of aggression in the traditional sense, but a tool for reading and relating to the world. Objects become weapons both through performative actions recorded in video and through processes of assemblage that transform their meaning and function. As the artist suggests, these tools are embedded in our everyday life in an almost invisible way: from time to weight, from weather information to economic data, down to the regulation of bodily and experiential rhythms. In this sense, every measuring instrument also becomes a device that organizes and shapes our relationship with the world.

As the artist explains: “I wear on my wrist a weapon that gives me time. In the bathroom, I stand on a weapon that says a weight. In my pocket, I have a multi-function weapon that gives me the next day’s weather and today’s price of gold and wakes me up when I need to. I have a weapon that destroys time, one that destroys my being, others that destroy the landscape, the market, and the dream.”

The work thus highlight a consequence of this pervasiveness: the constant measurement and quantification of the real as a force capable of altering or even destroying our existential relationship with what surrounds us. This suggests the hypothesis that such a process may produce a progressive transformation in the way we inhabit the world.

07/07/2026

Benoît Maire
Table aux pieds d’escaliers, 2022
solid hornbeam top, legs made from the wood of a staircase column
28 × 100 × 100 cm

“Table aux pieds d’escaliers” is a work created in collaboration with the Ker-Xavier collective, evoking exhibition furniture while forming part of the artist’s ongoing investigation into the boundary between design and sculpture, where functional objects are progressively reinterpreted as autonomous forms, suspended between function and perception.

While preserving its essential structure, the work introduces a series of formal variations that transform its familiar appearance. By intervening in an established visual balance, it gradually shifts the viewer’s perception, inviting closer attention to the subtle tensions between recognizability and estrangement, functionality and sculptural autonomy.

Certain elements, such as the legs of the table, draw inspiration from Art Deco motifs. Its pared-down lines, materials, and structural composition transform practical furniture into sculptural forms, establishing an ongoing dialogue between use, form, and perception. The work is conceived as an agent of transformation: a curve interrupts the object’s linearity, reorienting its presence in space and altering its relationship with the viewer. Ornament is not treated as a decorative addition, but as a generative principle that shapes the object’s overall configuration, directly influencing the way it is perceived.

Within this tension between utility and form, the relationship between the work and the objects placed around or upon it challenges the status of the object itself, resisting any singular definition. Although its functional identity remains recognizable, it moves toward a condition in which use no longer exhausts its meaning, allowing a perceptual dimension to emerge that extends beyond its practical purpose.

Photo:

01/07/2026

Benoît Maire
Image du futur actuel, 2019
patinated bronze
30 × 20 × 50 cm

In Image du futur actuel (Image of the Actual Future), Benoît MaireMaire constructs a temporal paradox through a seemingly simple figure: a lamb. A recurring presence in Western iconography, the lamb runs through art history as a symbol of innocence, sacrifice, and redemption, condensing a deeply rooted visual and cultural memory. Its strength lies precisely in its ability to evoke something that already feels familiar, already belonging to the past. However, the nostalgia evoked by the work does not concern the past. On the contrary, Maire imagines a future that will itself become an object of nostalgia, a time not yet lived but already perceived as loss.

The lamb thus becomes the support of a singular temporal inversion: it does not represent what has been, but rather what will be remembered. In this overlap between anticipation and memory, the future is observed as if it had already passed.

The sculpture presents itself both as a concrete figure and as a conceptual device that questions our relationship to time. The “nostalgic lamb” evoked by the artist thus becomes the image of our actual future: a projection in which desire, memory, and imagination merge, turning the future into something we already feel on the verge of losing.

Photo: Giulia Pietroletti | Fotografa

24/06/2026

Benoît Maire
Peinture Logique PL 2 C ou la dame oubliée, 2024
silkscreen ink, oil paint and acrylic spray paint on canvas
150 × 100 cm

Benoît Maire
Peinture Logique PL 2 D ou la dame oubliée, 2024
silkscreen ink, oil paint and acrylic spray paint on canvas
140 × 100 cm

Benoît Maire
Peinture Logique PL 4 C le signe, 2024
silkscreen ink, oil paint and acrylic spray paint on canvas
150 × 125 cm

“Peintures logiques” (Logical Paintings) were created after the artist’s residency at Villa Medici, from 2023 and is part of his research into the relationship between philosophy, painting, images and systems of thought.

This series is characterised by the combined use of different techniques, including oil painting, acrylic spray paint and screen printing on canvas. The works bring together abstract elements, typographic marks, fragmentary images and geometric structures, giving rise to compositions that function not only as pictorial images but also as conceptual devices. Several works in the series feature words or formulas printed directly onto the surface of the painting, used by Maire both as logical elements and visual components.

Each painting in the series is classified within a combinatorial system divided into 21 families, corresponding to the letters of the alphabet: “PL9 A”, for example, refers to the first Logical Painting featuring Pierrot as the main figure, whilst ‘PL4 C’ denotes the third painting centred on the symbol of the tree.

The aim of this series of paintings is to create a collection of works that can be combined to form figurative systems, much like a crossword puzzle composed of painted images. It is a challenge that is at once pictorial, conceptual and logical, seeking to define the conditions of a speculative humanism suspended between ontological solitude, non-binary sexuality and the hypothesis of a possible immortality.

Photo: Giulia Pietroletti | Fotografa

23/06/2026

Benoît Maire
Peinture Logique PL17 A d’île, 2025
silkscreen ink, oil paint and acrylic spray paint on canvas
100 × 75 cm

Benoît Maire
Peinture Logique PL17 B d’île, 2024
silkscreen ink, oil paint and acrylic spray paint on canvas
120 × 90 cm

“Peintures logiques” (Logical Paintings) were created after the artist’s residency at Villa Medici, from 2023 and is part of his research into the relationship between philosophy, painting, images and systems of thought.

This series is characterised by the combined use of different techniques, including oil painting, acrylic spray paint and screen printing on canvas. The works bring together abstract elements, typographic marks, fragmentary images and geometric structures, giving rise to compositions that function not only as pictorial images but also as conceptual devices. Several works in the series feature words or formulas printed directly onto the surface of the painting, used by Maire both as logical elements and visual components.

Each painting in the series is classified within a combinatorial system divided into 21 families, corresponding to the letters of the alphabet: “PL9 A”, for example, refers to the first Logical Painting featuring Pierrot as the main figure, whilst ‘PL4 C’ denotes the third painting centred on the symbol of the tree.

The aim of this series of paintings is to create a collection of works that can be combined to form figurative systems, much like a crossword puzzle composed of painted images. It is a challenge that is at once pictorial, conceptual and logical, seeking to define the conditions of a speculative humanism suspended between ontological solitude, non-binary sexuality and the hypothesis of a possible immortality.

Photo: Giulia Pietroletti | Fotografa

Federica Schiavo Gallery

07/10/2026

29/09/2026

10/09/2026

05/09/2026

15/07/2026

14/07/2026

07/07/2026

01/07/2026

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