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

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

Opening 16 November from 5pm

Via Cino del Duca, 4, 20122

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

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

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

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

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

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

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

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

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

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

 

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

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

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

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

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

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

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

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

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

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

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Magnus Andersen “Danzanti Militanti”

11 April – 18 May
Tuesday – Saturday
11 am – 7 pm

Opening 10 April from 6 pm to 9 pm

Via A. Tadino 20, 20124

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Andrea Bowers “ Disrupting and resisting”

11 April – 30 May
Tuesday – Saturday
11 am – 7.30 pm

Opening 11 April from 7 pm

Via di Porta Tenaglia 7, 20121

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kaufmann repetto is pleased to announce Disrupting and Resisting, Andrea Bowers’ second solo exhibition with the gallery.

The foundation of the show is a new video that records the protests and marches on the first two days of the Trump presidency in Washington D.C. The video focuses on two different activist groups, #DisruptJ20 and the Women’s March. It is the artist’s goal to memorialize these activist groups and their actions around the Trump inauguration as important moments of descent in support of democracy, freedom of speech, social justice and the right of the people to peaceably assemble. As the activist named Future of Black Lives Matter is recorded proclaiming in the video, “Coalitions aren’t meant to be permanent. Sometimes they are fragile and they are temporary but we have got to build them. This, these next four years, we have got to find each other in this movement... We have got to find each other in this.” Forming political alliances and understanding intersectionality is the consistent theme of the exhibition.

The first room of kaufmann repetto Milan includes Disrupting and Resisting, J20 & J21, an hour and a half documentary video that honors the work of two activist groups whose founding principles are similar. #DisruptJ20 is a collective of activists who came together for a series of mass protests to shut down the inauguration ceremonies. The video documents actions, beginning in the early morning, as activists linked arms at security checkpoints attempting to block the entry into the inaugural parade route and the commencement ceremony followed by a nonviolent, celebratory parade to McPherson Square that is suddenly and violently dispersed by riot police using tear gas, rubber bullets and pepper spray. The footage continues into the night as DisruptJ20 members are arrested for protesting the inaugural galas. #DisruptJ20 coalition included: The Future is Feminist, Movement for Black Lives, Climate Justice, Labor Justice, Queer rights, Racial Justice and Communities Under Attack. The second day of video was shot on January 21, 2017 and records the Women’s March on Washington, the largest single-day protest in U.S. history, which was aimed at Donald Trump and his anti-women or otherwise offensive positions and statements. The women-led movement brought together people of all genders, races, cultures, sexual orientations, political affiliations, disabilities and backgrounds to affirm a shared humanity and pronounce a bold message of resistance and self-determination. Bowers purposely unites these two groups and days of action to highlight a strong and diverse alliance fighting against white supremacy, patriarchy and the suppression of freedom. Words are power, especially in a country committed to free speech in its constitution. Installed within the same space as the video is Forbidden Words Illuminated, a new neon piece, that puts the Trump administration’s recently banned words in flashing lights: vulnerable, entitlement, diversity, transgender, fetus, evidence-based and science-based. The Washington Post first reported on December 15, 2017 that the Trump administration was prohibiting the Center for Disease Control (CDC), the United States’s top public health agency, from using a list of seven words and phrases in official budget documents. After immediate, intense and viral response from medical groups calling these measures censorship and “Orwellian”, spokespersons for the Department of Health and Human Resources described not a ban or prohibition on use of the words but rather suggestions of avoiding these words.

The second room focuses primarily on feminist issues borrowed from the Women’s March. Bowers includes a grouping of four from her series of colorful cardboard collage drawings, each of which illustrate powerful women. The images originate from the history of political graphics, but have been reworked to represent contemporary feminist issues such as diversity, immigration, intersectionality, trans liberation and the #metoo movement. Along with these works is a playful LED sign made of cardboard that flashes the slogan, Fight Like A Girl, a prominent slogan seen throughout the Women’s March. The third, smaller space in the gallery has a wall installation of spray painted fans revealing slogans she collected from the first and second Women’s March.

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Kimsooja “To Breathe – The Flags”

14 March – 05 May
Tuesday – Saturday
10 am-7.30 pm (closed 1-3 pm)

Opening 13 March from 7 pm

Via A. Stradella 1, 4, 7, 20129

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Mathilde Rosier “Impersonal Empire, The Buds”

14 March – 05 May
Tuesday – Saturday
10 am-7.30 pm (closed 1-3 pm)

Opening 13 March from 7 pm

Via A. Stradella 1, 4, 7, 20129

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

22 February – 06 July
Monday – Friday 10 am-7 pm
Saturday by appointment

Opening 21 February from 6 pm to 9 pm

Corso di Porta Nuova 38, 20121

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

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Lupo Borgonovo “Alexandra”

15 March – 12 May
Tuesday – Saturday
10 am – 7 pm (closed 1 – 3 pm) / Sat. 12 – 7 pm

Opening 14 March from 6.30 pm

Via F. Viganò 4, 20124

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Nate Lowman “Elliptical Machine Gun. Mitragliatrice Ellittico”

06 April – 12 May
Tuesday – Saturday
11 am – 7 pm

Opening 05 April from 7 pm to 9 pm

Palazzo Belgioioso
Piazza Belgioioso 2, 20121

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Bertrand Lavier “Hier, Oggi”

12 April – 23 June
Tuesday – Saturday
11 am – 7 pm

Opening 11 April from 6 pm to 9 pm

Lambrate/Ventura
Via G. Ventura 5, 20134

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Karin Gulbran “Weird Sisters”

12 April – 23 June
Tuesday – Saturday
11 am – 7 pm

Opening 11 April from 6 pm to 9 pm

Lambrate/Ventura
Via G. Ventura 5, 20134

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

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

Opening 14 February from 7 pm

Via Chiese 2, 20126

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

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

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

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

Opening 11 April from 7 pm

Via Chiese 2, 20126

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“The Effusivity Pool - Philippe Rahm Architectes”

17 April – 09 May
Monday – Friday 10.30 am - 5.30 pm
Saturday 2 - 6 pm

Opening 17 April from 6.30 pm

Via del Vecchio Politecnico 3, 20121

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Alice Ronchi “Majestic Solitude”

21 March – 19 May
Tuesday – Saturday
11 am – 7.00 pm

Via Massimiano 25, 20134

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Armando Testa “Punto e Basta”

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

Opening 18 April from 6.30 pm

Via Stilicone 19, 20154

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Giuseppe Gabellone

05 April – 05 May
Thursday - Friday
from 4 pm to 7 pm

Opening 05 April from 6 pm to 9 pm

Via Stilicone 12, 20154

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Alessandro Di Pietro “Felix”

29 March – 04 May
Monday – Friday
10am-6pm (closed 1-2 pm)

Opening 28 March from 7 pm to 9 pm

Via Privata Rezia 2, 20135

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

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

Opening 18 February from 10 am

Fondazione Prada
Largo Isarco 2, 20139

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

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

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

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

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

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

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

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

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

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

Torbjørn Rødland “The Touch That Made You”

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

Opening 05 April

Fondazione Prada / Osservatorio
Galleria Vittorio Emanuele II, 20121

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Fantasy is a place where it rains
Alessandro Agudio, Noah Barker, Matt Browning, David Horvitz, Jiri Kovanda, Ghislaine Leung

30 March – 27 May
Saturday - Sunday
15-19 or by appointment

Opening 30 March from 6 pm

Via Merano 21, 20127

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ZAPRUDER filmmakersgroup “BillyClub”

14 April – 04 May

Opening 14 April from 6.30 pm

Piazza Vetra 21, 20123

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Nicola Martini e Jacopo Menzani

14 April – 28 April

Opening 14 April from 6.30 pm

The Lift
Via Marco Aurelio 64, 20127

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Nicholas Byrne “Fumes”

27 March – 10 May
Tuesday – Saturday
12 – 7 pm

Opening 27 March from 6 pm

Via Barozzi 6, 20122

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Gianfranco Pardi “Autoarchitettura”
Curated by Bruno Corà

22 March – 08 June
​Monday Friday ​10:30 a.m – 7:00 p.m
Saturday only by appointment

Opening 22 March from 6 pm

Corso di Porta Nuova 46/B, 20121

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Gianluca Concialdi “Curva di Gallo”
Curated by Geraldine Blais

03 April – 26 May
Tuesday​ – Saturday from 11.30 am​-​7.30 pm or by appointment

Opening 03 April from 7 pm to 9 pm

Via ​A. Stradella, 5​, 20129

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Gianfranco Pardi “Autoarchitettura”
Curated by Bruno Corà

23 March – 12 May
Tuesday – Saturday, 10 am-7 pm (closed 1-3 pm)
(aperto:15 aprile / chiuso: 31 marzo, 25 aprile e 1° maggio)

Opening 22 March from 6 pm

Via Tadino 15, 20124

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Tom Friedman “Ghosts and UFOs; Projections for Well-Lit Spaces”

24 March – 26 May
Tue - Sat 10 am - 7 pm (closed 2-3 pm)​

Opening 24 March from 7 pm to 9 pm

Viale Vittorio Veneto 30​, 20124

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Amore Atomico Di Amore Di Lava
Curated by United Brothers. Kerstin Brätsch/United Brothers/Sergei and Stefan Tcherepnin, Tanja Nis-Hansen, Beatrice Marchi, Astrid Kaysa Nylander, Davide Stucchi, Frieda Toranzo Jaeger

18 April – 19 May
Monday – Friday​, ​​11 am-6 pm

Opening 18 April from 6 pm to 9 pm

Via G. Giulini 5, 20213

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Francesco Pantalone Arte Contemporanea

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

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

“Outside In” Sarah Faux, Keiran Brennan Hinton, Doron Langberg

12 April – 31 May
Tuesday - Saturday from 15.00 to 19.00 (and by appointment)

Opening 11 April from 6 pm

Via San Rocco, 11, 20135

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On Wednesday, 11 April the group exhibition “Outside in” by Sarah Faux, Keiran Brennan Hinton and Doron Langberg, three young American artists, will be shown for the first time in Italy. Graduated at the Yale University, they represent the new generation of artists who tell of the multifarious contemporary, metropolitan society, while drawing their inspiration from nature as well as from human interactions. A generation of artists who do not confine themselves to reporting their inner world through a mere representation, but who instead become interpreters of a collective perspective. Their formal research gives different results but also puts a strong stress on everyday, real life experiences, on common backgrounds and circumstances, with a focus on human body by way of its carnal presence, like in the works by Faux and Langberg, or of its absence, like in the works by Brennan Hinton. However, they all let the time flow through themselves as an action and a restriction at the same time, in order to describe the moods, situations or interactions between real or imaginary elements.

Si inaugura mercoledì 11 aprile “Outside In” la collettiva di Sarah Faux, Keiran Brennan Hinton e Doron Langberg tre giovani artisti americani, in mostra per la prima volta in Italia; formatisi a Yale, loro sono una nuova generazione di artisti che raccontano una contemporaneità molteplice, metropolitana e al contempo capace di lasciarsi ispirare dalla natura ancora dal rapporto con l’altro. Una generazione che non si limita a riferire il mondo interiore attraverso la semplice rappresentazione ma che si fa interprete di una visione corale. La loro ricerca formale ha esiti differenti ma anche un accento che insiste su un vissuto, su contesti e circostanze comuni, un’attenzione intorno al corpo umano nella sua presenza più carnale come nelle opere di Faux e Langberg o nella sua evidente assenza come nelle opere di Brennan Hinton. Tutti si lasciano attraversare però dal tempo come azione e al contempo come limite, per descrivere stati d’animo, situazioni o interazioni tra elementi reali o immaginari.

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