In London you can commonly find homes within historical buildings that originally had a different purpose. This is the story of the estate known as Bow Quarter, in Fairfield Road, East London. The frame of the smart apartments is a match factory from the Victorian age, called Bryant and May, active from 1861 to 1979.

One of the most innovative elements of the art of the Renaissance is that private commissions became very common. This novelty allowed the introduction of new languages and new subjects, more secular and often political. Knowing where these artworks were placed allows us to deeply understand the motivations behind private commissions.

Damien Hirst is the enfant terrible of contemporary art. He always manages to surprise us, but he also asks us some questions, for example on life and death, on what is moral or on the value of art. With his new initiative, The Currency (23 September -30 October at Newport Street Gallery in London), Hirst provokes us once again.

The exhibition Future Shock was a journey through fourteen video, multimedia or sonic installations (or all of them together). The installations were of variable quality. A bunch of them was really remarkable and, among them, there is one that moved me: it is Vigil, by Caterina Barbieri and Ruben Spini.