![]() ![]() “We actually didn’t see our bill go up at all. “After we had our Sk圜ool system installed, our electricity company increased their rates on us,” Jesus Valenzuela, the store manager, told CNN Business. Sk圜ool's panels somewhat resemble solar panels but actually perform the opposite function.Ī Grocery Outlet store in Stockton, California, which has been using Sk圜ool’s system since last year, says it saw a marked drop in its electrical bills. And because the panels cool naturally and don’t need external power to function, it helps the entire system use less electricity. This process is designed to take pressure off the system’s cooling mechanism. These pipes are filled with water, which is kept cool by the panels and then flows into a refrigeration or air conditioning system. Sk圜ool’s model involves embedding a network of pipes below those panels. They resemble solar panels but actually do the opposite, reflecting 97% of the sunlight that hits them and cooling the surface below, according to the company. These panels consist of an optical film that radiates infrared light and cools itself in the process. ![]() The five-year-old company said it does this through rooftop panels made using nanotechnology. “We’re using that effect to essentially radiate heat out and out during the day and at night, even under direct sunlight.” “Our planet naturally cools itself by sending heat out in the form of infrared light or radiation,” said Eli Goldstein, Sk圜ool’s cofounder and CEO, through a process known as radiative cooling. Sk圜ool Systems is trying to break that vicious cycle, using technology that promises to offer buildings an alternative means to cool down by essentially mimicking how the planet cools itself. But those air conditioners can make the problem worse, emitting greenhouse gases as they work that contribute heavily to climate change. This is a great time for Bonalumi lovers.Heat waves are becoming more common in parts of the United States - and that means more people running their air conditioners for longer. It’s perhaps also worth remembering that we are a few years on from the peak of the artist’s market, shortly after the time of his death. The Palazzo Reale exhibition has brought into the limelight a large number of Bonalumis that weren’t otherwise well-known - and perhaps some of them will make their way to the market.’ ‘In the past 15 to 20 years,’ Bassetti adds, ‘there has been a growing appreciation internationally of the importance of Italy’s post-war artists, very much led by Fontana, but the likes of Manzoni, Castellani and Bonalumi, too. ‘Especially those from the Sixties, because that was the period when he was probably at his boldest and most pioneering. I personally also see a parallel across the centuries with the likes of Titian and Rembrandt, in the way the art of their old age also suddenly became loose, expressive and radical.’ Meneguzzo says Bonalumi, who was his friend, was working in his studio right up until his death in September 2013.īut what of the market for the artist’s work? ‘I believe now’s an excellent time to pursue his pieces,’ states Mariolina Bassetti, Chairman of Christie’s Italy. ‘Or like the Abstract Expressionists and the freestyle way they applied their paint. ‘It’s almost like freehand drawing,’ says Meneguzzo. He called his works estroflessioni: essentially, canvases painted in a single colour that the artist stretched, probed and deformed from behind in all manner of ingenious ways. The Palazzo Reale show tells the story of a struggling, young painter who - like his friends, Manzoni and Enrico Castellani - initially exchanged art works for pizza at Milanese restaurant Trattoria all’Oca d’Oro, whose owner, Pino Pomé, is one of the more unlikely figures in the story of Italian art in the 20th century.īonalumi would make his name by building on Fontana’s revolutionary act of slashing canvases with a knife. ![]() What’s more, where Burri was the subject of a major retrospective at the Guggenheim Museum in New York in 2015-16, Bonalumi has had no equivalent exhibition. Where the record price for a Fontana stands at $29,173,000 (realised for Concetto spaziale, La fine di Dio at Christie’s New York in 2015), only one work by Bonalumi has ever exceeded the $1 million mark. A cursory look at Bonalumi’s auction prices would suggest as much. ![]()
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