|Galleries & Museums||Address||Show||End|
|14||Marsèlleria||Via Paullo 12/A / Via privata Rezia 2||Paola Angelini||on show||28 Oct|
|Luca Trevisani||26 Oct 2016||25 Nov|
|4||Fondazione Carriero||Via Cino del Duca, 4||"Fasi Lunari"||26 Oct 2016||04 Feb|
|12||Lisson Gallery||Via B. Zenale 3||"Five / Fifty / Five Hundred”||on show||28 Oct|
|Wael Shawky||08 Nov 2016||07 Jan|
|21||Galleria Lia Rumma||Via Stilicone 19||Reinhard Mucha||24 Nov 2016||22 Dec|
|19||Pirelli HangarBicocca||Via Chiese 2||Osgemeos||on show||23 Apr|
|Kishio Suga “Situations”||on show||29 Jan|
|Laure Prouvost||on show||09 Apr|
|20||Fondazione Prada||Largo Isarco 2||Kienholz "Five Car Stud"||on show||31 Dec|
|Betye Saar||on show||08 Jan|
|William N. Copley||on show||08 Jan|
|Slight Agitation 1/4: Tobias Putrih||on show||22 Jan|
|13||Gió Marconi||Via A. Tadino 20||Fredrik Værslev||on show||29 Oct|
|3||Cardi Gallery||Corso di Porta Nuova 38||Mimmo Rotella||on show||22 Dec|
|7||Massimo De Carlo||Via G. Ventura 5 / Palazzo Belgioioso, Piazza Belgioioso 2||Urs Fischer||on show||17 Dec|
|17||Francesca Minini||Via Massimiano 25||Matthias Bitzer||on show||15 Nov|
|5||Galleria Raffaella Cortese||Via A. Stradella 1, 4, 7||Helen Mirra, Allyson Strafella||on show||26 Nov|
|11||kaufmann repetto||Via di Porta Tenaglia 7||Sadie Benning||on show||05 Nov|
|2||Brand New Gallery||Via C. Farini 32||Deborah Kass||on show||12 Nov|
|Paul Anthony Smith||on show||12 Nov|
|6||Monica De Cardenas||Via F. Viganò 4||Alex Katz||on show||12 Nov|
|9||Fanta Spazio||Via Merano 21||Roberto Fassone||on show||20 Nov|
|23||La Triennale||Viale E. Alemagna 6||Marc Camille Chaimowicz. Maybe Metafisica||on show||08 Jan|
|15||Mega||Piazza Vetra 21||Nathalie Du Pasquier||on show||12 Nov|
|10||Istituto Svizzero||Via del Vecchio Politecnico 3||-||-||-|
|16||miart||Viale L. Scarampo||-||-||-|
|25||ZERO...||Viale Premuda 46||-||-||-|
|24||Fondazione Nicola Trussardi||Piazza E. Duse 4||-||-||-|
|22||Tile Project Space||Via Garian 64||-||-||-|
|1||Armada||Via Privata Don Bartolomeo Grazioli 73||-||-||-|
|Galleries & Museums|
Via privata Rezia 2 - Milan - 20135 Italy ,Open map
Via Paullo 12/A - Milan - 20135 Italy ,Open map
Via Ventura 5 e Palazzo Belgioioso, Piazza Belgioioso 2 - Milano Italy ,Open map
The exhibition features a selection of large and small paintings, created during a residency at NDK (Nordisk Kunstnarsenter Dale), on the Norwegian fjords.
The series takes its cue from another work produced during the residency, La storia raccontata da mio padre. In the canvas the different stages of a story - shared in a private setting – coexist on the same plane in a coherent pictorial style.
Conversely, the canvases from the series What is orange? Why, an Orange, Just an Orange!, only leave room for the objects represented. The new paintings thus become still lifes or compositions, in which La storia raccontata da mio padre lingers on the background. They leave aside every committment to narrative representation and, by selecting and deleting single elements, they let the subjects emerge with levity. Far from being a symptom of carelessness, this process appears as the only possible approach to continue a research consisting of marks, drawings, matter on canvas.
The common trait in the series is the colour orange – but it could have been blue or pink – that creates the necessary suspension to extend this exercise of removal.
The exhibition brings together a group of recent works and welcomes, in an evolution of the display, Trevisani’s latest film Sudan.
The film will be integrated into the exhibition starting from November 23rd, after the European première on the occasion of the “Lo Schermo dell’Arte” festival (Florence, November 16th – Novembre 20th).
The artist’s project for Marsèlleria is a constellation of two and three-dimensional sculptures unravelling across the floors of the exhibition space.
The works on show propose an investigation on landscape and on those visual constructions through which we give form to the world. This shows through when Trevisani applies phytomorphic patterns - created by XXth century idealists - on dry leaves or when, on the contrary, he applies photographic scans of old herbaria onto pieces of clothing.
Sudan is a “true test” for the artist. The film is the result of a trip organised to pay homage to the last exemplary of an endangered species and to interprete it through the languages of art.
Sudan is the last male specimen of white rhino in North Africa. It lives in Kenya, watched over 24/7 by militaries protecting it from poachers.
“The film is the portrait of a body that is a real living monument, rare and precious like a unicorn” says Trevisani. “If in European culture rhinos have always signified an encounter with the exotic, with strangers, with the Other, Sudan is the result of a millenary exercise of zoo-technique, the culmination of a struggle between ideas of nature and culture. I wanted to interview its body, the space where these notions are defined, where one starts and the other ends”.
Sudan is produced by Lo Schermo dell’Arte Film Festival in association with Marsèll and 999 Films.
The exhibition "Fasi lunari" gathers together the works of the artist Albert Oehlen (Krefeld, 1954) and six young artists, of his former students: Peppi Bottrop, Andreas Breunig, Max Frintrop, Fabian Ginsberg, Yuji Nagai, and David Ostrowski. It is curated by Francesco Stocchi with Albert Oehlen himself.
By presenting around thirty works, this exhibition intends to explore the distinguishing features of this German artist’s influence, overlapping it with the works of his former students.
The show is an overview exclusively devoted to painting, unfolding almost like the story of an intense creative exchange born at the Kunstakademie in Du?sseldorf, where the artist taught from 2000 to 2009. Oehlen has followed his students over the years, even beyond his role as their professor. He has continued to support them in their growth as artists and has befriended them even after their art academy days.
The title Fasi lunari (Lunar Phases) narrates the constant unfolding of the exhibition, a growing intensity by comparing the works, thanks also to the installation and a critical interpretation of the venue.
For the first time, the artist and his students come together to give life to a creative comparison in a non- hierarchical exhibition that treats the work of Oehlen and the young artists on equal footing, thereby rendering the creative energy typical of an exchange like this, but without any paternal connotation.
Fasi lunari stages a kind of fairy tale, the outcome and surpassing of the follower-master, student-teacher relationship. The itinerary guides visitors along a two-fold exploration: on the one hand, there is the work of one of Germany’s most acclaimed contemporary artists who challenges his own characteristic style, while on the other hand, there are the works of his students who, as a whole, give life to an exchange between the outcome of their studies and the art of their teacher.
A desire to undermine all expectations has always inspired Oehlen to change his work by constantly investigating painting and its expressive potentials. His previous certainties, which he views as dangerous pitfalls, are—for Oehlen—to be eliminated. His incessantly evolving works question the sense of contemporary painting while striving to go beyond all limits.
His research as an artist has been consistently accompanied by the willingness to challenge himself through a series of self-imposed rules—limits on structure and color or a deliberate slow-down in his work pace— aimed at stimulating his talent while guiding him towards unexpected creative solutions.
The exhibition draws inspiration from the gallery's inaugural exhibition,‘I Know About Creative Block And I Know NotTo Call It By Name’, which was curated by British conceptual artist Ryan Gander in September 2011. Re7ecting on an artist's creative process, Gander stated in the press release that it is often during the most every day moments that creativity strikes, when 'magic dust' begins to fall. ‘Five / Fifty / Five Hundred’ includes work by a number of Lisson artists who have exhibited at the Milan gallery over the past ve years, highlighting the artistic residue they have left behind and their ability to perpetually inspire.
Artists and their legacies will be honoured next year when Lisson Gallery celebrates its ftieth anniversary in London. Lisson Gallery is one of the longest-running international art
galleries in the world and has been responsible for introducing important art movements, such as Conceptual Art and Minimalism, and numerous international artists to European audiences. Since the 1960s, the gallery has been at the forefront of developments in contemporary art and has shown work by some of the world’s most innovative artists.With exhibition spaces in London and Milan, along with its new outpost in New York, the gallery continues to support international artists who push the conceptual and disciplinary boundaries in which they work.
‘Five / Fifty / Five Hundred’ also references the creative energy surrounding Lisson Gallery Milan in the context of Casa degli Atellani and the vineyard of Leonardo da Vinci, which shares its garden with the gallery. In 2015, after a decade of research and nearly 500 years after Leonardo’s death, the Renaissance master’s original vineyard has been recreated using the exact type of vine grown in the 1500s at the bottom of Casa degli Attelani’s garden. Opposite the house and garden is the church of Santa Maria della Grazie, which features the work by another great Italian artist of the 15th century, Donato Bramante. Bramante transformed the church into a unique, harmonic blend of Gothic and Renaissance styles that set the background for da Vinci’s iconic painting The Last Supper, for which he received the vineyard from Ludovico il Moro, the Duke of Milan, as payment.
A highlight of ‘Five / Fifty / Five Hundred’ includes a large-scale, wooden structure by Ai Weiwei assembled in the shape of an icosahedron – a form rst illustrated by Leonardo da Vinci for the mathematician Luca Pacioli’s 1509 treaty The Divine Proportion. Wow! (2013), a neon installation by Christian Jankowski, curator of the 11th edition of Manifesta, will also feature in the exhibition.The work is part of a larger series that translates entries from visitor books to Jankowski’s exhibitions into neon. Other participating artists include Angela de la Cruz, Spencer Finch, Ryan Gander, Douglas Gordon, Shirazeh Houshiary, John Latham, Richard Long, Haroon Mirza, Julian Opie and Florian Pumhosl.
For his first solo exhibition at Lisson Gallery Milan, Wael Shawky brings together a selection of drawings produced during the creation of his two critically acclaimed film trilogies: Cabaret Crusades (2010–2015) and Al Araba Al Madfuna (2012– 2016). These works, in which the former recalls accounts of the Crusades from an Arab perspective and the latter tells the personal stories of the artist intertwined with Mohamed Mostagrab’s Dairout al Sharif, will be on show respectively at Castello di Rivoli and Fondazione Merz in Turin, Italy from 3 November 2016 until 5 February 2017.
Shawky’s work spans video, performance, installation and drawing, all of which are connected through an ongoing investigation into how multiple accounts of history have been conceived and recorded. A natural storyteller, Shawky takes historiographical and literary references as starting points for his concentrated narratives, in which he interweaves myths, facts and fiction. According to Shawky: “History and theatre are caught up in each other... The cabaret is a stage for history, as a performance.”
Drawing is a fundamental aspect of Shawky’s practice as it acts as a vehicle for storytelling, where fictions can become realities. The 20 drawings on display at Lisson Gallery Milan share insights into Shawky’s creative process when creating Cabaret Crusades and Al Araba Al Madfuna. The drawings, delicately rendered in graphite, pigments, ink and oil, contain fantastical depictions of figures that exist only in the artist’s imagination, poetically staged in theatrical settings that echo the adventures of his films. With translucent tones and hints of metallic hues, the works are marked by a reflective stance towards their medium, subject matter and materiality.
Works on paper will be exhibited next to a historical map of the Orient. Notable landmarks of ancient cities, based on maps from the 14th century, have been etched on freestanding pieces of glass and reflected in a mirror of the same size. This work, which resonates with the scenography of Cabaret Crusades II, was recently shown alongside three other maps at Kunsthaus Bregenz in Austria from 16 July until 23 October 2016. Shawky has most recently been nominated for the Hugo Boss Prize, which will be announced on 20 October in New York. He is currently undertaking a residency at MATHAF, in partnership with the Fire Station, in Doha, Qatar, where he is conducting research for his first feature-length film on the history of the Persian Gulf. Filming for the project will begin in 2018.
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.
For the first time in the career of this pivotal figure in contemporary Japanese art, over twenty of his installations, dating from 1969 to the present, will be shown together in a single exhibition space. The exhibition is part of events celebrating the 150th anniversary of relations between Japan and Italy.
Suga was among the prime movers of Mono-ha, a current that enriched the contemporary art scene from the late 1960s on. In 1978, he was chosen to represent Japan at the Venice Biennale, introducing the West to an artistic language in which the investigation of materials and space is rooted in a deep affinity to nature and the environment.
“Situations” brings together a series of pieces the artist has adapted to the industrial architecture of Pirelli HangarBicocca. Forging an intense relationship with the vast spaces of the Navate, it unfolds along a single path that balances lightness and gravity, linearity and tension, solidity and intangibility. In keeping with his practice, Suga’s works are presented here as temporary projects which exist for the duration of the show, site-specific in both a spatial and temporal sense.
The exhibition highlights the common threads and experimental nature of the artist’s oeuvre, presenting a landscape of organic and industrial elements—iron, zinc, wood, stone, and paraffin—materials which he often finds on site. At Pirelli HangarBicocca, the pieces therefore take on new qualities and characteristics that differ from previous versions.
“I constructed installation pieces, a format that has become quite common today, inside galleries. I bring a variety of things into the gallery, arranging them and giving them structure so that they occupy the entire space. The installations are never permanent and can be quickly disassembled or demolished. One might say that I create temporary worlds.” (Kishio Suga, The Conditions Surrounding an Act, 2009)
The exhibition reflects on the historical importance of Suga’s paradigmatic practice— which developed in a period of intense international experimentation in the 1960s and 1970s, marked by movements like Postminimalism and Land Art in the United States and Arte Povera in Italy—while capturing the unique, contemporary nature of the artist’s thought.
In addition to the exhibition at Pirelli HangarBicocca, two other important institutions are paying homage to Kishio Suga in 2016: the Scottish National Gallery of Modern Art, Edinburgh is presenting the two-artist exhibition “Karla Black and Kishio Suga: A New Order” curated by Julie-Ann Delaney and Simon Groom (October 22, 2016 – February 19, 2017) and Dia Art Foundation is holding a solo show at Dia: Chelsea in New York City curated by Jessica Morgan and Alexis Lowry (November 5, 2016 – June 30, 2017).
After graduating from the painting department of Tama Art University in Tokyo in 1968 and working as a studio assistant for American artist Sam Francis, Kishio Suga began making and showing his work at a time of great artistic ferment in Japan. The years between 1969 and 1972 witnessed the emergence and growth of Mono-ha, a movement that also included Ko?ji Enokura, Noriyuki Haraguchi, Shingo Honda, Susumu Koshimizu, Lee Ufan, Katsushiko Narita, Nobuo Sekine, Noburu Takayama, and Katsuro Yoshida. Although the term Mono-ha literally translates as “School of Things,” the artists were neither an organized group, nor were their individual practices exclusively focused on things or objects. Their diverse work was united by the choice to use simple materials (both natural and industrially manufactured) as a means to explore the relationships between the individual, matter and surrounding space. Their works were often the result of direct, interactive actions, such as suspending, dropping, breaking and stacking. Mono-ha is therefore centered on both the material properties and the performative dimension of the artwork. These thematic and formal aspects can be seen as having a resonance with the Italian movement of Arte Povera.
A connection to Italy also emerges from the many exhibitions on Mono-ha held in this country. Over several decades, works from the movement have been featured at various Italian institutions, in shows such as “Mono-ha: La scuola delle cose” at Museo Laboratorio di Arte Contemporanea, Rome, in 1988; “Avanguardie Giapponesi degli anni 70” at Galleria Comunale d’Arte Moderna, Bologna, in 1992; “ASIANA: Contemporary Art from the Far East” at Palazzo Vendramin Calergi, Venice, in 1995; “Prima Materia” at Punta della Dogana, Venice, in 2013, and most recently, “Mono-ha” at Fondazione Mudima, Milan, in 2015.
The exhibition opens with a hanging installation, Critical Sections, reconstructed for the first time since 1984. Black and white strips of fabric, dangling from the ceiling from over twenty meters above, have been interwoven by the artist with branches found on site, and connected to zinc plates laid out on the floor below. Through a process of tension and release, the artist creates what he calls a “situation,” highlighting the existential links between the materials in the work and the space around it. Laid out along the side aisles are installations such as Continuous Existence—HB, 1977/2016, and Infinite Situation III (Door), 1970/2016, where Suga explores the relationship between the floor and walls, interior and exterior, using materials such as branches, rope and a wood beam. The artist’s practice assigns a central role to the concept of “interdependence" among different materials as a way of creating a single entity. This allows the visitor to observe the surroundings in their entirety, while perceiving the intangible spaces generated by the presence of the artworks, or “invisible” ones like the corners of rooms. Other works investigate the physical characteristics of their materials, like Parallel Strata, 1969/2016, made entirely from layered blocks of paraffin, or Soft Concrete, 1970/2016, composed of cement, gravel and sheet metal.
The Cubo space is rendered inaccessible to the public by Left-Behind Situation, 1972/2016. This work, reconstructed in its largest version to date, is made up of a single length of industrial wire stretched across two levels of the space, connecting different points on the four walls and horizontally creating diagonal intersections on which blocks of stone and wood rest in precarious balance.
Outside, visitors can contemplate Unfolding Field, 1972/2016, an installation of bamboo poles placed on structures made from cement and lightweight cables: a work that highlights the importance of open-air, natural elements in Suga’s practice.
“GDM – Grand Dad’s Visitor Center,” curated by Roberta Tenconi, is a Gesamtkunstwerk that brings together over fifteen works, including installations, videos and projections, sculptures and found objects: together, they form a personal museum dedicated to the artist’s grandfather, a place built in shifting layers, where architecture and content complete each other. The works on view include If It Was (2015), Into All That Is There (2015), We Know We Are Just Pixels (2014), Grandma’s Dream (2013), Before, Before (2013), The Wanderer (God First Hairdresser / Gossip Sequence) (2013), I Need to Take Care of My Conceptual Granddad (2010), The Artist (2010), and Monolog (2009).
Laure Prouvost’s work ranges freely between different systems of representation, alternating fiction, nonsense, and an imaginary, dreamlike world with the concrete reality of everyday life and human perceptions. Her projects combine a nai?f, bric-a-brac aesthetic with ordinary objects and maze-like installations, as well as unstable structures and an elaborate use of technology. By sharpening and engaging all of the visitor’s senses, including smell and taste, they work to broaden the imagination and stretch the boundaries of visual reality.
In her videos, Prouvost plays with the lexicon of pop music, mass culture, and internet imagery. She employs a surfeit of images, incorporates text, and uses feverish editing to alter the normal flow of the narrative, while the presence of her own voice and the direct participation of the viewer—who is pulled into the thick of it and often invited to perform actions—eliminate the conventional distance between cinematic fiction and its audience.
Recurring themes and motifs in Laure Prouvost’s work include the transformation and reversal of meanings, the adaptation of text into image, and the transposition of film into sculpture, as well as the linguistic overlaps generated by the translation of French, her mother tongue, into English, the language she has picked up over almost two decades in London.
Language is something I am constantly tackling. Coming to England definitely led to new levels of misunderstanding and miscommunication. You create your own vision of things and sometimes those visions push language further than the original meaning of words (Laure Prouvost, 2012)
“GDM – Grand Dad’s Visitor Center” is an exhibition that unfolds through disorienting spaces and paradoxical settings: a beauty parlor, mirrored walls and surfaces, tilted and angular rooms, dark and twisting corridors, an area where tea is served and a karaoke zone. The exhibition alternates light and sound, images and written words, moments of peaceful contemplation and outbursts of euphoria, in an entrancing journey that draws visitors in and demands their total engagement.
This project revolves around the story of Laure Prouvost’s grandfather, a prolific conceptual artist and close friend of famous German Dadaist Kurt Schwitters. After digging a long tunnel from his studio to Africa, he supposedly vanished into it one day for good, leaving his wife—Prouvost’s grandmother—as the sole guardian of his works. More specifically, the idea for the Visitor Center took shape in 2013 with the video installation Wantee, which includes several sculptures by this grandfather, now transformed into household objects, and shows her grandmother talking about the need to take care of them by creating this bizarre museum. The construction of the Visitor Center hints at a broader inquiry into the very meaning of museums, as places meant to preserve artworks for the future. In the video If It Was (2015) Prouvost challenges museum conventions: she imagines a place where people can dance and sing, where visitors are greeted with a warm kiss, and can do Zumba or pet the artworks. But above all, where the dark, dusty past takes on meaning in the present and future, where visitors can travel “through the tunnel of history” towards “other places.”
One of the most significant works in the show is The Wanderer (God First Hairdresser / Gossip Sequence) (2013), an installation that meticulously recreates the setting of a hair salon, which visitors can enter to watch the title video. The work is one of seven components making up The Wanderer, a project that transforms Scottish artist Rory MacBeth’s surreal translation of Franz Kafka’s Metamorphosis (made without knowing German or even using a dictionary) into images and sculptures. Prouvost’s version takes the fog of translation even further, yielding a bizarre narrative in which Gregor, the protagonist, is lost in an absurd and literally upside-down world, amid bunkers, Cold War scenarios, and his mother’s African hairdressing salon.
The theme of identity is also key to the genesis of the grandfather character, who turns up in various works on view at Pirelli HangarBicocca. He is evoked for the first time in I Need to Take Care of My Conceptual Grandad (2010)— shot in London at the studio of artist John Latham (1921-2006), for whom Prouvost worked as an assistant for several years—then in The Artist (2010), and finally in Wantee (2013) and Grandma’s Dream (2013)—this last video shot inside the grandmother’s bedroom, a fanciful, completely pink chamber that seems to invite reverie.
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.
Curated by Elvira Dyangani Ose, “Betye Saar: Uneasy Dancer” is the first exhibition of the American artist in Italy, and brings together over 80 works including installations, assemblages, collages and sculpture produced between 1966 and 2016.
“Uneasy Dancer” is an expression Betye Saar has used to define both herself and her artistic practice. In her own words, “my work moves in a creative spiral with the concepts of passage, crossroads, death and rebirth, along with the underlying elements of race and gender.” This process implies “a stream of consciousness” that explores the ritualized mysticism present in recovering personal stories and iconographies from everyday objects and images. Several key elements lie at the center of her artistic practice: an interest in the metaphysical, the representation of feminine memory, and African-American identity which, in her work, takes on takes on evocative and unusual forms. As Saar has said about her work, “It was really about evolution rather than revolution, about evolving the consciousness in another way and seeing black people as human beings instead of the caricatures or the derogatory images.”
Betye Saar’s earliest artistic memory was stimulated by the Towers of Simon Rodia in Watts, a suburb of Los Angeles she frequented with her Grandmother in the 1930’s. The construction of the Watts Towers, built over a period of 33 years, was decisive in introducing ideas of how found materials embody both the spiritual and technological. After graduating from UCLA with a degree in design, Saar initially worked as a graphic artist before dedicating herself to printmaking, drawing and collage. In the late 1960s, inspired by American Joseph Cornell, Saar’s work in mixed media became increasingly three-dimensional, ultimately taking form as assemblages by the end of the decade.
Through her confident usage of found objects, personal memorabilia and derogatory images that evoke denied or distorted narratives, Saar developed a powerful social critique that challenges racial and sexist stereotypes deeply rooted in American culture. In the 1970s, her assemblages began to grow in scale, ultimately becoming substantial installations and immersive environments that speak to an approach uniting spiritual beliefs and faiths of all kind – from the intimate and the mysterious to the universal - alongside politicized convictions.
Curator Elvira Dyangani Ose notes, “Saar’s works blur boundaries between art and life, between physical and metaphysical. Spirituality in her work, does not only resides in the works with which she addresses her concerns and her knowledge on a myriad of traditions. On the contrary, it is to be found in the artistic exercise of transforming common material in a sort of evocative new imagery, involving the viewer in reminiscent fabulations of the real.”
The exhibition includes over 150 works realized by Copley from 1948 to 1995, from international museums and collections all over the world (Museum of Modern Art, New York; Los Angeles County Museum of Art; Whitney Museum of American Art, New York; Philadelphia Museum of Art; Stedelijk Museum, Amsterdam; Sammlung Goetz, Munich; Museum Frieder Burda, Baden-Baden), and constitutes the largest retrospective ever dedicated to the American painter. For the first time ever, Italian audiences will also be given the opportunity to admire a corpus of masterpieces by Max Ernst, Rene? Magritte, Man Ray and Jean Tinguely, once part of Copley’s personal collection, today part of The Menil Collection.
The exhibition will develop on the two levels of the Podium.
The first floor features a selection of significant works by the artist in dialogue with surrealist works from Copley’s private collection, retracing the artist’s long, complex biographical and intellectual journey; a path he shared with Marcel Duchamp, Ernst, Magritte and Man Ray, among others. This selection of works is completed by an impressive collection – in part presented to visitors for the first time ever – of publications, photographs, catalogues and archive materials that were made available by the William N. Copley Estate in New York.
On the ground floor, visitors enter a structure constituted by 8 different environments, each dedicated to a specific subject or aspect of Copley’s production. One room reunites cloth and painted flags the artist realized between 1961 and 1975 on the theme of geographical and cultural membership. In several of these, for example Cold War (1962) and 1776 and All That (1976), the female figures and stylized, unsettling representations of everyday objects overlap the motifs and colors typical of British, Japanese, Spanish or Russian flags. Other artworks, like Imaginary Flag for USSR (1972) and Imaginary Flag for Great Britain (1972) are “invented” banners which, through a practice recalling surrealist collages, deal with sensitive themes such as the Cold War, political ideologies and national identity in a playful manner. Another environment is dedicated to the “unknown whore” (in ironic contraposition to the military monument of the “unknown soldier”), the figure of which, like an obsession, populated the artist’s imaginative repertoire right from the beginning of his career. This room also displays large-scale paintings created between 1965 and 1986 and connected with the installation Tomb of the Unknown Whore, presented in 1986 at the New Museum in Columbus Circle, New York. These praise sexual liberty and pay homage to the prostitute, a social category that Copley believed was victim of injustice. A series of screens dating from 1958 to 1982 are set alongside triptychs created between 1951 and 1995. These demonstrate Copley’s compositional mastery in realizing intricate spatial combinations of human figures or everyday subjects. The X-rated series – exhibited as a picture gallery – presents erotic subjects and rituals taken from adult magazines in an attempt to, in the artist’s own words, “break through the barrier of pornography into the area of joy.” The Nouns series stands at the center of another room hosting the “ridiculous images” of everyday objects set against abstract backgrounds with geometrical compositions. In another section visitors will find seven mirrors, contoured to form images, first shown in New York in 1978 as part of the exhibition “The Temptation of St. Antony”: a wallpaper hand-painted by Copley himself recreates the atmosphere of a traditional American brothel. These are followed by five paintings in which Copley reinterprets the motifs and figures of La nuit espagnole (1922) by Francis Picabia, once part of his private collection. The last environment features a selection of acrylics and oils on canvas produced between 1984 and 1989, testify to the numerous variants with which Copley, interweaving silhouettes or figures, reappropriates his own iconographic motifs: from female nudes to imagery from Mexican folklore; from nocturnal Parisian scenes to mythological visions populated by fauns, satyrs and nymphs.
From 20 October 2016, Fondazione Prada will present “Slight Agitation”, a four-part project of newly commissioned, site-specific works in sequence within the Cisterna, one of the pre- existing buildings at Fondazione Prada’s Milan venue.
Curated by the Fondazione Prada Thought Council, whose current members are Shumon Basar, Ce?dric Libert, Elvira Dyangani Ose, and Dieter Roelstraete, “Slight Agitation” will unfold in four chapters realized by the international artists Tobias Putrih (Slovenia, 1972), Pamela Rosenkranz (Switzerland, 1979), Laura Lima (Brazil, 1971) and Gelitin, the Austrian collective active since 1993.
The title of the project was inspired by the poetic expression “une le?ge?re agitation”, employed by the French historian Fernand Braudel to describe the tidal movement of the Mediterranean. This metaphor embodies the Thought Council’s starting point to present interventions by artists whose practices differ considerably in philosophical and material terms, all of them commissioned to interfere and dialogue with the spatial context of the Cisterna and to influence the viewer’s physical experience and all her or his attendant senses through their works. The immersive nature of presented works will turn the exhibition space into a political, social, playful or creative environment on rotation.
Renowned for his architectural and sculptural installations, which resemble models, prototypes and the temporary configurations of an often critical or utopic conceptual process, Tobias Putrih will realize the first intervention included in the “Slight Agitation” series, on view until 22 January 2017. Through his work, the environments within the Cisterna will take on three different configurations, which all engage with ideas of play, politics and emancipation: a theater for an ongoing brick construction, a tactile ‘blind room’ and a sculpture that turns into a labyrinth.
The ephemeral brick structure, which visitors can rearrange freely, lies at the center of the first room, recalling an ancient forum or amphitheatre. Realized in cardboard and wood, it is reminiscent of the concepts of negotiation and exchange typical of the Roman Res Publica, whilst also evoking Greek dramaturgical tradition.
The second room is almost entirely filled with a 5m high wall construction punched by cylindrical openings in which people are welcome to place their arms and experience a hidden tactile discovery. The actual elements comprised in the installation are only visible from a bridge connected to the higher level balcony accessible from outside the Cisterna building, where visitors will able to view the content of the work without touching it.
The third room contains translucent L-shaped panels that can be easily handled by a pair of visitors. People are encouraged to move them around to create smaller spaces or new configurations. Once in a while they will be placed again in their original configuration, stacked against each other in the perfect order of a pyramid.
As a whole, Putrih’s intervention embodies an inhabited game. In its individual configurations, it evokes the innocence of childhood and the surprise caused by initial discoveries made through play, subsequently building a real scale autonomous world, linked to the imaginative aspect of children’s playful adventures. Through this project, the artist explicitly echoes many historical precedents between art, architectures and experimental pedagogy: from Friedrich Fro?bel’s Kindergarten to Frank Lloyd Wright’s wooden blocks; from Vorkurs, the preparatory course for Bauhaus students conceived by Johannes Itten, to Dada and Surrealist games; from 1960s countercultures to Buckminster Fuller’s World Game.
With this new work, the artist explores the limits and possibilities of learning through play, extending the physical experience of a large-scale game into the political realm of negotiation and the awareness of collective behaviors. Instead of one-player game with predefined rules, Putrih proposes an evolutionary self-reflective set of play that engages with the audience, the curators and the artist himself, implying a collaborative interaction between all subjects involved.
The installation is also a reflection on the dogmas of contemporary organizational theory, whose objective is to build a perfect team capable of ideal results in terms of productivity and performance. Putrih claims that two specific events significantly contributed to change this state of things: the publication of “The Evolution of Cooperation” by Robert Axelrod in 1983 and the launch of Google’s Aristotle project in 2012. According to his words “Both projects shared a common conclusion, emphasizing the crucial importance of collaboration and trust over competition between team members for achieving optimal results”.
The focus of the show is on Fredrik Værslev’s terrazzo paintings.
A body of small-scale works are exhibited inside a series of wooden houses Fredrik Værslev specifically produced and painted for the show.
Fredrik Værslev – Easy to Clean and Easy to Ignore
“Every artist is linked to a mistake with which he has a particular intimacy. All art draws its origin from an exceptional fault, each work is the implementation of this original fault, from which comes a risky plenitude and new light.
(Maurice Blanchot, in The Book to Come)
The floor means civilizing the ground we walk on. Floors replace the naked ground in all its crudeness. Laying a floor means starting the construction of borders between nature and civilisation. A floor – made out of wood, concrete or plastic – signifies a place on earth.
The concept of place specificity has been used in a number of artistic strategies over the years. Around the turn of the century, curator and art historian Miwon Kwon wrote about how site-specific art was “becoming more and more ‘unhinged’ from the actuality of the site”. In a similar manner Fredrik Værslev’s terrazzo paintings mimic a process of unhinging when his paintings lift patterns that belong to floors, terrazzo floors, onto a surface that is then exposed vertically to the audience. The patterns mentally connect to floors, but are places cut loose from spatial connections. They become objects of aesthetic contemplation, but also objects that enable meditations on everything from the fluidity of space in a digitalized world to nostalgic longings for a specific type of floor.
Værslev’s terrazzo paintings have a specific genealogy. He has dealt with the often bland, but omnipresent, terrazzo floors in post-war Scandinavian staircases of multi-storey buildings. He has been looking for meaningful painterly transformations from concrete to canvas.
These floors often have a concrete grey tone spotted with a dirty white. They are both easy to clean and easy to ignore. Their characteristic pattern is achieved by mixing into the concrete a ballast of gravel. The whole is then grinded and honed until the original surface with all of its individual bumps turns into a smooth, even pattern. The three-dimensional surface becomes a kind of two-dimensional cross-section, a visual code.
The genealogy has also been expanded, to the terrazzo floors of old palazzi in Venice. In them, fine terrazzo alla veneziana, centuries old, often patterned with inlays of concrete and ballasts in various colours, seem to float and make slight waves as the unstable grounds are reflected in settlements in the pavements.
But terrazzo as a material goes further back in time than Venice and was frequently used in antiquity. In a hierarchy of floors terrazzo was – in spite of its creative possibilities and technical advantages – regarded as the ordinary, overshadowed by both mosaics and solid stone. But, as is often the case, the most common materials have an unusual potential for survival, and they resurface in both 16th century palazzi and Scandinavian modernist multi-storey dwellings.
Fredrik Værslev’s paintings are not primarily about metaphysical speculations and rituals, in spite of superficial likenesses with the works of painters like Jackson Pollock. Værslev is, in his artistic research – be it about terrazzo floors, awnings or sundecks – profoundly interested in the everyday. The everyday is his starting point. This is brought into the sphere of fine art through the simulation of patterns. He studies that which we step on or walk by, abstracts it into colours on a surface, often letting the unpainted play with the painted.
It is a sequence of architectural dialogues; with history, with materials, with places, with theories, and with viewers. Ultimately it is about unhinged experiences reconnecting to walls over and over again.
art historian and writer
If with the décollages, realized tearing posters taken directly from the street, the artist had discovered the infinite possibilities of the popular image, with the blanks (also called ‘coperture’) he set out to explore the temporal and linguistic limits of this mode of communication.
The street and the city were once again sources of inspiration for the artist that, wondering around Milan, discovered that the posters were covered up by monochrome pieces of paper when the time of their display on the city walls was over. Fascinated by the hidden message, obliterated by a quite anonymous paper, he started to create the blanks: a procedure that cancel the chaos, the disorder, the superimposition shown with the décollage covering them with a new skin made up of monochrome tissue paper revealing the infinite possibilities of colour, of transparency and of the essential act.
The majority of the blanks were created in the beginning of 1980s by sticking large monochrome – black, white and coloured – sheets of paper onto old and disused advertising hoardings. Right at the beginning of that decade Rotella left Paris and moved for good to Milan. He had a new studio and began to forge new links with the city and its streets. The ‘coperture’ were the starting-point for his subsequent research, marked by for a return to the image through an approach influenced by the graffiti language.
The blanks were shown for the first time in Milan in January 1981. Since then these works have been exhibited on very few occasions. So Cardi Gallery is trying to fill this gap and presenting to the public a little-known but crucial aspect of Mimmo Rotella’s production.
A catalogue, that is the first publication to be devoted entirely to the subject, accompanies the show and we believe it bodes well, and can be an excellent point of departure, for future studies of this series of works. The exhibition Mimmo Rotella, Blanks is part of “Mimmo Rotella 2016” an initiative linked to the tenth anniversary of the passing of Mimmo Rotella. It involves a number of galleries and institutions in Milan, witnessing the relationship between the artist and the city where he worked and lived in his last years.
The initiative is realized in collaboration with Mimmo Rotella Institute, set up in 2012 by Inna and Aghnessa Rotella with the aim of compiling the catalogue raisonné, improving understanding of the figure and the art of Mimmo Rotella and promoting his work at the national and international level. The Mimmo Rotella Institute is directed by Antonella Soldaini with the scientific support of Veronica Locatelli.
Urs Fischer - who returns to Milan following his last show at Massimo De Carlo in 2006, where he exhibited alongside his close friend Rudolf Stingel, and his successful 2005 exhibition Jet Set Lady organized by Fondazione Nicola Trussardi—will be the first artist to exhibit in Massimo De Carlo’s two spaces: at the recently inaugurated space at Palazzo Belgioioso and in the gallery’s headquarters on Via Ventura.
Shifting between the familiar and the unknown, Urs Fischer’s world is populated by sculptures, installations, paintings, and drawings that construct an infinite anthology of mutations. With wit and an often-dark sense of humour, Fischer’s work provokes and evokes, playing with archetypes through the radical transformation of materials.
From his earlier works such as the halved apple and pear joined together with a screw (2000) to his iconic “Bread House” (2004-05), a chalet made entirely of bread loaves that has been exhibited at the Whitney Biennial in New York and at the Istituto dei Ciechi in Milan, Fischer has worked on different scales and with different materials, organic and non, investigating the notion and process of alteration.
In 2015 he installed a massive clay-inspired sinuous aluminium sculpture, 13 meters tall, in front of the Seagram Building in New York. As with his recent retrospective Faux Friends at Geneva’s Musée d’Art et d’Histoire, Fischer’s dazzling creations are made of variable sizes, from large to small scale, and in turns of long-lasting and non-durable material: wax, clay, aluminium, rubber, and food all become part of a quest to grasp an anachronistic sense of decay, ephemerality, and resilience.
A line, a curve, a color, a light, a reflection, an outline on the wall.
Matthias Bitzer conceives his shows in the same way a language is constructed: paintings, drawings, collages and sculptures speak with their own grammar and lexicon. They move harmoniously through the space like words on a page, notes on a pentagram featuring colors, neon lights and reflections.
The variation of expressive means and the combination of all the elements does not preclude the sensation of finding oneself inside a single installation; even in the decorative elements, in the abstract structures one can recognize a flow of thoughts, a precise logic. The movement and aesthetics of these compositions expand into the space, geometric elements are recombined in more or less extended patters, alternating the perspective and suggesting new visual possibilities: Bitzer takes us into an immersive reality, a kaleidoscopic landscape.
The result is an amalgam of spatial planes that open up inside of the construction itself, linked one to though despite belonging to different orders of volume and depth. Bitzer rethinks the categories of space and time, he distorts and liquefies them, and at the same time contracts them. He embraces the possibility that space can be together single and multiple, infinitely extendable, divisible into compartments without altering its physical structures. Like a cloud floating delicately, tracing impalpable forms in continuous transformation and always evoking new iconographic associations.
The simultaneous presence of figurative elements and abstract geometrical compositions, dancing forms, hard lines and fluid movements produces a sensual atmosphere that leads to a rich imagery of memories and references, denoting a tendency towards analysis, explanation, the search for a context. Through his work, Bitzer is able to capture and offer a novel visual experience, in which time and space are improbable and forms are deprived of their legibility, allowing new structures to emerge.
There is a keen accord between Helen Mirra and Allyson Strafella, and a few years ago they began an intimate conversation of sorts. On the occasion of this project with Raffaella Cortese in Milan, this conversation continues with new works made in consideration of hay fields, straw bales and their contexts.
In via Stradella 4, Helen Mirra presents small tapestry weavings. Even if the activity of long-distance walking, fundamental in Mirra's practice, is not directly involved in these new works, her ongoing use of primary materials (linen and wool) demonstrates the connection to the ground and one senses the sameness of the rhythms of walking and weaving.
In via Stradella 1, Allyson Strafella presents drawings made with a typewriter. This is a method of working she has been immersed in since the early 90s. With patience and fearlessness she finds the edge of form and formlessness, made and un-made.
Sadie Benning started making experimental videos as a teenager in 1988. The low-fi, black and white videos explored aspects of identity, language and memory. Improvising with materials that were immediately available at the time, Benning fragmentally constructed moving images from found objects, drawings, text, performance and personally shot footage. The form, content and poetics explored in the earlier video works has expanded over the past two decades, continuing to wrestle with evolving political, conceptual and material questions.
The body of work comprised in Excuse Me Ma’am features paintings which include digital photographs of intimately scaled notebook drawings. These quick pencil sketches have been upscaled in size, accentuating the noise and color spectrum of its original while retaining a kind of directness and fragility.
The phrase Excuse Me Ma’am encapsulates the moment of being signified within a binary gender narrative, a moment experienced many times within a single day. These works explore the complicated relationship between the body and how it is named within the culture, and the interminable desire to exist outside of the constructed polarities of male and female.
The form of these works is not easy to categorize. Combining painting, photography, drawing and sculpture, we ask ourselves: What is this thing, what is it made of? How is a painting a painting and also not a painting? What goes unseen? What is distorted by the eye?
Benning urges us to approach gender in this same manner, broadening the categories to the point of shattering them.
In 1992 Kass began The Warhol Project. Using Andy Warhol’s technical and stylistic language to represent figures in many cases no less iconic, Kass nevertheless turned Warhol’s ambivalent relationship to popular culture on its head by choosing subjects that had an explicitly personal and political relationship to her own cultural interests. Kass painted artists and art historians that were her “heroes” in the vein of Warhol’s celebrities. Her My Elvis series speaks to gender and ethic identity by replacing Warhol’s Elvis with Barbra Streisand from Yentl: a 1983 film in which Streisand plays a Jewish woman who dresses and lives as a man in order to receive an education in the Talmudic Law. In My Elvis, Kass states her concerns about gender relations, promotes feminist advocacy in society, and directly challenges patriarchy.
Kass’s Self Portraits as Warhol nod to the act of drag performed in her all appropriation of Warhol’s work (Blue Deb, 2000).
In The Jewish Jackie Series (1992–93), Kass borrowed Warhol’s checkerboard-like compositions and inserted in the rectangles repeated Barbra Streisand (a photograph of whose head in profile with the nose held high) in place of his Jackies, Marilyns, or Judys.
In 2002, Kass began a new body of work, Feel Good Paintings for Feel Bad Times, inspired, in part, by her reaction to the Bush administration. These works combine stylistic devices from a wide variety of post-war painting, including Ellsworth Kelly, Frank Stella, Jackson Pollock, Andy Warhol, and Ed Ruscha, along with lyrics by Stephen Sondheim, Laura Nyro, and Sylvester, among others, pulling from popular music, Broadway show tunes, the Great American Songbook, Yiddish, and film. The paintings view American art and culture of the last century through the lens of that time period’s outpouring of creativity that was the result of post-war optimism, a burgeoning middle class, and democratic values. Responding to the uncertain political and ecological climate of the new century in which they have been made, Kass’s work looks back on the 20th century critically and simultaneously with great nostalgia, throwing the present into high relief. Drawing from the divergent realms of art history, popular culture, political realities, and her own political and philosophical reflection, the artist continues into the present the explorations that have characterized her paintings since the 1980s in these new hybrid textual and visual works.
Deborah Kass has recently declared her support for Democratic presidential contender Hillary Clinton with a bold, Andy Warhol- style artwork. Under the face of Donald Trump, Kass has scrawled the words “Vote Hillary.” The work mimics Warhol’s iconic screenprint Vote McGovern (1972), where the title words, urging viewers to support Democratic presidential nominee George McGovern, appear under the face of Republican incumbent Richard Nixon. Vote Hillary was produced to raise funds for the Clinton campaign, along with another edition by her fellow renowned artist and Hillary supporter, Chuck Close.
In Blurred Lines, Smith employs the use of drawing, layering cinderblocks to create walls of blurred lines. Smith continues the exploration of image manipulation, camouflaging ideas of nostalgia: how images are broken down into pixelated color blocks as a disguise to form walls.
His process started with 6 large photographs, which have been used in previous works. He painted cinder blocks on the photographs themselves —drawing with oil sticks, choosing colors corresponding to the photographs (in effect, turning a digital pixel into a handmade, expressive gesture). Then, using these prints as reference sketches, he recreated the cinder block pattern in the same colors drawing on canvases with a painted underlayer of white, blue, or bright yellow. This yellow color is of special significance to Jamaican cultures, notably the mango, commonly found on trees throughout the island. If someone has a mango tree, they will put any extra fruit out on their fence, often cinder block walls, for any passersby to take — making it a symbol of community in Jamaica, as opposed to its status as an expensive luxury item in the developed world.
Many of the bricks are black — however, they are all different shades of black (mixed with reds, greens, etc.), and this subtlety is hard to perceive on first glance.
Smith is very aware of the political overtones. The title “Blurred Lines” refers to both his mark-making as well as the blurred distinctions in contemporary culture and politics — including gun laws, tragedies across America, and ongoing immigration laws concerning the US-Mexico border.
After his large shows this year at the Guggenheim in Bilbao and the Serpentine Gallery in London, we are delighted to announce an exhibition of small paintings and drawings by Alex Katz.
We will present the more intimate side of the great painter’s work. His small paintings are made directly in front of the live model or en plein air, their brush strokes are more gestural and impulsive. They are not only preparatory studies showing a monumental plan at its birth, but also autonomous works revealing the initial and spontaneous passion of the artist for his subject. Katz?s ability in rendering the fragile unity of a moment with a few brush strokes, reveals much of the person portrayed and of the artist?s personal reflections, voluntarily abandoned in the large portraits on canvas which show a more stylized and essential vision.This characteristic is enhanced by the small size which draws the viewer to approach closely and enter the space of the painting, thereby establishing a more intimate physical and mental relationship with the work. Also the drawings offer insight into the artist's process as often the original idea for a painting is illustrated here in its nascent state. Katz draws quickly in charcoal and pencil searching for the right expression, but in fact often his drawings are almost as accomplished as a painting, they are like paintings in black and white.
“Charades”, Roberto Fassone’s solo exhibition, is the result of a performance that took place at Fanta Spazio. Eight collectors were invited to participate to a game organized by the artist, whose content was a selection of contemporary artworks
La Triennale di Milano presents Marc Camille Chaimowicz. Maybe Metafisica curated by Eva Fabbris, with the artistic direction of Edoardo Bonaspetti, curator of Triennale Arte.
For his first solo show in an Italian public venue, Marc Camille Chaimowicz has conceived an exhibition design linked to the history and architecture of the Palazzo dell’Arte—home to the Triennale of Milan— with works revealing a formal and emotive affinity with the most oneiric of the historical avant-garde movements, Metaphysical art, and its artistic heirs.
Chaimowicz is a pioneer in the multidisciplinary approach. Starting in the 1970s, his installations and performances anticipated the now widespread practice of merging visual arts with choreography, stage direction and curatorship. Open to the intermingling of design, literature and theatre, the artist dedicated entire bodies of works to key people in his career, figures of melancholy and rebellion, including Jean Cocteau, Jean Genet and Gustave Flaubert.
Starting from Giorgio de Chirico’s Il Figliuol prodigo (Prodigal Son, 1973), in which a father and son are painted in a bare interior imbued with a surreal disquiet, the exhibition follows a circular path, characterized by a sense of suspension. Immersed in this atmosphere, the observer encounters some of the most characteristic expressive modes in the artist’s quest, ranging from decoration to painting and from installations to the construction of interiors. The domestic intimacy of reclining desks is juxtaposed with works of architectural inspiration such as the Arches (1975–2016) and the Two-Speed Staircase (1999–2016), giving rise to places pervaded by a dreamlike quality, sometimes physically inaccessible, as in We Chose Our Words With Care, That Neon-Moonlit Evening; It Was As If We Were, Party To A Wonderful Alchemy (1975– 2008), a work that can only be viewed through holes in a curtain, or the mysterious Project For A Rural House (2003–2016), which immerses the viewer in the meditative atmosphere of motionless time.
Nathalie Du Pasquier
Le Mie Credenze
Progetto inedito, nasce con l’interesse di raccontare il processo creativo che sta dietro alla realizzazione delle opere, valorizzandone così il percorso rispetto al punto d’arrivo.
Le Mie Credenze, gioca sull’ambivalenza semantica ed etimologica del termine. In primis la parola credenza viene associata ad una funzione pratica che riporta al Medioevo, dove si utilizzava il termine per descrivere l’atto di fare assaggiare ai coppieri le bevande prima di servirle ai loro signori, per verificare che le bevande non fossero state avvelenate. Altrettanto il termine esprime l’atto di credere, e quindi la credenza intesa come convinzione, ovvero riferimenti e immaginari sui quali fondare pensieri, aspirazioni, progetti.
Ambivalente anche la selezione delle opere: oggetti di uso quotidiano sono posti in relazione diretta con frammenti o repliche di opere originali. Quello che si viene a creare è un flusso circolare e paritetico tra elementi di differente origine e natura, dando origine ad una tensione tra ciò che è vero ed originale e ciò che è rappresentato. L’utilizzo della tecnica trompe l'oeil, per la realizzazione di credenze fittizie stimola l’osservatore a superare la scissione tra elementi inerenti alla sfera del reale con quelli di tipo immateriale per ottenere un corpo di lavori complessivo organico.
Intenzione di fondo è quella di ricreare uno spazio che possa enfatizzare lo studio come luogo di ricerca tramite una lettura critica degli elementi esposti e la loro collocazione all’interno di MEGA.
Una selezione vagliata di immagini ed oggetti disposti nelle spazio dove si instaura un gioco di suggestioni tra materia e illusione creando così un rapporto dicotomico tra la raccolta fisica di oggetti e quella ibrida e immateriale del pensiero.