Galleries & Museums

Galleries & Museums
15 Marsèlleria
14 Gió Marconi
12 kaufmann repetto
5 Galleria Raffaella Cortese
2 Brand New Gallery
3 Cardi Gallery
7 Galleria Monica De Cardenas
8 Massimo De Carlo
20 Pirelli HangarBicocca
11 Istituto Svizzero
18 Francesca Minini
22 Galleria Lia Rumma
25 La Triennale
27 ZERO...
21 Fondazione Prada
4 Fondazione Carriero
10 Fanta Spazio
24 Tile Project Space
1 Armada
16 THE MEGA VIEW
23 Federica Schiavo Gallery
6 Cortesi Gallery
30 Clima
31 Fondazione Marconi
32 VISTAMARESTUDIO
33 Galleria Federico​ ​Vavassori
34 Francesco Pantalone Arte Contemporanea
Galleries & Museums
Marsèlleria

Via Privata Rezia 2, 20135

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Marsèlleria

Via Privata Rezia 2, 20135

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Gió Marconi

Via A. Tadino 20, 20124

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kaufmann repetto

Via di Porta Tenaglia 7, 20121

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kaufmann repetto

Via di Porta Tenaglia 7, 20121

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Galleria Raffaella Cortese

Via A. Stradella 1, 4, 7, 20129

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Galleria Raffaella Cortese

Via A. Stradella 1, 4, 7, 20129

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Cardi Gallery

Corso di Porta Nuova 38, 20121

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Galleria Monica De Cardenas

Via F. Viganò 4, 20124

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Massimo De Carlo

Lambrate/Ventura Via G. Ventura 5, 20134

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Massimo De Carlo

Lambrate/Ventura Via G. Ventura 5, 20134

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Massimo De Carlo

Palazzo Belgioioso Piazza Belgioioso 2, 20121 Milano,

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Pirelli HangarBicocca

Via Chiese 2, 20126

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Pirelli HangarBicocca

Via Chiese 2, 20126

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Istituto Svizzero

Via del Vecchio Politecnico 3, 20121

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Francesca Minini

Via Massimiano 25, 20134

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Galleria Lia Rumma

Via Stilicone 19, 20154

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ZERO...

Viale Premuda 46, 20129

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ZERO...

Via Stilicone 12, 20154

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Fondazione Prada

Fondazione Prada Largo Isarco 2, 20139

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Fondazione Prada

Fondazione Prada / Osservatorio Galleria Vittorio Emanuele II, 20121

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Fondazione Prada

Largo Isarco 2, 20139 / Osservatorio Fondazione Prada,

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Fondazione Carriero

Via Cino del Duca, 4, 20122

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Armada

Via Privata Don Bartolomeo Grazioli 73, 20161

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Federica Schiavo Gallery

Via Barozzi 6, 20122

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Clima

Via ​A. Stradella, 5​, 20129

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Fondazione Marconi

Via Tadino 15, 20124

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VISTAMARESTUDIO

Viale Vittorio Veneto 30​, 20124

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Galleria Federico​ ​Vavassori

Via G. Giulini 5, 20213

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Francesco Pantalone Arte Contemporanea

Via San Rocco, 11, 20135

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Gió Marconi

Via A. Tadino 20, 20124

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kaufmann repetto

Via di Porta Tenaglia 7, 20121

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Galleria Raffaella Cortese

Via A. Stradella 1, 4, 7, 20129

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Brand New Gallery

Via C. Farini 32, 20159

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Cardi Gallery

Corso di Porta Nuova 38, 20121

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Galleria Monica De Cardenas

Via F. Viganò 4, 20124

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Massimo De Carlo

Via G. Ventura 5 / Palazzo Belgioioso, Piazza Belgioioso 2,

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Pirelli HangarBicocca

Via Chiese 2, 20126

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Istituto Svizzero

Via del Vecchio Politecnico 3, 20121

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Francesca Minini

Via Massimiano 25, 20134

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Galleria Lia Rumma

Via Stilicone 19, 20154

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La Triennale

Viale E. Alemagna 6, 20121

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ZERO...

Viale Premuda 46, 20129

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Marsèlleria

Via privata Rezia 2, 20135

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Fondazione Prada

Largo Isarco 2, 20139 / Osservatorio Fondazione Prada,

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Fondazione Carriero

Via Cino del Duca, 4, 20122

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Fanta Spazio

Via Merano 21, 20127

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Tile Project Space

Via Garian 64, 20146

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Armada

Via Privata Don Bartolomeo Grazioli 73, 20161

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THE MEGA VIEW

Piazza Vetra 21, 20123

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Federica Schiavo Gallery

Via Barozzi 6, 20122

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Cortesi Gallery

Corso di Porta Nuova 46/B, 20121

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Clima

Via ​A. Stradella, 5​, 20129

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Fondazione Marconi

Via Tadino 15, 20124

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VISTAMARESTUDIO

Viale Vittorio Veneto 30​, 20124

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10 Corso Como

Corso Como 10 - 20154

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Bar Basso

Via Plinio 39 - 20129

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La Belle Aurore

Via Privata G. Abamonti 1 - 20129

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Fioraio Bianchi Caffè

Via Montebello 7 - 20121

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Charmant

Via G. Colombo 42 - 20133

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Grand Hotel et de Milan

Via A. Manzoni 29 - 20121

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Lile in cucina

Via F. Guicciardini 5 - 20129

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Panificio Davide Longoni

Via G. Tiraboschi 19 - 20135

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Pasticceria Marchesi

Via Santa Maria alla Porta 11a - 20123

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Trattoria Masuelli San Marco

Viale Umbria 80 - 20135

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La Nuova Arena

Piazza Lega Lombarda 5 - 20154

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Pavé

Via F. Casati 27 - 20124

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Antica Trattoria della Pesa

Viale Pasubio 10 - 20154

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Picchio

Via Melzo 11 - 20129

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Piero e Pia

Piazza D. Aspari 2 - 20129

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Polpetta DOC

Via B. Eustachi 8 - 20129

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Osteria del Treno

Via San Gregorio 46 - 20124

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Fonderia Artistica Battaglia

Via Stilicone 10 - 20154

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Pasticceria Cucchi

Corso Genova 1 - 20123

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Otto

Via Paolo Sarpi 10 - 20154

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DRY Cocktails & Pizza

Via Solferino 33 - 20121

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Capetown Café

Via Vigevano 3 - 20144

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Pisacco

Via Solferino 48 - 20121

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CONVERSO

CLS Architetti - San Paolo Converso Piazza S. Eufemia, Milano - 20122

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​LùBar

Via Palestro, 16 - 20121

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Cristian Chironi “Polychromy”

28 June – 14 September
Monday – Friday
10am-6pm (closed 1-2 pm)

Opening 27 June from 7 pm to 9 pm

Via Privata Rezia 2, 20135

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Polychromy is a multidisciplinary project by Cristian Chironi, built through space, sound and visual dimensions.
On show a Fiat 127 modello Special, which has been renamed Camaleonte for its ability to change its body colors following the contexts it gets into, together with audio-documents and sound compositions of the project My sound is a Le Corbusier.

Trigger Parties #17

04 July – 04 July
Monday – Friday
10am-6pm (closed 1-2 pm)

Opening 04 July from 6.30 pm to 9 pm

Via Privata Rezia 2, 20135

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Annette Kelm “Springs”

23 May – 27 July
Tuesday – Saturday
11 am – 7 pm

Opening 22 May from 7 pm

Via A. Tadino 20, 20124

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Anthea Hamilton

07 June – 30 July
Tuesday – Saturday
11 am – 7.30 pm

Opening 07 June from 7 pm

Via di Porta Tenaglia 7, 20121

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Project Room: Alice Mackler

07 June – 30 July
Tuesday – Saturday
11 am – 7.30 pm

Opening 07 June from 7 pm

Via di Porta Tenaglia 7, 20121

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William E. Jones “Holes in the historical record”

17 May – 28 July
Tuesday – Saturday
10 am-7.30 pm (closed 1-3 pm)

Opening 16 May from 7 pm

Via A. Stradella 1, 4, 7, 20129

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Michael Fliri “Animanimism”

17 May – 28 July
Tuesday – Saturday
10 am-7.30 pm (closed 1-3 pm)

Opening 16 May from 7 pm

Via A. Stradella 1, 4, 7, 20129

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Fred Sandback
In collaboration with the Estate of Fred Sandback, curated by Amy Sandback

22 February – 07 July
Monday – Friday 10 am-7 pm
Saturday by appointment

Opening 21 February from 6 pm to 9 pm

Corso di Porta Nuova 38, 20121

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Seven sculptural works will be displayed in the spaces according to Sandback’s elegant yet minimal methods of spatial organization along with a large selection of rare and historical drawings that outline the evolution of the artist’s research. The American artist Fred Sandback (1943–2003) worked with elastic cord and acrylic yarn to delineate or bifurcate three-dimensional space, creating room-filling volumetric forms using the most minimal of means. The story of how Sandback began creating sculptures out of string is well documented by the artist and the historians. In 1966, George Sugarmann, in response to Sandback's frustrations with sculpture and sculptural practices, told him "Well if you are so sick of the parts, why not just make a line with a ball of string and be done with it". Following his first sculpture in string, Sandback realized that this material allowed him "to play with something existing and non existing at the same time”. By stretching single strands of yarn point-to-point to create geometric figures, Sandback’s near intangible objects nevertheless amounted to precise and subtle delineations of pictorial planes and architectural volumes. Despite this relationship to the built environment and to the practice of drawing, he became known primarily as a Minimalist sculptor, alongside such contemporaries as Dan Flavin, Donald Judd, Sol LeWitt and Carl Andre, but Sandback was also a forerunner of and a major influence on many of today’s installation artists. Born in Bronxville, New York in 1943, he attended Yale as an undergraduate, studying philosophy and sculpture (BA, 1966), and as a graduate student in art (MFA, 1969). His first solo gallery shows were in Germany in 1968, at Galerie Konrad Fischer, Düsseldorf, and Galerie Heiner Friedrich, Munich. His first solo museum exhibitions took place in Europe at Museum Haus Lange, Krefeld, in 1969, and at the Kunsthalle Bern in 1973. His inaugural large-scale solo show in the US was at New York’s PS 1 in 1978. Solo exhibitions of his work include: ‘Fred Sandback: A Drawing Retrospective’, organised by the Kunstmuseum Winterthur, Switzerland (2014); ‘When Attitudes Became Form: Bern 1969/Venice 2013’ at Fondazione Prada, Milan, Italy (2013); Whitechapel Gallery, London, UK (2011), Kunstmuseum Liechtenstein, Vaduz, Liechtenstein (2005). Sandback’s work is on permanent display at Dia:Beacon, NY, USA. 

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“Jamais laisser les photos trainer”
Linda Fregni Nagler, Jochen Lempert, Johan Österholm, Barbara Probst, Leticia Ramos, Alessandra Spranzi, John Stezaker

17 May – 27 July
Tuesday – Saturday
10 am – 7 pm (closed 1 – 3 pm) / Sat. 12 – 7 pm

Opening 17 May from 6.30 pm

Via F. Viganò 4, 20124

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The exhibition suggests an idea of photography as a training of the gaze. It features artists who are experiencing epochal changes in the way of perceiving space and time, images and their multiplication and spread. It outlines a discourse on the potential of photography as a tool of knowledge that restores to the gaze something it is perhaps losing, due to

accumulation or cultural blindness: the ability to see and to sense the mutual relations among images.

The desire to return to the basic elements of photography – light and time – to reactivate obsolete techniques and procedures, to get back in touch with the miracle of analog photography and the darkroom, or to insist on always using the same camera, is intertwined with an attitude of reinterpretation of artifacts that belong to the dawn of photography, or research and gathering of images that already exist – by others, anonymous or humble images – found where no one was looking any longer. Images, these last ones, observed and re-observed, cut and rephotographed, magnified, enlarged, grouped, overlapped, reorganized, enabling them to still reveal their semantic potential.

In the photographs we can recognize that mixture of art and science, creative inspiration and technological invention of the pioneers, or a technological sophistication that moved forward with the discoveries of those inventors. Works that involve the viewer in an act of complicity, force him into a situation of intimacy.

 

“Never leave photos lying around” - as the title of the show quotes from the film Ascenseur pour l'échafaud (Elevator to the Gallows) by Louis Malle - because you never know what an artist might do with them.

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Bertrand Lavier “Hier, Oggi”

12 April – 13 July
Tuesday – Saturday
11 am – 7 pm

Opening 11 April from 6 pm to 9 pm

Lambrate/Ventura
Via G. Ventura 5, 20134

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Karin Gulbran “Weird Sisters”

12 April – 13 July
Tuesday – Saturday
11 am – 7 pm

Opening 11 April from 6 pm to 9 pm

Lambrate/Ventura
Via G. Ventura 5, 20134

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“Nature Knows No Pause”
Johan Christian Dahl, Alexandre Calame, Francois Diday, Hiroshi Sugimoto, Caspar David Friedrich, Giuseppe Penone, Lee Ufan, Gerhard Richter

30 May – 13 July
Tuesday – Saturday
11 am – 7 pm

Opening 29 May from 7 pm

Palazzo Belgioioso
Piazza Belgioioso 2, 20121 Milano,

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Eva Kot’átková “The Dream Machine is Asleep”
Curated by Roberta Tenconi

15 February – 22 July
Thursday – Sunday
10 am-10 pm

Opening 14 February from 7 pm

Via Chiese 2, 20126

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The work of Eva Kot’átková (born 1982 in Prague) investigates the internal and external forces that influence human behavior, in particular the institutional rules and educational systems that can manipulate and produce situations of control.
For “The Dream Machine is Asleep,” Kot’átková presents a compelling selection of her installations, sculptures, collages, and performative works, focusing on the idea of the human body as a machine and an organ that continues to function while sleeping, creating parallel inner worlds.
Drawing on personal experiences and a recent body of work—like the multimedia installation Stomach of the World (2017)—for this show in Milan, Kot’átková transforms the exhibition space into a labyrinthine organism in which to explore private thoughts, intimate visions, and dreams, as well as the anxieties and struggles of contemporary society.

L’opera di Eva Kot’átková (Praga, 1982) indaga le forze intrinseche ed estrinseche che influiscono sul comportamento umano, come le norme e i sistemi educativi che possono manipolare e generare situazioni di controllo.
Per “The Dream Machine is Asleep” Kot’átková presenta una coinvolgente selezione di nuove  installazioni, sculture, collage e opere performative, incentrate sulla concezione del corpo umano come macchina e organo che continua a svolgere le sue funzioni durante il sonno, creando mondi interiori paralleli.
Sulla base delle sue esperienze personali e del recente corpus di opere – come l’installazione video Stomach of the World (2017) – l’artista trasforma lo spazio espositivo in un organismo labirintico attraverso il quale esplorare pensieri privati, visioni intime e sogni ma anche le paure e le sfide della società contemporanea.

Matt Mullican “The Feeling of Things”
Curated by Roberta Tenconi

11 April – 16 September
Thursday – Sunday
10 am-10 pm

Opening 11 April from 7 pm

Via Chiese 2, 20126

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Claude Sandoz “Mister Sun and Missis Moon. Revisited”

24 May – 06 July
Monday – Friday 10.30 am - 5.30 pm
Saturday 2 - 6 pm

Opening 23 May from 6.30 pm

Via del Vecchio Politecnico 3, 20121

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“Is it my Body?”
Curated by Antonio Grulli Roger Ballen, Venessa Beecroft, Jacopo Benassi, Dan Graham

29 May – 31 July
Tuesday – Saturday
11 am – 7.00 pm

Opening 29 May from 7 pm to 9 pm

Via Massimiano 25, 20134

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Armando Testa “Punto e Basta”

19 April – 30 June
Tuesday – Saturday
11 am-7 pm (closed 1.30-2.30 pm)

Opening 18 April from 6.30 pm

Via Stilicone 19, 20154

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Adam Gordon “Secession. 2000–2005”

02 February – 30 June
Tuesday – Friday | 11 am - 7 pm (closed 1.30-2.30 pm)
Saturday 3-7 pm

Opening 01 February from 4 pm to 9 pm

Viale Premuda 46, 20129

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ZERO… presents “Secession 2000-2005”, a solo exhibition by Adam Gordon. Interested in the artist’s role and in the contemporary definition of the artwork, Adam Gordon investigates the residual potential of the image.
His research moves cautiously along the dividing line between the art system and the world. Starting from the language of performance, Adam Gordon tends to work with collaborators who are not always aware.
Including them in a personal microcosm of relationships, the artist artificially elaborates a research system that aspires to the achievement of new epiphanic forms.
The search for these revelations unfolds through a multifaceted exploratory process that seeks to investigate the interstitial phases of what we call "the art world”, through the inclusion of the real world and the human society that is being redefined.

ZERO… presenta “Secession 2000-2005”, mostra personale di Adam Gordon. Interessato al ruolo dell'artista e alla definizione contemporanea di opera d’arte, Adam Gordon indaga le potenzialità residue dell'immagine.
La sua ricerca si muove con circospezione lungo la linea di demarcazione fra il sistema dell'arte e il mondo. Partendo dal linguaggio della performance, Adam Gordon tende ad avvalersi di collaboratori non sempre consapevoli.
Includendoli in un personale microcosmo di relazioni, l'artista elabora artificiosamente un sistema di ricerca che ambisce al raggiungimento di nuove forme epifaniche. 
La ricerca di tali rivelazioni avviene attraverso un processo esplorativo poliedrico che vuole indagare le fasi interstiziali di quello che noi chiamiamo "il mondo dell’arte", attraverso l'inclusione del mondo reale e della società umana in via di ridefinizione.

Giuseppe Gabellone

05 April – 30 June
Thursday - Friday
from 4 pm to 7 pm

Opening 05 April from 6 pm to 9 pm

Via Stilicone 12, 20154

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“Post Zang Tumb Tuuum. Art Life Politics: Italia 1918-1943”

18 February – 25 June
Mon / Wed / Thu, 10 am-8 pm
Fri / Sat / Sun, 10 am-9 pm

Opening 18 February from 10 am

Fondazione Prada
Largo Isarco 2, 20139

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“Post Zang Tumb Tuuum. Art Life Politics: Italia 1918–1943,” curated by Germano Celant, is exhibition that explores the world of art and culture in Italy in the interwar years. Based on documentary and photographic evidence of the time, it reconstructs the spatial, temporal, social and political contexts in which the works of art were created and exhibited, and the way in which they were interpreted and received by the public of the time.

Between 1918 and 1943 Italy was marked by the crisis of the liberal state and the establishment of fascism, and by the ongoing interdependence of artistic research, social dynamics and political activity. As emphasized by Jacques Rancière in his book Le partage du sensible. Esthétique et politique (The Politics of Aesthetics. The Distribution of the Sensible) (2000), art never exists in abstraction, but comes into being and takes shape within a given historic and cultural context. From this point of view, political and aesthetic aspects are interwoven. Taking this hypothesis as a starting point, the documents and photographs that prompted the selection of works in the exhibition offer a record of the artistic and cultural production of the period, taking into account the multifaceted contexts and settings in which it was exhibited: these include artists’ studios, private collections, large public events and exhibitions of Italian art both in Italy and abroad, architectural designs and city planning, graphic arts and the first examples of industrial furniture production. According to Germano Celant, the documentation found and presented in this exhibition “offers a summary of the communicative function of a work of art, and tells a real story that lies outside of the theoretical discourse of an artifact.” As “means of cultural understanding”, an expression coined by David Summers, “they ensure that an art object has a particular territory, that of appearing to a broader audience, in given social and political situations.”

The investigation was carried out in partnership with archives, foundations, museums, libraries and private collections and has resulted in the selection of more than 500 paintings, sculptures, drawings, photographs, posters, pieces of furniture, and architectural plans and models created by over 100 authors. In “Post Zang Tumb Tuuum. Art Life Politics: Italia 1918–1943,” these objects are displayed with period images, original publications, letters, magazines, press clippings, and private photographs in order to raise the issue of the decontextualization within any standard exhibition presentations, in which a work of art traditionally becomes a neutral, isolated object. If, on the other hand, the material and physical conditions of its original presentation are recreated, the opportunity is given not only to explore the complex relations between creators, gallerists, art critics, ideologues, politicians, collectors, patrons and viewers, but also to investigate the concept of the exhibition in its different forms, as a quintessential element in the range of the symbolic forms of the period. Furthermore, this approach underlines how the exhibition of national products and images—even in international settings—was used by the fascist regime as a flexible, adaptable, modern and practical means to reshape Italian people and mold their experience of the world.

The exhibition design, conceived by New York studio 2×4 in conjunction with the curator, provides an immersive experience consisting of twenty partial reconstructions of public and private exhibition rooms. These full-size recreations from period photographs contain original works by artists such as Giacomo Balla, Carlo Carrà, Felice Casorati, Giorgio de Chirico, Fortunato Depero, Filippo de Pisis, Arturo Martini, Fausto Melotti, Giorgio Morandi, Scipione, Gino Severini, Mario Sironi, Arturo Tosi, and Adolfo Wildt, among others. This presentation renews the reciprocal relationship between an artistic expression and its context, the latter in the form of furnishings, architectural elements, decoration and manners of display, so as to offer a deeper understanding of the exhibited works and their creators, and to provide a more detailed interpretation of Italian art history. This way, the dialectics are revisited between individual creators and representatives of movements, groups and tendencies like Futurism, Valori Plastici, Novecento, the Roman School, the so-called Les Italiens de Paris, the abstractionists and Corrente. These movements, with their expressive eclecticism and pluralism, all contributed to the enlivenment of the artistic and cultural scene in Italy marked by the coexistence of the avant-garde with “the return to order”, experimentation with realism, and intimism with propaganda.

Consideration of the contemporary social, political and vital context is provided by the exhibition’s presentation of architectural plans, urban planning and large official expositions like the Mostra della Rivoluzione fascista (1932), the Esposizione dell’Aeronautica Italiana (1934), the Mostra Nazionale dello Sport (1935) and the major design for the E42 project. The exhibition’s presentation is punctuated by thematic focuses dedicated to politicians, intellectuals, writers and thinkers (like Giuseppe Bottai, Piero Gobetti, Antonio Gramsci, Carlo Levi, Alberto Moravia, Luigi Pirandello, Margherita Sarfatti and Lionello Venturi) that developed their own autonomy by actively participating in or remaining indifferent to the regime’s recommendations, or, in contrast, being subjected to or criticizing the impositions it meted out in the political, cultural and artistic domains.

Il progetto espositivo “Post Zang Tumb Tuuum. Art Life Politics: Italia 1918-1943”, a cura di Germano Celant, esplora il sistema dell’arte e della cultura in Italia tra le due guerre mondiali, partendo dalla ricerca e dallo studio di documenti e fotografie storiche che rivelano il contesto spaziale, temporale, sociale e politico in cui le opere d’arte sono state create, messe in scena, nonché vissute e interpretate dal pubblico dell’epoca.

Il periodo storico tra il 1918 e il 1943 è caratterizzato in Italia dalla crisi dello stato liberale e dall’affermazione del fascismo, nonché da una costante interdipendenza tra ricerca artistica, dinamiche sociali e attività politica. Come ha sottolineato Jacques Rancière nel suo libro “Le partage du sensible. Esthétique et politique” (2000), l’arte non esiste mai in astratto, ma si forma e prende forma in un determinato contesto storico e culturale. In questo senso l’aspetto politico e quello estetico sono inscindibili. Partendo da questo assunto, le testimonianze fotografiche e testuali che sono all’origine della selezione delle opere in mostra, documentano la produzione artistica e culturale del periodo tenendo conto di una pluralità di aspetti e ambienti in cui è realizzata ed esposta: dall’atelier d’artista alle collezioni private, dalle grandi manifestazioni pubbliche alle esposizioni e rassegne d’arte italiana in ambito nazionale e internazionale, dalle architetture ai piani urbanistici, dalla grafica alla prima produzione in serie di arredi. Secondo Germano Celant, i documenti ritrovati e presentati oggi in questo progetto “sintetizzano la funzione comunicativa dell’opera d’arte, offrono una storia reale, fuori dalla trattazione teorica dell’artefatto”. Funzionano come mezzi di “cultural understanding”, per usare l’espressione di David Summers, che “garantiscono all’oggetto d’arte un territorio particolare, quello di apparire ad un’audience allargata, in determinate situazioni sociali e politiche”.

L’indagine, svolta in collaborazione con archivi, fondazioni, musei, biblioteche e raccolte private, ha portato alla selezione di oltre 500 lavori, tra dipinti, sculture, disegni, fotografie, manifesti, arredi, progetti e modelli architettonici, realizzati da più di 100 autori. In “Post Zang Tumb Tuuum. Art Life Politics: Italia 1918-1943” questi oggetti sono introdotti da immagini storiche, pubblicazioni originali, lettere, riviste, rassegne stampa e foto personali, così da mettere in discussione la decontestualizzazione espositiva, in cui l’opera d’arte è tradizionalmente ridotta a una presenza neutra e isolata. Ricostruire, invece, le condizioni materiali e fisiche della sua presentazione originale non solo consente di indagare il complesso sistema di relazioni tra autori, galleristi, critici, ideologi, politici, collezionisti, mecenati e spettatori, ma permette anche di esplorare il dispositivo di mostra nelle sue diverse declinazioni, come un elemento essenziale dell’universo simbolico del tempo. Una lettura che sottolinea ulteriormente come l’esposizione di immagini e di prodotti nazionali, anche in contesti internazionali, sia stata utilizzata dal fascismo come uno strumento flessibile, adattabile e moderno, un mezzo funzionale al progetto di rifare gli italiani e di plasmare la loro esperienza del mondo.

Il progetto di allestimento, ideato dallo studio 2×4 di New York in dialogo con il curatore, si presenta come un percorso immersivo, ritmato da venti ricostruzioni parziali di sale espositive pubbliche e private. In questi ambienti, costituiti dall’ingrandimento in scala reale delle immagini storiche, vengono ri-collocate le opere originali di artisti come Giacomo Balla, Carlo Carrà, Felice Casorati, Giorgio de Chirico, Fortunato Depero, Filippo de Pisis, Arturo Martini, Fausto Melotti, Giorgio Morandi, Scipione, Gino Severini, Mario Sironi, Arturo Tosi e Adolfo Wildt, tra gli altri. Si rinnova così l’osmosi tra espressione artistica e aspetti contestuali, come arredi, elementi architettonici, dettagli decorativi e soluzioni allestitive, che permette una conoscenza maggiore delle opere esposte e degli artisti e un’interpretazione più approfondita della storia delle arti in Italia. Si ripercorre così la dialettica tra singoli autori ed esponenti di movimenti, gruppi e tendenze, come Futurismo, Valori Plastici, Novecento, Scuola romana, i cosiddetti Italiens de Paris, il gruppo degli astrattisti e Corrente, che animano un panorama artistico e culturale, caratterizzato da eclettismo e pluralismo espressivi e in cui convivono avanguardia e ritorno all’ordine, sperimentazione e realismo, intimismo e propaganda.

L’attenzione al contesto sociale, politico e vitale si traduce in mostra anche nella presentazione di progetti architettonici, piani urbanistici e allestimenti di grandi eventi quali la Mostra della Rivoluzione Fascista (1932), l’Esposizione dell’Aeronautica Italiana (1934), la Mostra nazionale dello Sport (1935) e l’imponente disegno dell’E42. L’intero percorso espositivo è scandito da focus tematici dedicati a figure di politici, intellettuali, scrittori e pensatori (tra i quali Giuseppe Bottai, Piero Gobetti, Antonio Gramsci, Carlo Levi, Alberto Moravia, Luigi Pirandello, Margherita Sarfatti e Lionello Venturi) che, così come gli artisti, sviluppano la propria autonomia espressiva partecipando attivamente o restando indifferenti alle indicazioni del regime, o al contrario, subendone o criticandone le imposizioni in campo politico, culturale e artistico.

Torbjørn Rødland “The Touch That Made You”

05 April – 20 August
Mon-Fri 2 pm-8 pm
Sat-Sun 10 am-8 pm

Opening 05 April

Fondazione Prada / Osservatorio
Galleria Vittorio Emanuele II, 20121

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Slight Agitation 4/4: LAURA LIMA

15 June – 22 October
Mon / Wed / Thu, 10 am-8 pm
Fri / Sat / Sun, 10 am-9 pm

Opening 15 June from 10 am

Largo Isarco 2, 20139 / Osservatorio Fondazione Prada,

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Dal 15 giugno al 22 ottobre 2018 Fondazione Prada presenta “Slight Agitation 4/4: Laura Lima”, il quarto e ultimo capito del progetto espositivo concepito dal Thought Council di Fondazione Prada, attualmente composto da Shumon Basar, Elvira Dyangani Ose e Dieter Roelstraete.

“Slight Agitation” è un progetto in quattro capitoli che comprende opere site-specific commissionate per l’occasione ed esposte negli spazi della Cisterna all’interno della sede milanese di Fondazione Prada. I primi tre capitoli hanno visto come protagonisti Tobias Putrih (Slovenia, 1972), Pamela Rosenkranz (Svizzera, 1979) e il collettivo austriaco Gelitin, e ora proseguono con l’ultima installazione dell’artista brasiliana Laura Lima.

Il progetto presentato da Laura Lima segue rispettivamente l’installazione di Putrih, che si è confrontato con le idee di gioco, politica ed emancipazione; l’intervento di Rosenkranz che ha offerto ai visitatori un’immersione multisensoriale in una nuova percezione di fisicità e collettività; e il progetto di Gelitin, focalizzato sugli archetipi dell’architettura classica di cui ha sovvertito la retorica e le componenti monumentali. Con “Horse Takes King” (Cavallo mangia re) Laura Lima presenta un esperimento eccentrico nel quale cerca di alterare i sensi che determinano la nostra percezione, installando negli spazi della Cisterna tre grandi sculture che costituiscono altrettante espressioni di un sistema tassonomico all’apparenza assurdo.

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“Sol LeWitt. Between the Lines”
Curated by Francesco Stocchi & Rem Koolhaas - in collaboration with Estate Sol LeWitt

17 November – 24 June
Tuesday - Sunday
from 11 am to 6 pm

Opening 16 November from 5pm

Via Cino del Duca, 4, 20122

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One decade after the death of Sol LeWitt (Hartford, 1928 – New York, 2007), Between the Lines aims to offer a new perspective on the American artist’s practice, exploring its confines—though always adhering to the underlying norms and principles of his ideas—and singling-out the most interesting moments of the method of investigation and the processes that may arise. With a considerable body of work spanning his entire career—from the famous Wall Drawings to sculptures like Complex Form and Hanging Structures, up to the photo series Autobiography 1980—and starting from the peculiarities of the rooms at the Foundation, the exhibition explores the relationship between LeWitt’s work and architecture.

Between the Lines is based on a powerful and innovative key to interpretation, aimed above all at reformulating the idea that a work must adapt to the architecture, thereby challenging the very notion of site-specificity. With full participation by the architect Rem Koolhaas—as a curator, for the first time ever—in dialogue with the curator Francesco Stocchi, Between the Lines faces broad aspects of LeWitt’s oeuvre, with the ambitious goal of moving beyond the division that traditionally separates architecture and art history and which characterizes the artist’s entire body of work, aimed more at the process than at the final result, free from any aesthetic or idealist opinion.

In 1967, LeWitt published in the magazine Artforum his “Paragraphs on Conceptual Art”—considered, even today, fundamental to understanding conceptual art—decreeing the importance of the idea over the execution, thus attributing more relevance to the notion, to the process rather than to the object and, therefore, marking the beginning of a gradual reduction of the artwork to an elementary state. In this text, LeWitt coins the term “conceptual,” paving the way for an idea of art and a way of working that was—and still is—important for generations of artists. The artist’s task is to formulate the project, whereas its execution can be entrusted to anyone, provided the instructions be respected. His belief in the artist as the creator of ideas adds a new dimension to his role, likening it to the figure of an architect who creates a design for a building and then entrusts its construction to others.

Yet, the theory LeWitt professed is vaster than imagined: it is the certain, measured degree of randomness established by the individuality of the one who will execute the work to expose it to the pathos of artistic creation, to the sense determined by the inner coherence of the linguistic system and, therefore, by the method and not the result per se. Moving freely within the rules. Like when, for example, in commemoration of his friend Eva Hesse, the artist introduces “non-straight lines” in his Wall Drawings and abandons himself to the understanding (and the interpretation) of the one who executes, further reinforcing a disinterest for any form of aesthetics in favor of respect for rules, thus making his works immortal since they can renew themselves each time.

At this point the role of architecture (and of the architect) becomes part of assessing LeWitt’s work, not only for the affinity in planning ideas but for the ability both have to reshape space. Sol LeWitt’s works cannot be considered sculptures or paintings or even architectural structures. Instead, they are Structuresforms inserted into the space, taking shape midway between the two-dimensional and the three-dimensional. Their geometric regularity makes them perfect “bases” for his wall drawings—multiplied, transformable into patterns, and repeatable in an infinite number of white, black, or colored shapes, either solid or open. These forms reveal their loyalty to flat images while at the same time they challenge gravity, triggering a reflection that joins wall paintings and sculptures, thereby creating an access between “dimensionality” and “construction.” Many of these figures are oblivious to their surroundings and their features; they cross doors and walls, thus creating continuity in the architecture without being conditioned by the specificity of the place in which they develop. Therefore, they cover the entire history of wall painting. The work is imbued with that location, though it wasn’t necessarily conceived for it, and, thus, it reveals a new metaphysical space made not with lines, cubes, or other geometric shapes, but with the idea of those very lines, cubes, and shapes.

The exhibition at the Fondazione Carriero stems from the desire to explore the confines of LeWitt’s work, considering his postulates as part of a new and freer system of verification, and to propose new harmony between the three-dimensional figure and the two-dimensional surface.

Between the Lines is an integral part of the program begun by the Fondazione Carriero with imaginarii(September 2015), FONTANA • LEONCILLO Forma della materia (April 2016), FASI LUNARI (October 2016), and PASCALI SCIAMANO (March 2017), exhibitions curated by Francesco Stocchi whose focus is their exchange approach and constant strive for research and experimentation.

The exhibition is made possible thanks to a close collaboration with the Estate of Sol LeWitt and to loans from prestigious public institutions, like the Whitney Museum of American Art (New York), as well as important private collections, like the Collezione Panza.

The Wall Drawings on display at the Fondazione Carriero were executed in collaboration with young artists and students in Milan, under the close supervision of the Estate of Sol LeWitt.

The show will be accompanied by a catalogue (Italian/English), published by the Fondazione Carriero and edited by Francesco Stocchi, which gathers images of the works installed at the Foundation, with contributions by the curators Francesco Stocchi and Rem Koolhaas, a scholarly text written for the occasion by the architect and art historian Adachiara Zevi, and a previously unpublished biography, illustrated with personal and archive images, many of which have never been seen before and compiled for the publication by Sofia LeWitt, the artist’s daughter.

 

Nel decennale della scomparsa di Sol LeWitt (Hartford, 1928 – New York, 2007), Between the Linesintende offrire un punto di vista nuovo sulla pratica dell’artista statunitense, esplorandone i confini – nel rispetto di quelle norme e di quei principi alla base del suo pensiero – e isolando i momenti fondanti del suo metodo di indagine e dei processi che ne derivano. Attraverso un nutrito corpus di opere che ripercorrono l’intero arco della sua carriera – dai celeberrimi Wall Drawings alle sculture come Complex Form e Hanging Structures, fino alla serie fotografica Autobiography 1980 –, e partendo dalla peculiarità degli spazi della Fondazione, il progetto espositivo esplora la relazione del lavoro di LeWitt con l’architettura.

Between the Lines si basa su una chiave di lettura forte e innovativa, tesa innanzitutto a riformulare l’idea che sia l’opera a doversi adattare all’architettura, fino ad arrivare a sovvertire il concetto stesso di site­specific. Con il pieno coinvolgimento dell’architetto Rem Koolhaas – per la prima volta nella veste di curatore – in dialogo con il curatore Francesco Stocchi, Between the Lines affronta ampi aspetti dell’opera di LeWitt, con l’obiettivo ambizioso di superare quella frattura che tradizionalmente separa l’architettura dalla storia dell’arte e che caratterizza l’intera pratica dell’artista, rivolta più al processo che al prodotto finale, e scevra di qualsiasi giudizio estetico o idealista.

Nel 1967 LeWitt pubblica sulla rivista Artforum il testo “Paragraphs on Conceptual Art” – considerato tutt'oggi basilare per la comprensione dell'arte concettuale – che sancisce il primato dell’idea sull’esecuzione, attribuendo così maggior rilievo al concetto e al processo rispetto all’oggetto, segnando l’inizio della progressiva riduzione al grado primordiale dell’opera d’arte. Nel testo LeWitt conia il termine “concettuale”, aprendo la strada a un'idea di arte e a un modo di lavorare che sarà – e continua a essere – rilevante per le successive generazioni di artisti. Il compito dell'artista è dunque quello di formulare il progetto, la sua esecuzione invece può essere affidata a chiunque, purché si rispettino le istruzioni stabilite. Il suo credere nell'artista come generatore di idee ha aggiunto una nuova dimensione al suo ruolo, avvicinandola alla figura di un architetto che crea un progetto per un edificio e poi delega la produzione effettiva ad altri.

Tuttavia, il teorema che LeWitt professava è più ampio di quanto s’immagini: è quel certo, misurato, grado di casualità determinato dall’individualità dell’esecutore ad aprire l’opera al pathos della creazione artistica, al senso determinato dalla coerenza interna del sistema linguistico, e dunque dal metodo e non dall’esito di per sé. Muoversi liberi all’interno di regole. Quando ad esempio, in memoria dell’amica Eva Hesse, l’artista introduce nei suoi Wall Drawings “le linee non dritte”, si abbandona alla comprensione (e all’interpretazione) dell’esecutore, rafforzando ulteriormente il disinteresse per ogni forma di estetica a favore dell’attenzione per la regola, rendendo così le sue opere immortali perché capaci di rinnovarsi ogni volta.

È a questo punto che si inserisce il ruolo dell’architettura (e dell’architetto) nella valutazione dell’opera di LeWitt, non solo per l’affinità nella progettualità delle idee, ma per la capacità che entrambi hanno di rimodellare lo spazio. Le opere di Sol LeWitt non possono essere considerate sculture, né opere pittoriche e neanche strutture architettoniche, si tratta piuttosto di Structures forme inserite nello spazio, a metà tra la bidimensionalità e la tridimensionalità. La loro regolarità geometrica le rende “basi” perfette per i suoi disegni a parete, moltiplicabili, trasformabili in pattern e replicabili in un numero infinito di forme bianche, nere, o colorate, solide o aperte. Sono forme che rivelano il loro attaccamento all'immagine piatta ma al tempo stesso sfidano la gravità, innescando una riflessione che unisce dipinti a parete e sculture, creando una porta d’accesso tra “dimensionalità” e “costruzione”. Molte di queste forme sono incuranti dell’ambiente e delle sue caratteristiche, attraversano porte e pareti in continuità con l’architettura senza essere condizionate dalla specificità del luogo in cui si sviluppano, ripercorrendo in questo modo l’intera storia della pittura murale. L’opera si permea di quel luogo ma non è necessariamente pensata per esso, e in questo modo rivela un nuovo spazio metafisico fatto non di linee, cubi o altre forme geometriche, bensì dell’idea di quelle stesse linee, cubi o forme.

La mostra alla Fondazione Carriero nasce dunque dal desiderio di esplorare i confini dell’opera di LeWitt, considerando i suoi postulati all’interno di un nuovo e più libero sistema di verifica, e di proporre una nuova armonia tra figura tridimensionale e superficie bidimensionale.

Between the Lines si inserisce coerentemente nel percorso iniziato dalla Fondazione Carriero con imaginarii (settembre 2015), FONTANA • LEONCILLO Forma della materia (aprile 2016), FASI LUNARI(ottobre 2016) e PASCALI SCIAMANO (marzo 2017), mostre curate da Francesco Stocchi il cui punto cardine è l’approccio dialogico e la tensione costante verso ricerca e sperimentazione.

La mostra è resa possibile grazie alla stretta collaborazione con l’Estate of Sol LeWitt e a prestiti provenienti da prestigiose istituzioni pubbliche, come il Whitney Museum of American Art (New York), e importanti collezioni private, come la Collezione Panza.

Wall Drawings esposti negli spazi della Fondazione Carriero sono eseguiti con la collaborazione di giovani artisti e studenti milanesi, sotto la fondamentale supervisione della Estate Sol LeWitt.

La mostra è accompagnata da un catalogo (italiano e inglese) edito da Fondazione Carriero, curato da Francesco Stocchi, che raccoglie le immagini delle opere allestite in Fondazione, con contributi dei curatori Francesco Stocchi e Rem Koolhaas, un saggio scritto per l’occasione dall’architetto e storica dell’arte Adachiara Zevi e una biografia inedita, illustrata con immagini personali e d’archivio, molte delle quali mai pubblicate prima, curata per l’occasione da Sofia LeWitt, figlia dell’artista.

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Marco Conoci “Undercover”

08 June – 31 July
Friday - Saturday
3-7 pm or by appointment

Opening 08 June from 6.30 pm to 10 pm

Via Privata Don Bartolomeo Grazioli 73, 20161

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Karthik Pandian “Tamil Man”

23 May – 25 July
Tuesday – Saturday
12 – 7 pm

Opening 22 May from 6 pm

Via Barozzi 6, 20122

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When I walk slowly across the floor of the studio, I step with my ancestors. I step with outcastes, migrants and refugees. I step with artists, dancers and pilgrims. My foot trembles, unaccustomed to this labor. It is painted, made up in the guise of a sculpture. I step into Tamil Man, into the vision of Malvina Hoffman, who put her self-proclaimed capacity to see and identify true racial types to work in her monumental commission of the Hall of the Races of Mankind at the Field Museum of Chicago in the 1930s. I step out of the museum, out of the studio and into a pose as a living sculpture. On the banks of the river, I perform austerities. Trembling, I die and give birth to myself, every 29.97th of a second.

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Jonah King “Leisure sports”

06 June – 28 July
Tuesday​ – Saturday from 11.30 am​-​7.30 pm or by appointment

Opening 05 June from 7 pm to 10 pm

Via ​A. Stradella, 5​, 20129

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Bruno Di Bello

23 May – 27 July
Tuesday – Saturday, 10 am-7 pm (closed 1-3 pm)
(aperto:15 aprile / chiuso: 31 marzo, 25 aprile e 1° maggio)

Opening 22 May from 6 pm

Via Tadino 15, 20124

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Polys Peslikas “The misunderstanding. The misinterpretation.”

07 June – 28 July
Tue - Sat 10 am - 7 pm

Opening 06 June from 7 pm to 9 pm

Viale Vittorio Veneto 30​, 20124

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Vistamarestudio is pleased to present an exhibition by Polys Peslikas. The show features a series of new paintings and marks the artist’s first collaboration with the gallery.

 

The misunderstanding.
The misinterpretation.

 

Two titles for an exhibition, the one can be used as an excuse for the other.

 

Polys Peslikas’ artistic practice explores the possibilities of non-representational painting, by means of richly textured surfaces in which figurative fragments are caught in a constant state of flux.

This play of materialization and disappearance was at the center of Peslikas’ Soft Stones-Documents paintings – which he presented at the 57th Venice Biennale – and returns in the current exhibition, conceived around a series of oil paintings on canvas mounted on wood, which are informally referred to as “mosaics” and “reliefs”. These new works point to Peslikas’s implicit observations regarding the practice of painting: layer after layer, the surface becomes the site of a ritualistic repetition of gestures and forms, almost an oxidized plane of transformation and coalescence.

The series originates in the artist’s misunderstanding of a photograph of the mosaics in the 5th Avenue Subway in New York, which Peslikas thought was a fragment of the Mussolini mosaics in the Stadio Olimpico in Rome. Starting from this misplacement of locations and times, the artists has created a mysterious narrative around the ambiguity of representation and vision as a form of wondering.

The terms “Variation”, “Study”, and “Doubt” are often used by Peslikas to refer to his series: they stand for the artist’s belief in representation as a transformative site of perception. “Misunderstanding” and “Misinterpretation” are added to the list to allow him the possibility of revisiting, re-questioning and keeping the potential of the paintings open.

Polys Peslikas (b.1973, Limassol CY) is a painter currently living and working between London and Nicosia. For the last fifteen years he has been regularly collaborating with independent choreographers on contemporary dance pieces. In 2015/16 he was an artist in residence at Künstlerhaus Bethanien in Berlin. Among other places, he has presented his work at Villa Medici (Rome), Shanaynay (Paris), NiMAC (Nicosia), Halle 14 (Leipzig), and at the Prague Biennial II. In 2017, he represented Cyprus at the 57th Venice Biennale.

 

 

Vistamarestudio è lieta di presentare la mostra personale di Polys Peslikas. Originario di Cipro, l’artista vive e lavora a Londra ed espone una serie di nuovi dipinti che segnano l’inizio della sua collaborazione con la galleria.

 

The misunderstanding.
The misinterpretation.

 

Due titoli per una mostra: l’uno giustifica l’altro.

 

Polys Peslikas indaga le potenzialità della pittura astratta attraverso superfici dense ed elaborate, in cui i frammenti figurativi sono colti in uno stato di flusso perpetuo.

È questa dinamica di apparizione e scomparsa che animava Soft Stones Documents, i quadri che Peslikas ha esposto alla 57esima Biennale di Venezia quando ha rappresentato il suo paese al padiglione nazionale; ed è una dialettica che ritroviamo in questa mostra, concepita intorno a una serie di dipinti ad olio su tela montata su legno – opere che l’artista descrive come “mosaici” e “rilievi”. Questi nuovi quadri suggeriscono una velata riflessione sulla pratica della pittura: strato su strato, la superficie si addensa e diventa lo spazio di una ripetizione ritualistica di gesti e forme, quasi una superficie ossidata di trasformazione.

Il ciclo nasce da un equivoco riguardante un’immagine dei mosaici nella stazione della metropolitana newyorkese sulla 5th Avenue – un’immagine che l’artista aveva creduto, erroneamente, rappresentasse i mosaici Mussoliniani allo Stadio Olimpico a Roma. A partire da questa confusione di luoghi e tempi, Peslikas ha costruito una misteriosa narrazione sull’ambiguità della rappresentazione e sullo sguardo come atto esplorativo.

Parlando dei suoi cicli pittorici, Peslikas ricorre spesso ai concetti di “variazione”, “studio” e “dubbio” per esprimere la sua fiducia nell’arte come spazio di continua trasformazione della percezione. A questo elenco di titoli si aggiungono ora “malinteso” e “fraintendimento”, termini che permettono lo sviluppo di ulteriori rivisitazioni e quesiti, lasciando aperte le possibiltà della pittura.

Polys Peslikas (1973, Limassol) vive e lavora tra Londra e Nicosia. Negli ultimi quindici anni ha collaborato in numerose occasioni con coreografi indipendenti, creando performance di danza contemporanea. È stato l’artista in residenza al Künstlerhaus Bethanien a Berlino nel 2015-2016. Il suo lavoro è stato presentato a Villa Medici (Roma), Shanaynay (Parigi), NiMAC (Nicosia), Halle 14 (Leipzig) e al Prague Biennial II. Nel 2017 ha rappresentato Cipro alla 57esima Biennale di Venezia.

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Rochelle Goldberg “1000 'emotions'”

26 May – 30 June
Monday – Friday​, ​​11 am-6 pm

Opening 25 May from 7 pm to 9 pm

Via G. Giulini 5, 20213

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Growing growing growing growing growing growing growing growing Growing Growing growing growing Growing Growing Growing Growing growing

 

She thought you would cut the flowers outside in order to grow them inside

 

Growing growing growing growing growing growing

growing growing growing growing growing Growing growing Growing Growing Growing Growing Growing Growing growing growing Growing Growiwng Growing Growing Growing growing growing growing growing growing growing growing growing growing growing growing Growing Growing Growing Growing Growing Growing growing growing Growing Growing Growing Growing Growing growing growing growing growing growing growing growing growing Growing growing growing growing Growing GrowingGrowing growing Growing Growing growing growing growing growingGrowing Growing Growing Growing Growing growing growing Groing growing growing growing growing growing growing growing growing growing growing Growing Growing Growinggrowing Growing growing Growing Growing growing growing Growing Growing Growing Growing Growing growing growing growing growing growing growing growing growing growing growing Growing growing Growing Growing Growing growingGrowing Growing Growing growing growing Growinggrowing Growing Growing Growing Growing growing growing growing growing growing growing growing growing growing growing growing Growing Growing Growing Growing Growing Growinggrowing growing Growing Growing Growing Growing Growing growing growing growing growing growing growing growing growing growing growing growing

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Francesco Pantalone Arte Contemporanea

Tuesday - Saturday from 15.00 to 19.00 (and by appointment)

www.fpac.it
milano@fpac.it
02 87214884
Via San Rocco, 11, 20135 Milano

Concetta Modica “La partenza - Trilogia di Orlando”
Curated by Michela Eremita

05 June – 15 September
Tuesday - Saturday from 15.00 to 19.00 (and by appointment)

Opening 05 June from 6 pm to 9 pm

Via San Rocco, 11, 20135

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At the gallery Francesco Pantaleone Arte Contemporanea opens on 05 June 2018 # 1 | The departure of Concetta Modica, a personal exhibition that marks the first appointment of the Orlando Trilogy project, with the care and text by Michela Eremita. The cycle includes three stages - in three different places - with evocative titles: # 1 | The departure; # 2 | The sleep and fury; # 3 | The return. Through the emblematic figure of the Orlando paladin the search for the last year will be presented artist who has always focused on the relationship of the past with the present and on the and condition of fragility as a result of the epic afflicted man/hero. A group of French paladins represented as ceramic Puppets will step into the two rooms of the gallery, ready to go into imaginary and/or real battles. Their derivation from the Sicilian Opera of the Puppets and from Ludovico Ariosto's poem, Orlando Furioso, is pretty clear.

A group of French paladins represented as ceramic Puppets will step into the two rooms of the gallery, ready to go into imaginary and/or real battles. Their derivation from the Sicilian Opera of the Puppets and from Ludovico Ariosto's poem, Orlando Furioso, is pretty clear.
The multitude, the army of the fragile paladins, however, shall not be misleading: every sculpture, every paladin is an interpretation of one man, Orlando. In this case, Orlando becomes ego and alter ego, as a mirror of himself and of mankind, with constant comparisons between what the hero represents for history and for our cultural tradition – with the well-known course of events that have been so much recounted and brought onto the stage – and the man, intimately in conflict with himself, who broke down for a delicate reason, due to love. Hence a consideration on the infinite repetition of the heroic gesture, the (sometimes winning) conflict with the others – wars and battles for a common belief – and the conflagration of the ego provoked by a delicate issue, because of feelings.

Besides the many Orlandos, the exhibition will show other objects that are close to the hero's figure, devotional and functional objects like the cruet that will held the good senses of the paladin who went crazy because of love... Everything will help present the ancient man and modern man in conflict and in love, expanded by loneliness, in a constant comparison.

The works on show are all new.
The Puppets will leave for Nottilucente, a project curated by the Municipality of San Gimignano in collaboration with Culture Attive, the association managing the event for the Tuscan city. After the battle in Tuscany, the Puppets will come back, in their entirety or in part, at Spazio C.O.S.M.O. in Milan, a new exhibition space where visitors will be able to see the remnants of a heroic adventure through a reconstruction that will focus on devotional proxemics.
In the event taking place at Francesco Pantaleone Arts Gallery, the artist will host two travel companions: Giovanni Calvi, a young designer who was asked to create the cruet used to hide Orlando's good senses, and Anita Pepe, who collaborated with the artist in a four-hand work, a book for words and images.
A project spin-off will take place in Palermo next June at an exhibition curated by Adina Drinceanu, Ozio, as part of Manifesta 12.

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