Galleries & Museums

Galleries & Museums
9 Istituto Svizzero
12 Gió Marconi
2 Cardi Gallery
15 Francesca Minini
8 Pirelli HangarBicocca
19 La Triennale
5 Monica De Cardenas
17 Fondazione Prada
4 Galleria Raffaella Cortese
10 kaufmann repetto
1 Brand New Gallery
6 Massimo De Carlo
11 Lisson Gallery
14 miart
16 Peep-Hole
18 Galleria Lia Rumma
21 ZERO...
13 Marsèlleria
20 Fondazione Nicola Trussardi
7 Le Dictateur
3 Fondazione Carriero
Galleries & Museums
Istituto Svizzero

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Gió Marconi

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Cardi Gallery

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Cardi Gallery

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Francesca Minini

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Pirelli HangarBicocca

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Pirelli HangarBicocca

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La Triennale

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Monica De Cardenas

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Fondazione Prada

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Fondazione Prada

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Fondazione Prada

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Galleria Raffaella Cortese

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kaufmann repetto

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Brand New Gallery

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Brand New Gallery

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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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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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Lisson Gallery

Via B. Zenale 3, 20123

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miart

Viale L. Scarampo, 20149

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Francesca Minini

Via Massimiano 25, 20134

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Peep-Hole

Via Stilicone 10, 20154

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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 Paullo 12/A / Via privata Rezia 2, 20135

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Fondazione Nicola Trussardi

Piazza E. Duse 4, 20122

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Fondazione Prada

Largo Isarco 2, 20139

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Fondazione Carriero

Via Cino del Duca, 4, 20122

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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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Carminio

Via Del Carmine 3 - 20121

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Carpaccio

Via L. Palazzi 19 - 20124

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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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Vivaio Riva

Via Arena 7 - 20123

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Osteria del Treno

Via San Gregorio 46 - 20124

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Violette

Via P. Castaldi 14 - 20124 

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Fonderia Artistica Battaglia

Via Stilicone 10 - 20154

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Mandarin Oriental

Via Andegari 9 - 20121

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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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The Books of the Architecture of the City
curated by Victoria Easton, Kersten Geers and Guido Tesio

15 September – 22 October
Monday – Friday 11 am-6 pm
Saturday 2-6 pm

Opening 14 September from 6.30 pm

Via del Vecchio Politecnico 3, 20121

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In 1966, Aldo Rossi published a book that refuted the then current arguments on the city and its design, and whose reception exceeded all expectations: L’architettura della citta? was fast internationally hailed as a classic.

Built upon a combination of unconventional fragments from various disciplines, cultures and authors, the book engendered a conceptual framework – as opaque as it appeared – for effective exploration of the complexity of the contemporary city, the success of which persisted at least until the work of Rossi himself, with all its later simplifications and cartoonesque positions, began to colour people’s perceptions of his theories. Now, on the 50th anniversary of the original launch of L’architettura della citta?, this exhibition presents itself as a formal exercise both in celebrating this ‘mythical’ work and taking it off its pedestal, dusting it down so as to be able to (re-)engage with its tenets.

The importance of the book manifests in the uncertainty that accompanies us still, when interpreting and designing the city today. The issues raised by Rossi in the 1960s have by no means been resolved: cities are still complex; their physical configuration still mirrors their history in a non-linear, contradictory manner; and urban phenomena remain inexplicable unless approached in the light of the city as a whole. Is Rossi’s ‘city-as-a-book’ or ‘book-as-a-city’ a metaphor we need to hang on to? Perhaps it is, given that the construction of this book results in many ways from the construction of the architect: the architecture of the city built Aldo Rossi, so to speak. Or should it perhaps be dismissed or deconstructed once and for all? We – in presenting here a Difficult Whole, scrutinised but not unravelled – take the liberty of not letting that happen.

In returning to the sources on which Rossi drew in order to construct his book, in recovering the original editions so as to expound both their literary and iconographic value, "The Books of the Architecture of the City" exhibition celebrates the generosity of the book, beyond the fame of its author, and therewith proposes that Aldo Rossi be regarded as only one among many contributors to an intimately multifaceted and collective project called L’architettura della citta?: a book made of books.

"The Books of the Architecture of the City" does not present a thoroughly researched ‘new' claim regarding the truth (or not) of Rossi’s flawed masterpiece. It is rather, a simple survey of all that Rossi explicitly included within its pages. Thus, the exhibition shows everything and nothing simultaneously. Here, all the books of The Architecture of the City are brought together and made accessible for the first time. They are displayed alongside a set of books made of facsimiles in which all the quoted text excerpts and graphical excerpts from the original editions are compiled. A photographic essay by Stefano Graziani visually resonates with the fragments of text. In drawing on more than 150 books, on a multiplicity of origins and references, L’architettura della citta? is resolutely an organism that prompts the on-going mutation of its own content as well as ample opportunities for a continuous internal and external dialogue. By showing nothing but what was already there, "The Books of the Architecture of the City" plainly exposes the contents of the original text, thus calling upon the visitor to explore Rossi’s fiction as well as to venture into building new sets of analogies and correspondences.

In collaboration with Form - ENAC – EPFL e la Fondazione Aldo Rossi.

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Fredrik Værslev
"Home is where my art is"

16 September – 29 October
Tuesday – Saturday
11 am-7 pm

Opening 15 September from 7pm to 9pm

Via A. Tadino 20, 20124

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Summer Group Show
Artworks from the Cardi Family Collection and Pino Pinelli solo show

05 May – 14 September
Monday – Thursday, 10 am-7 pm
Friday, 10 am-6 pm Saturday by appointment

Opening 05 May

Corso di Porta Nuova 38, 20121

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Mimmo Rotella
“Blank”

19 September – 18 November
Monday – Friday 10 am-7 pm
Saturday by appointment

Opening 19 September

Corso di Porta Nuova 38, 20121

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Matthias Bitzer

20 September – 15 November
Tuesday – Saturday
11 am-7.30 pm

Opening 20 September

Via Massimiano 25, 20134

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Osgemeos
Efêmero. Curated by Cedar Lewisohn

21 April – 23 April
Thursday – Sunday
10 am-10 pm

Opening 20 April

Via Chiese 2, 20126

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Pirelli HangarBicocca presents the new public mural, Efêmero, the first large-scale mural in Italy by OSGEMEOS, who are among the world’s most renowned contemporary artists. This work on the outer walls of Pirelli HangarBicocca, to be inaugurated on April 20, 2016, is part of the new three-year project “Outside the Cube," which will involve innovative new approaches to art in public space and a rich calendar of parallel events. The industrial site of Pirelli HangarBicocca, where in the last century trains were made, will become the ideal setting for the work of OSGEMEOS and the many artists to follow.

The project at Pirelli HangarBicocca will delve deeper into the artist’s unique universe of mysterious symbolism and alternative realities. OSGEMEOS’s works often huge in scale, matched with its distinctive patterns and colour schemes, referencing the natural world and improvisation of Sao Paulo. The project will explore the history and spectacular architectural setting of Pirelli HangarBicocca, using the site as a starting point for an iconic new production. The mural will not only be painted on the buildings facade but be incorporated into the buildings architecture. This is an ongoing theme in the artists work, to create murals that transform the facade of a building into a new structure. The project will be accompanied by a limited edition catalogue designed by the artists. The book will explore further the artists history of architectural interventions and include images of their works that have repurposed the built environment.

Curated by artist and writer Cedar Lewisohn - who has authored many publications on art, and curated the exhibition “Street Art at Tate Modern” in 2008 - the project by OSGEMEOS will occupy the two outer walls of Pirelli HangarBicocca’s Cubo space, covering a total area of a thousand square meters. It will also be visible from the nearby train tracks and from the street.

OSGEMEOS, literally meaning “the twins,” is the pseudonym of Brazilian twin brothers Gustavo and Otavio Pandolfo (b. 1974 in Sao Paulo). This artistic duo, whose roots are in hip-hop culture and graffiti, began in the 1980s to develop a highly sophisticated oeuvre recognizable for its dreamlike landscapes and poetic figures, drawing on a vast range of cultural, social and political references.

Kishio Suga “Situations”
curated by Yuko Hasegawa and  Vicente Todolí

29 September – 29 January
Thursday – Sunday
10 am-10 pm

Opening 29 September from 7pm

Via Chiese 2, 20126

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XX1T Triennale Esposizione Internazionale
21° Century. Design After Design

02 April – 12 September
Tuesday – Sunday 10.30 am-8.30 pm
Thursday 10.30 am-11 pm

Opening 02 April

Viale E. Alemagna 6, 20121

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Lucio Fontana, Caroline Achaintre, Ivan Seal
“A conversation about ceramics”

12 May – 17 September
July: Monday – Friday, 3-7 pm
Closed from 30 July to 31 August

Opening 12 May

Via F. Viganò 4, 20124

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The exhibition triggers a dialogue between ceramics by Lucio Fontana and the works by two contemporary artists, who with different media show how this ancient material has become a surprising vehicle for new experimentation.

 

According to the Bible, God used clay to create Man in his image and likeness. In Jewish mythology, Man in turn shaped the Golem, to whom he managed to give the breath of life, but not a character of his own, since he lived only to follow the orders of his maker: a powerful metaphor for the possibilities of this primordial substance.  

Clay and then terracotta, composed by the primal elements earth, water and fire, and easily shaped, is, in this sense, the most ancient art material in history. It was used since prehistoric times in every corner of the planet: traces of Japanese pottery date back to at least one millennium before the Christian era; the Greeks produced and spread it intensely from the 6th century BC, and before them the Assyro-Babylonians, the ancient Egyptians, the Etruscans. Often used in the field of applied and decorative arts, it became porcelain in China already in the 8th century AD, and then in Europe after the alchemical studies only in the 17th century. Porcelain was used to create vases and all kinds of small collectible figurines, becoming a kind of “mirror of the world” of the Baroque era.

 

In the 20th century Lucio Fontana (1899 Rosario, Argentina – 1968 Comabbio) made clay into something completely new: he created figures in which the marks of his fingers remain visible. The results are shapes where the contours seem to be in perpetual motion. Starting in the 1930s, he gave new life to ceramics in a creative vortex that pushed the material beyond figuration, achieving what critics would hail as an important harbinger of the “informal” approach of the years to follow. The forms are joined by the luminous, iridescent colors of the rich glazes and metallic highlights that induced commentators to talk about sculptures that incorporate painting.

The works in the exhibition follow a chronological line that illustrates how the “Baroque” period by Fontana was a prelude to the spatialist spirit that informed his works in the 1950s: a path that from a “Winged Victory” from 1937 leads to a “Spatial Concept” in ceramic dated 1963.

 

Caroline Achaintre (*1969 Toulouse, lives in London) creates ceramics, tapestries and drawings hovering between abstraction and figuration, the anthropomorphic and the totemic. An oval form with two holes evokes a mask or a face with a specific character. Her ceramics are often composed of thin, apparently soft and supple layers, with shiny and at times etched surfaces – abstract, but suggesting characters, limbs or other parts of the body. Sensitive to the imagery and formal languages of the post-modern contemporary society, Achaintre’s works mix modernist taste with the primitive, the exotic with artisanal practice, fetishism with folk traditions, the carnivalesque with symbolic ritual. The objects, combined in a disorienting and complex layering of references, stimuli and languages, create an unusual dialectic between identity and otherness.

 

In the paintings by Ivan Seal (*1973 Stockport UK, lives in Berlin) the pictorial matter condenses into forms that look abstract at first glance, but also seem to have a three dimensional presence in space, from which ceramic or porcelain shapes and figures seem to emerge. It is as if the entire representation of the world could pass through this other artistic form. His painting creates ceramics almost spontaneously, taken from the memories and imagination of the artist, as in the playful and aleatory practice of musical improvisation. In certain paintings the brushstrokes generate an extraordinary sense of movement, while in others they create a sculptural effect, offering glimpses of luminous reflections in the vitreous glaze of the porcelain.

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Kienholz "Five Car Stud"
curated by Germano Celant

19 May – 31 December
Mon / Wed / Thu, 10 am-7 pm
Fri / Sat / Sun, 10 am-9 pm

Opening 19 May from 7pm to 9pm

Largo Isarco 2, 20139

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The exhibition brings together a selection of artworks by Edward Kienholz and Nancy Reddin Kienholz, including the well-known installation that gives the show its title.

Five Car Stud was created by Edward Kienholz from 1969 to 1972, and first exhibited at documenta 5 in Kassel, curated by Harald Szeemann. A life-sized reproduction of a scene of racial violence, Five Car Stud is considered one of the American artist’s most significant works. Despite the controversy and attention that it earned from critics right from its debut, the piece remained hidden from view in the storage of a Japanese collector for almost forty years. The artwork was only presented once again to the viewing public in 2011 and 2012 following restoration, first at the Los Angeles County Museum of Art and then at the Louisiana Museum of Modern Art in Denmark. Today the artwork is part of the Prada Collection, and is being shown for the first time ever in Italy as part of this exhibition, where it forms the central nucleus of an exhibition path that runs from the Sud gallery to the Deposito, and extends into an external space, presenting 25 artworks including sculpture, assemblages and tableaux realized by the Kienholzes from 1959 to 1994, as well as documentation material on the history and making of Five Car Stud.

Defined by Kienholz as the representation of the “burden of being an American,” Five Car Stud recreates a dark, isolated environment, illuminated merely by the headlights of four automobiles and a pickup truck. At the center of the scene lies an African-American, knocked to the ground and surrounded by five white men wearing Halloween masks. The aggressors hold him, grabbing his arms and legs, while one of them prepares to castrate him. There is also a sixth masked man holding a shotgun in vigil, while a white woman who had been on a date with the victim is now forced to watch, shocked and powerless, as the white attackers inflict their punishment. A frightened boy, the young son of one of the perpetrators, also witnesses the scene from the passenger seat of his father’s car. The black figure has a double face: an internal face in wax expressing sadness and resignation, and a transparent external face that displays a monstrous grimace of terror and rage. The torso, however, is built out of an oil pan inside of which six letters float, which might form the word “nigger.”

Five Car Stud catapults the viewer into a nightmarish situation, immersing him and her in a dimension – either removed or forgotten– of extreme violence. More than forty years after it was first created, the artwork’s expressive force, its powerful symbolic charge and the lucidity of the accusation against racial persecution retain their original strength.

Theaster Gates
“True Value”

07 July – 25 September
Mon / Wed / Thu, 10 am-7 pm
Fri / Sat / Sun, 10 am-9 pm

Opening 06 July 7-9 pm by invitation

Largo Isarco 2, 20139

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Fondazione Prada will present the exhibitions “True Value” and “T.T.T.-Template Temples of Tenacity” from 7 July to 25 September 2016 by Theaster Gates and Nástio Mosquito respectively. The press preview will be held from 9 am to 12 pm on Wednesday 6 July. Conceived by Elvira Dyangani Ose as independent projects, the two exhibitions will include installations, site-specific works and projections, as well as collective experiences and musical events that will actively involve the public. “True Value” —the first exhibition by Theaster Gates (Chicago, 1973) in Milan— will bring together a selection of existing works and new commissions in two different spaces at Fondazione Prada. The Cisterna will feature works in which the artist explores habitual, everyday things, immersed in the most evocative Black aesthetics. Gates operates on the conviction that everyday objects convey a deep understanding, not only intrinsic to their material aspect, but reminiscent of the experiences in which they have been immersed. In that sense, discarded materials involving collective memories constitute the catalyst for a political and aesthetic reflection on cultural renewal and social activism. Fire hoses used against demonstrators during the US Civil Rights movements in the 1960s or gym floors from dozens high schools closed and fallen into oblivion, swept under an unbeatable neoliberal economic agenda, turned into artworks in which formalism is not just a mere visual factor. This transformative ethos, from which a symbolic universal value emanates, is key in Gates’s practice. These everyday objects, together with other items and elements referencing more ritualistic and spiritual experiences, shape the proposal offered to the public in the Cisterna. On the first floor of the Podium, Gates will host True Value (2016) —the installation after which the exhibition is named— which presents his rendition of an abandoned hardware store. True Value (2016) gathered materials, objects and tools removed from their original context and relocated in an art environment, deploying a framework to formulate a poetic and pragmatic space around objects of trade and human relationships those economic and labour exchanges create. The exhibition is a further opportunity to explore certain nearby cultural and commercial entities, observing local stories, socio-political patterns, and economically and culturally under-explored communities in the hope of setting in motion a new cartography through which to visit and engage an overlooked Milan. Prompting a series of exchanges that will take place in the exhibition space by means of public debates and readings, and community gathering. Lastly, in a space in the likes of an artist’s studio or craftsman’s workshop, artworks created throughout the duration of the show will be on display. Gates’s practice embraces a wide range of disciplines and a variety of artistic vocabularies – sculpture, painting, installation art, music and performance – as well as urban development and social practice. Starting on the South Side of Chicago, St Louis and Omaha where his first initiatives on art and social activism took place, Gates has subsequently advised individuals and organizations in other US cities (Detroit, Akron, and Gary, to name just a few) on how to conceive and carry out initiatives aiming to regenerate deprived urban areas by merging pragmatism and creativity, urban planning and “artistic gestures”. Internationally, Gates has also reflected on the capacity of art to renew traditions, upraise connectivity among communities or set up dialogues and exchange cultural heritage among cities through his projects, such as those in Istanbul, Bristol or Kassel. Some of his propositions have generated solid institutions, such as the Rebuild Foundation. Gates holds a chair at the Department of Visual Arts at Chicago University where he supervises the Arts and Public Life program. As Elvira Dyangani Ose says, “If there is a particular ethos that has characterized Theaster Gates’s work in recent years, it is the formulation of the unimaginable as a common cause. It would be a misconception to believe that his attention to urban regeneration, social practice and blackness engages only the communities that his projects affect immediately. Instead, Gates’s immaterial gestures – as much as the objects he produces and the experiences he generates – are essentially a ‘call to arms’, raising awareness of the need for what American theorist and poet Fred Moten calls the ‘coalition’, or the recognition that what affects those communities subsequently affects the rest of us too; the acceptance that we are all in this together”. Multifaceted artist Nástio Mosquito (Luanda, Angola, 1981) soon left behind his training as a television cameraman and film director to embrace an artistic practice that brings together music, video, installations and performance in unmistakably personal ways. Internationally acclaimed for his irreverent and provocative performances, Mosquito, more often than not, has adopted the role of an unpredictable showman, comprising the characters of a presenter, singer, actor and theatrical producer. Mosquito’s practice revolves around the theme of cultural inheritance, which, as a fusion of the past, present and future, runs counter to more static and limiting concepts like, tradition, identity and their futurity. Intrigued by the potential and specificities of different verbal, musical and visual forms of language, the artist creates engaging public performances in which politics and entertainment become complementary aspects in a unitary artistic program. His voice and his body, often at the center of his multimedia propositions, are, on the occasion of his project at Fondazione Prada, powerfully absent. This is a clear aesthetic twist in the work of an artist that has reached a solid mature stage in his career. “T.T.T.- Template Temples of Tenacity” represents Mosquito’s immersion in a collective idea of total art, inviting collaborators and audience to take part in a unique sensorial experience. “T.T.T.-Template Temples of Tenacity” will feature three entirely new works by Mosquito and will take place on the ground floor of the Podium, the Cinema and the outside spaces of Fondazione Prada. The project comprises three distinctive elements for which Mosquito has collaborated with a group of international artists. WEorNOT (Nastivicious’ Temple #1) (2016) is a site-specific installation featured on the ground floor of the Podium, conceived and realized by Nastivicious —the collective that Mosquito and Spanish artist Vic Pereiró founded in 2008— in collaboration with illustrator Ada Diez. Through this collaboration, the Podium is transformed into a contemporary temple, a platform for collective communion, in which the glass surface of the façades is covered by a large-scale caricature-like stained glass windows. A satirical reflection on the contemporary social and political panorama, WEorNOT(Nastivicious’ Temple #1) (2016) encourages the viewers to challenge their own convictions and to immerse themselves in a reflective experience. In a quest exploring language’s potential for transformation, visitors will be presented with a series of mottoes collected in a book that Nastivicious has compiled as a critical and humorous misrepresentation of set phrases, proverbs and popular adages. Mosquito has collaborated with musician Dijf Sanders and choir The Golden Guys for the production of I MAKE LOVE TO YOU. YOU MAKE LOVE TO ME. LET LOVE HAVE SEX WITH THE BOTH OF US. (PART 1- THE GREGORIAN GOSPEL VOMIT) (2016). This performative experience will be held in the open courtyard of Fondazione Prada and will involve two choirs, each consisting of fifteen singers, that will approach one another creating a physical and sound fusion with unexpected outcomes. The first two performances will take place on Thursday 7 and Friday 8 July 2016. Mosquito will also present SYNCHRONICITY IS MY BITCH: THE CINEMATIC EXPERIENCE (2016), to be hosted in September at Fondazione Prada. Perhaps his most personal work since Nástia’s Manifesto (2008), it is an audiovisual work assembling the artist’s latest album, Gatuno, Eimigrante & Pai de Família (2016), with a number of visual and filmic references extracted from a series of African films, documentaries and forms of vernacular television from the past twenty years. The project draws inspiration from the multiple imaginaries around love —in all its possible meanings— as absorbed by Mosquito, who calls himself “a child of the Cold War”, referencing his teenage years growing in the mist of Angola’s Civil War (1975 – 2002). Reflections on human relationships, affection and alienation, as observed in different social and political settings, merge here with the sounds and waves of Mosquito’s music. Screened in loop, the work will play in an informal and shared environment to create a sensorial event that goes beyond the usual cinematic experience. As Elvira Dyangani Ose says, "Never before has Nástio Mosquito been so attentive to affection. Without abandoning his provocative propositions, the artist invites us to his most critical endeavor yet: entering a space and time where judgment and evaluation are suspended, where things do not necessarily need to make sense, where –if one is up to the challenge— we are encouraged to lose ourselves in our own innate sensitiveness. ‘T.T.T.-Template Temples of Tenacity’ is a collective multisensory project, in which one is exposed to transcend the limits of one’s convictions to embrace an unprecedented experience: the capacity of just being. Understanding the levels of risk, flirting with the possibility of failure, Mosquito offers us a template, a draft, a solid departure point from which to endure who we are, what we are, like never before”. “True Value” and “T.T.T.-Template Temples of Tenacity” will be accompanied by two illustrated publications in the Quaderni series, published by Fondazione Prada. They will consist of interviews and conversations with artists Theaster Gates and Nástio Mosquito, curator Elvira Dyangani Ose and scholar Henriette Gunkel.

Nástio Mosquito
“Template Temples of Tenacity”

07 July – 25 September
Mon / Wed / Thu, 10 am-7 pm
Fri / Sat / Sun, 10 am-9 pm

Opening 06 July 7-9 pm

Largo Isarco 2, 20139

View more on Artshell

Fondazione Prada will present the exhibitions “True Value” and “T.T.T.-Template Temples of Tenacity” from 7 July to 25 September 2016 by Theaster Gates and Nástio Mosquito respectively. The press preview will be held from 9 am to 12 pm on Wednesday 6 July. Conceived by Elvira Dyangani Ose as independent projects, the two exhibitions will include installations, site-specific works and projections, as well as collective experiences and musical events that will actively involve the public. “True Value” —the first exhibition by Theaster Gates (Chicago, 1973) in Milan— will bring together a selection of existing works and new commissions in two different spaces at Fondazione Prada. The Cisterna will feature works in which the artist explores habitual, everyday things, immersed in the most evocative Black aesthetics. Gates operates on the conviction that everyday objects convey a deep understanding, not only intrinsic to their material aspect, but reminiscent of the experiences in which they have been immersed. In that sense, discarded materials involving collective memories constitute the catalyst for a political and aesthetic reflection on cultural renewal and social activism. Fire hoses used against demonstrators during the US Civil Rights movements in the 1960s or gym floors from dozens high schools closed and fallen into oblivion, swept under an unbeatable neoliberal economic agenda, turned into artworks in which formalism is not just a mere visual factor. This transformative ethos, from which a symbolic universal value emanates, is key in Gates’s practice. These everyday objects, together with other items and elements referencing more ritualistic and spiritual experiences, shape the proposal offered to the public in the Cisterna. On the first floor of the Podium, Gates will host True Value (2016) —the installation after which the exhibition is named— which presents his rendition of an abandoned hardware store. True Value (2016) gathered materials, objects and tools removed from their original context and relocated in an art environment, deploying a framework to formulate a poetic and pragmatic space around objects of trade and human relationships those economic and labour exchanges create. The exhibition is a further opportunity to explore certain nearby cultural and commercial entities, observing local stories, socio-political patterns, and economically and culturally under-explored communities in the hope of setting in motion a new cartography through which to visit and engage an overlooked Milan. Prompting a series of exchanges that will take place in the exhibition space by means of public debates and readings, and community gathering. Lastly, in a space in the likes of an artist’s studio or craftsman’s workshop, artworks created throughout the duration of the show will be on display. Gates’s practice embraces a wide range of disciplines and a variety of artistic vocabularies – sculpture, painting, installation art, music and performance – as well as urban development and social practice. Starting on the South Side of Chicago, St Louis and Omaha where his first initiatives on art and social activism took place, Gates has subsequently advised individuals and organizations in other US cities (Detroit, Akron, and Gary, to name just a few) on how to conceive and carry out initiatives aiming to regenerate deprived urban areas by merging pragmatism and creativity, urban planning and “artistic gestures”. Internationally, Gates has also reflected on the capacity of art to renew traditions, upraise connectivity among communities or set up dialogues and exchange cultural heritage among cities through his projects, such as those in Istanbul, Bristol or Kassel. Some of his propositions have generated solid institutions, such as the Rebuild Foundation. Gates holds a chair at the Department of Visual Arts at Chicago University where he supervises the Arts and Public Life program. As Elvira Dyangani Ose says, “If there is a particular ethos that has characterized Theaster Gates’s work in recent years, it is the formulation of the unimaginable as a common cause. It would be a misconception to believe that his attention to urban regeneration, social practice and blackness engages only the communities that his projects affect immediately. Instead, Gates’s immaterial gestures – as much as the objects he produces and the experiences he generates – are essentially a ‘call to arms’, raising awareness of the need for what American theorist and poet Fred Moten calls the ‘coalition’, or the recognition that what affects those communities subsequently affects the rest of us too; the acceptance that we are all in this together”. Multifaceted artist Nástio Mosquito (Luanda, Angola, 1981) soon left behind his training as a television cameraman and film director to embrace an artistic practice that brings together music, video, installations and performance in unmistakably personal ways. Internationally acclaimed for his irreverent and provocative performances, Mosquito, more often than not, has adopted the role of an unpredictable showman, comprising the characters of a presenter, singer, actor and theatrical producer. Mosquito’s practice revolves around the theme of cultural inheritance, which, as a fusion of the past, present and future, runs counter to more static and limiting concepts like, tradition, identity and their futurity. Intrigued by the potential and specificities of different verbal, musical and visual forms of language, the artist creates engaging public performances in which politics and entertainment become complementary aspects in a unitary artistic program. His voice and his body, often at the center of his multimedia propositions, are, on the occasion of his project at Fondazione Prada, powerfully absent. This is a clear aesthetic twist in the work of an artist that has reached a solid mature stage in his career. “T.T.T.- Template Temples of Tenacity” represents Mosquito’s immersion in a collective idea of total art, inviting collaborators and audience to take part in a unique sensorial experience. “T.T.T.-Template Temples of Tenacity” will feature three entirely new works by Mosquito and will take place on the ground floor of the Podium, the Cinema and the outside spaces of Fondazione Prada. The project comprises three distinctive elements for which Mosquito has collaborated with a group of international artists. WEorNOT (Nastivicious’ Temple #1) (2016) is a site-specific installation featured on the ground floor of the Podium, conceived and realized by Nastivicious —the collective that Mosquito and Spanish artist Vic Pereiró founded in 2008— in collaboration with illustrator Ada Diez. Through this collaboration, the Podium is transformed into a contemporary temple, a platform for collective communion, in which the glass surface of the façades is covered by a large-scale caricature-like stained glass windows. A satirical reflection on the contemporary social and political panorama, WEorNOT(Nastivicious’ Temple #1) (2016) encourages the viewers to challenge their own convictions and to immerse themselves in a reflective experience. In a quest exploring language’s potential for transformation, visitors will be presented with a series of mottoes collected in a book that Nastivicious has compiled as a critical and humorous misrepresentation of set phrases, proverbs and popular adages. Mosquito has collaborated with musician Dijf Sanders and choir The Golden Guys for the production of I MAKE LOVE TO YOU. YOU MAKE LOVE TO ME. LET LOVE HAVE SEX WITH THE BOTH OF US. (PART 1- THE GREGORIAN GOSPEL VOMIT) (2016). This performative experience will be held in the open courtyard of Fondazione Prada and will involve two choirs, each consisting of fifteen singers, that will approach one another creating a physical and sound fusion with unexpected outcomes. The first two performances will take place on Thursday 7 and Friday 8 July 2016. Mosquito will also present SYNCHRONICITY IS MY BITCH: THE CINEMATIC EXPERIENCE (2016), to be hosted in September at Fondazione Prada. Perhaps his most personal work since Nástia’s Manifesto (2008), it is an audiovisual work assembling the artist’s latest album, Gatuno, Eimigrante & Pai de Família (2016), with a number of visual and filmic references extracted from a series of African films, documentaries and forms of vernacular television from the past twenty years. The project draws inspiration from the multiple imaginaries around love —in all its possible meanings— as absorbed by Mosquito, who calls himself “a child of the Cold War”, referencing his teenage years growing in the mist of Angola’s Civil War (1975 – 2002). Reflections on human relationships, affection and alienation, as observed in different social and political settings, merge here with the sounds and waves of Mosquito’s music. Screened in loop, the work will play in an informal and shared environment to create a sensorial event that goes beyond the usual cinematic experience. As Elvira Dyangani Ose says, "Never before has Nástio Mosquito been so attentive to affection. Without abandoning his provocative propositions, the artist invites us to his most critical endeavor yet: entering a space and time where judgment and evaluation are suspended, where things do not necessarily need to make sense, where –if one is up to the challenge— we are encouraged to lose ourselves in our own innate sensitiveness. ‘T.T.T.-Template Temples of Tenacity’ is a collective multisensory project, in which one is exposed to transcend the limits of one’s convictions to embrace an unprecedented experience: the capacity of just being. Understanding the levels of risk, flirting with the possibility of failure, Mosquito offers us a template, a draft, a solid departure point from which to endure who we are, what we are, like never before”. “True Value” and “T.T.T.-Template Temples of Tenacity” will be accompanied by two illustrated publications in the Quaderni series, published by Fondazione Prada. They will consist of interviews and conversations with artists Theaster Gates and Nástio Mosquito, curator Elvira Dyangani Ose and scholar Henriette Gunkel.

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Franco Vimercati

25 May – 09 September
Tuesday – Saturday
10 am-7.30 pm (closed 1-3 pm)

Opening 25 May 7-9 pm

Via A. Stradella 1, 4, 7, 20129

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Fifteen years after the artist's death and following two recent presentations in public institutions such as the Staatliche Kunstsammlungen Dresden (2014) and Palazzo Fortuny in Venice (2012), the exhibition takes place in all three gallery spaces, bringing together three significant moments of the photographer’s work, whose personal research is substantial for the history of Italian photography of the late 20th century.
Born in 1940, Franco Vimercati was a meticulous and essential photographer, an interpreter of stillness and the repetitive nature of reality. His interest has always been directed towards images that – despite being apparently simple – open up a research on photography that originates from elements taken from reality. His approach is characterised by the delicacy of his language, that talks about the intricacy of existing and his favourite subjects are the ones belonging to every-day life, common objects that start a wide consideration on vision and the photographic gesture. Vimercati was sensitive to the new artistic discoveries and along the years he has been compared to artists linked to minimalism – such as Ad Reinhardt, Robert Ryman, Agnes Martin – and conceptual art, as Giulio Paolini. Ugo Mulas and Luigi Ghirri were important references, too.

In via Stradella 4 are displayed works from his first photographic series, realised in 1973 and titled Sulle Langhe. The series consists of black and white shots depicting the inhabitants of a village in the Piedmont countryside, where Vimercati used to spend his summer holidays. The portraits reveal the intention to classify trades, in the wake of the great project of cataloguing the human types by August Sander. From these early works, it is possible to trace how Vimercati was interested in repetition and in exploring the language of photography (rather than in the subject), and its conceptual approach. These features will become distinctive marks of his consecutive production. These works are precious and rare, not only for having been exposed in very few circumstances, but also because after this first experience Vimercati isolated the camera within his home environment.

The space in via Stradella 7 is dedicated to the core of the artist’s production: the ciclo della zuppiera. The zuppiera (tureen) is a small found object that has interested the artist over a period of almost ten years, between 1983 and 1992. The photographs realised during this decade represent the same tureen, that appears changeable because of variations in focusing, framing and use of light, opening a fascinating research on photography starting from a small object which becomes the subject of 99 shots, at first organised in groups of 6 and later as individual images. It is no longer the series to be potentially endless, but the never-ending possibilities of representation. The object becomes for Vimercati a sign of experimentation and acquires an almost ritual significance. "This is a reduction needed to highlight the differences - the theme of my whole work - that each photograph shows when it is compared to the others."

In via Stradella 1 is shown a significant series from the '90s, the capovolte, photographs that depict capsized everyday objects, as they are captured by the photographic eye. After the first shots, Vimercati’s approach becomes even more radical, leaving the image blurred or impressing it through the use of a pinhole camera. This was the expression of a further radicalization of the photographer’s objectivity: he did not intervene in the photographic process anymore to straighten or regulate the focus of the image in order to make the subject more readable, but he rather lets that the photograph “become” and “shoot out” autonomously.

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“Outrageous Acts and Everyday Rebellions”
group show

08 June – 10 September
Tuesday – Saturday (Monday by appointment)
11 am-7.30 pm

Opening 07 June from 7pm

Via di Porta Tenaglia 7, 20121

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kaufmann repetto is pleased to announce Outrageous Acts and Everyday Rebellions, a group exhibition featuring works by Judith Bernstein, Marc Camille Chaimowicz, Leidy Churchman, VALIE EXPORT, Guerrilla Girls, Ele D’Artagnan, Anthea Hamilton, Lena Henke, Sanya Kantarovsky, Lee Lozano, Margherita Manzelli, Carol Rama and Anicka Yi.

The exhibition is the second chapter of an ongoing series of exhibitions commenced in 2013 with the group show entitled Revolution from Within. This series intends to bring a deliberate attention to an inclusive approach to femininity and an awareness to gender related issues within the art world and beyond; topics that have been fundamental in the gallery’s navigation since its establishment in 2000.

In her last novel, The Blazing World, Siri Hustvedt recounts the vicissitudes of a female artist who creates a series of male artist alter-egos to demonstrate that “All intellectual and artistic endeavors, even jokes, ironies and parodies, fare better in the mind of the crowd when the crowd knows that somewhere behind the great work or the great spoof it can locate a cock and a pair of balls.” The exhibition extends a dialogue exploring womanhood and femininity within the art world, developing this investigation through an all-encompassing approach to the natural coalescing and cross over of what has been conventionally designated as “masculine” or “feminine” in artistic practice. How do we perceive the feminine context of art making through the prescribed mask of institutional misogyny? Who determines a hierarchy between “macho” and “feminine”? How do gender and femininity overlap and interact, and how does this relation shift our perception of an artwork? Outrageous Acts and Everyday Rebellions, titled after Gloria Steinem’s feminist classic, will transgress the inherent meshing of vulnerability and rebellion as simultaneous catalysts of revolution. It will explore the taboos – “kindness”, “ornamentalism”, “sensuality”, “voluptuousness”, ”disobedience” – the oppositions, the extremes, and the in-betweens of feminine identity.

The exhibition, opening on June 7th, will develop both as a group show and a platform of multimedia contents. In addition to the works on view within the gallery, it will feature a selection of extra content including podcasts, photo stories, and links to several initiatives and organizations, in order to expand the exhibition beyond the gallery space and to involve assorted activist groups that operate in connection to the art world.

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Nicolás Lamas
"The structure of the wild"

30 June – 10 September
Tuesday – Saturday
11 am-7pm (close 1-2.30 pm)

Opening 30 June from 7pm to 9pm

Via C. Farini 32, 20159

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Nicolás Lamas' work constantly revolves around the interaction between things, where they coexist and create other kind of associations, exchanges and potential combinations without established rules. 

His artistic research can be seen as a series of speculative exercises where everything is part of a cyclical process of transmission of information and energy. It is important to think of Lamas' practice as the result of a production process in constant flux; where intuition, chance, play and physics determine his connection with objects and images within specific contexts. 

Through different methodologies of research and production, several ideas take specific states and forms in each project. This generates a heterogeneous and changing body of work with multiple layers of reference and meaning. Lamas develops a meticulous network which ultimately enables the ‘system’ to find its own balance within imbalance.

I’m obsessed by the relativity of things and by how everything seems to foster relationships according to different parameters, which usually cannot be perceived. I constantly think about how a dynamic chain of cause and effect permeates all aspects of reality. I am interested in the potentiality of things, this latent state where an object can be anything and loses its essence, its meaning, its value. In the symbolic, psychological, cultural, or economic value assigned to specific objects, and in how these values are relative to their state of transformation.

How do we think and interact with these objects we constantly perceive and believe we know? How knowledge, faith, or superstition, determine the degree of respect and empathy towards certain things? What happens when an object loses the form which determines what it is? However, it is not always enough to change the formal structure of an object in order to acquire another relationship with the world, but it is funny how often and how naturally we use objects for various purposes different from those they’ve been created for.

Excerpts from a dialogue between artist Laura Buttons and Nicolás Lamas

"Life Eraser"
Cornelia Baltes, Rachel De Joode, Jennie Jieun Lee, Anne Neukamp, Ruth Root, Shinique Smith

30 June – 10 September
Tuesday – Saturday
11 am-7pm (close 1-2.30 pm)

Opening 30 June from 7pm to 9pm

Via C. Farini 32, 20159

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The theory concerning the Manipulation of Corporeality is strictly connected to historical and social changes that include a metamorphosis of aesthetic and verbal codes as a starting point for a deeper investigation about the subject. Corporeality affirms itself as a research field for every kind of transformation.

In the Nineties, thanks to research in new technologies, we observed a long process in which the body was remoulded. These new body shapes were connected to developments in biotechnology and bio-politics. In the process we also attended to a modification and a loss of human values.

The self-perception of one’s body acquired a new refined and “digital” outlook. This new altered sensitivity is a new kind of aesthetic perception of contemporary change.

We are still in the process of shaping the dynamics of our identity. The conjunction between the lived-in body and the represented body will allow us to metaphorically define the contemporary body redesigned by genetic engineering.

 

Domenico de Chirico

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