Allianz MiCO, Milan
opening 12:00 am
04.04 - 06.04.2025
In a booth shared with Francesca Minini, we are presenting a selection of works by Stefano Arienti, Jacopo Benassi, Matthias Bitzer, Sol Calero, Ambra Castagnetti, Elena Damiani, Roberto de Pinto, Flavio Favelli, Alberto Garutti, Landon Metz, Giulio Paolini, Francesco Simeti, Nedko Solakov.
Alberto Garutti
Quello sguardo in quel momento, 2017
perforated mirror
150×100×3 cm
Milano Design Week 2025
opening 9:30 am
07.04 - 13.04.2025
During the Milan Design Week 2025, Formafantasma have been producing a variety of works, ranging from exhibition design to performance and symposium curatorship.
Prada Frames, a multidisciplinary symposium exploring the complex interactions between design and the environment, will be back for its fourth edition, from April 6th to 8th.
Formafantasma and Cassina are celebrating the 60th anniversary of the first edited collection of Le Corbusier, Pierre Jeanneret, and Charlotte Perriand collection edited by Cassina, conceiving a theatrical performance and installation, titled "Staging Modernity", on Monday the 7th of April at 5 PM, directed by Fabio Cherstich at the Teatro Lirico Giorgio Gaber of Milan. The installation can be visited from April 8th to 13th.
The collaboration with Flos continues with two projects: SuperWire, a site-specific installation within the Flos showroom and The Light of the Mind, the design of the lighting company's booth at 32nd Edition of Euroluce.
Andrea Trimarchi and Simone Farresin
Hong Kong Convention & Exhibition Centre
opening 12:00 am
28.03 - 30.03.2025
In a booth shared with Francesca Minini, we are presenting a selection of works by Carla Accardi, Jacopo Benassi, Armin Boehm, Sol Calero, Flavio Favelli, Peter Halley, Sheila Hicks, Anish Kapoor, Landon Metz, Jonathan Monk, Paul P.
Anish kapoor
Cobalt Blue to Clear, 2024
stainless steel, lacquer
120x120x14 cm
Giulio Paolini e Luca Bertolo. Dietro l’opera.
IIC - Italian Cultural Institute Madrid
until 10.05.2025
On the occasion of ARCOmadrid 2025, the Italian Cultural Institute of Madrid presents "Detrás de la Obra", an exhibition that relates the work of Giulio Paolini, a key figure in the new avantgarde movements of the second half of the 20th century, and Luca Bertolo, one of the most important contemporary Italian painters.
Curated by Elena Volpato, curator of the GAM in Turin, the exhibition showcases seventeen works, including installations, paintings and conceptual works, spanning a period of over sixty years, from 1963 to 2024. The resul is a selection that explres the relationship between image and representation, revealing the poetic and conceptual dimensions behind the work of art.
Fondazione VOLUME!, Roma
until 09.03.2025
On March 9, 2025 from 12am to 8pm the VOLUME! Foundation presents Ideal Trattoria, a work by Paolo Icaro, edited by Lorenzo Benedetti. An action by Paolo Icaro that transforms the environments of VOLUME! in a place of sharing and relationships. Icaro transforms the spaces in an ideal Trattoria creating a convivial environment inspired by the hospitality of a trattoria. This exhibition space is rethought as a place of exchange, where words, images and sounds intertwine to stimulate the senses and dialogue. Paolo Icaro expands the concept of nourishment beyond food, proposing art as essential nourishment for individual and collective growth. It invites visitors to "eat with their eyes", transforming reading and observation into an experience of intellectual and sensorial nourishment. The ideal trattoria becomes a place of exchange, fusing aesthetic and relational in a continuous dialogue between body, space and thought. Overcoming the boundaries of the traditional exhibition, evolves into a participatory experience and multisensory, where the visitor is invited to be nourished by art, words and ideas, making artistic enjoyment a truly vital experience.
Paolo Icaro
Trattoria ideale, 2025
Fondazione VOLUME!, Roma
National Galleries of Scotland, Edimburgh
until 26.05.2025
Ian Hamilton Finlay (with Jim Nicholson)
Homage to Modern Art, 1972
© By courtesy of the estate of Ian Hamilton Finlay
IFEMA MADRID
until 09.03.2025
In a booth shared with Francesca Minini, we are presenting a selection of works by Jacopo Benassi, Matthias Bitzer, Armin Boehm, Sol Calero, Elena Damiani, Roberto de Pinto, Flavio Favelli, Peter Halley, Sheila Hicks, Landon Metz, Jonathan Monk, Giulio Paolini, Paul P.
Paul P
Untitled, 2024
oil on linen
35x24 cm
Paolo Novelli – Persone e cose
Palazzo Lombardia - Spazio IsolaSET, Milano
until 25.03.2025
"La breve strada che Paolo Novelli ha calpestato nel suo passaggio porta ancora le impronte leggere – ma bene definite – di un artista caparbio, intransigente, essenziale. Un poeta che riduce all’osso gli svolazzi compiaciuti e filtra il reale con un finissimo setaccio che non lascia passare i meteoriti più pericolosi. Tra questi una questione di fondo assilla gli scatti di Paolo Novelli: è sufficiente che una immagine sia stampata su un foglio, con qualunque tecnica, presente o futura, per chiamarla fotografia? Paolo ha contrastato questa posizione “liberista” per dimostrare che no, questa immagine non attiene alla fotografia che invece è – e deve restare – ciò che è stato stabilito nell’incipit di questa esaltante scoperta. Una posizione apparentemente antistorica che trova la sua giustificazione in un atteggiamento poetico di classica costruzione. Fotografie strettamente in bianco e nero, in rima baciata, come una rappresentazione nello stesso tempo umana e divina. A volte tragica, altre comica, ma sempre provvista di quella tensione che distingue un lavoro che viene dal cuore e dalla mente."
Massimo Minini
Paolo Novelli
Untitled Wall, 1999
In celebration of the centenary of artist, poet and landscape designer Ian Hamilton Finlay's birth, "Fragments" draws together 100 of his artworks. With each piece accompanied by a short text, either by the artist or by a noted writer on Finlay’s work, this book accompanies a series of eight exhibitions taking place in Basel, Brescia, Edinburgh, Hamburg, Palma de Mallorca, London, New York and Vienna in May 2025.
Finlay’s large body of work can be found in museums, parks and gardens worldwide. His artistic creations also incorporate short stories, poems and concrete poetry, many of which have been published by his own publishing house Wild Hawthorn Press, and which, with a mixture of wit and beauty, engage with the relationship between violence and civilization.
"Fragments" is edited by Pia Maria Simig, who worked closely with Finlay, supervising installations and exhibitions of his work throughout the world.
Detail of
Fragments, 2025
Ian Hamilton Finlay
edited by Pia Maria Simig
///
Facile ironia. L’ironia nell’arte italiana tra XX e XXI secolo
MAMbo - Museo d'Arte Moderna di Bologna, Sala delle Ciminiere, Via Don Giovanni Minzoni 14, Bologna
until 07.09.2025
On the occasion of the 50th anniversary of the foundation of the Gallery of Modern Art of Bologna, the MAMbo - Museum of Modern Art of Bologna of the Bologna Civic Museums Sector presents the great collective exhibition "Facile ironia. L'ironia nell'arte italiana tra XX e XXI secolo", curated by Lorenzo Balbi and Caterina Molteni. Designed for the spaces of the Sala delle Ciminiere, with more than 100 works and archive documents by over 70 artists, the exhibition spans a period of approximately seventy years, from the 1950s to today, aiming to retrace the history of Italian art through the theme of irony. Starting from the ancient world with the figure of Socrates, irony is associated with the "art of asking questions": a completely unique tool that allows human beings to have a more lucid and disenchanted view of reality, as it is capable of revealing anomalies and contradictions. As a common thread that runs through decades of Italian artistic production, irony emerges as an aesthetic and critical strategy capable of alluding to profound meanings without expressing them directly. Ironic in itself, the title of the exhibition recalls the apparent simplicity of the phenomenon while revealing its intrinsic complexity. A contradiction that becomes a game in all respects and that invites the public to question itself on the nature of language, on the clichés that accompany it and, at the same time, on the way in which these influence our observation and interpretation of the world around us.
Carla Accardi
Armadio inutile, 2001
transparent and colored perspex
150 × 132 × 52,5 cm
Arch. n. 730 A bis
Stedelijk Museum, Amsterdam
until 13.07.2025
Still from the movie
Joanna Piotrowska and Formafantasma
Tactile Afferents, 2023
Co-produced by Nasjonalmuseet and Fondazione In Between Art Film
Sabrina Mezzaqui, I quaderni di Hannah Arendt
Italian Women's Library at the Complex of Santa Cristina della Fondazza, Via del Piombo 5, Bologna
until 16.02.2025
In the context of the City of Art program which will take place on the occasion of Arte Fiera Bologna 2025, Sabrina Mezzaqui will exhibit the work 'The Notebooks of Hannah Arendt' inside the Italian Women's Library at the Complex of Santa Cristina della Fondazza. The exhibition is curated by Manuela Valentini and the work exhibited is a hand copy of the pages of 'In the desert of thought - Notebooks and diaries 1950-1973' by Hannah Arendt, ed. BEAT, a publication of 29 manuscript workbooks, in which the author notes and deepens her reflections.
Copying allows for an in-depth reading, a dictation of the text, sometimes intellectually incomprehensible, but which in any case crosses the body from the eyes to the hand, from page (read) to page (written). A true copying of printed pages. A meditation on the process of writing and reading. An act of reading. The faculty of thinking, rethinking thoughts, reflecting, in search of truth.
Exhibition view
Sabrina Mezzaqui
I Quaderni di Hannah
Arendt, 2017-2021
Ink on paper, hand-bound notebooks and embroidered fabric covers
29 notebooks displayed in 3 showcase tables
In a booth shared with Francesca Minini, we are presenting a selection of works by Armando Andrade Tudela, Ivana Bašić, Jacopo Benassi, Armin Boehm, Sol Calero, Flavio Favelli, Alberto Garutti, Paolo Icaro, Enzo Mari, Sabrina Mezzaqui, Titina Maselli, Landon Metz.
Installation view
Enzo Mari
Galleria Massimo Minini, 2022
Pinacoteca Agnelli, Torino
15.01.2025
On the occasion of the exhibition at Pinacoteca Agnelli, in Turin, which will be visible until May 25, 2025, a comprehensive monograph, a complete overview of Salvo's work, with never-seen-before documentation and archive is published. The volume, edited by Sarah Cosulich & Lucrezia Calabrò Visconti, offers an exhaustive image of the artist's practice and contributes to the vast critical literature on Salvo's work through the unpublished perspectives of four international authors, invited to focus on certain aspects of his research, such as Mario Garcia Torres, who proposes an imaginative journey through Salvo's work, which presents itself as a page from a travel diary. Published in Italian and English, the book follows the structure of the exhibition: divided into eight chapters, it contains faithful documentation of the exhibition, numerous details of the works on display, some focuses on cycles of particular importance and a selection of unpublished content.
Catalog "Salvo. Arrivare in tempo"
2025
/Gabriel Orozco
Síndrome de La Habana
The Havana National Museum of Belle Arti, Cuban Art Building, Cuba
13.12.2024
The Havana National Museum of Belle Arti, in its Cuban Art Building, has announced the exhibition "Síndrome de La Habana", a sound installation resulting from the collaboration between artists Wilfredo Prieto, from Cuba, and Gabriel Orozco, from Mexico, which is part of the 15th Havana Biennal. Under the title “Havana Syndrome”, the work will share circulation spaces in the Cuban Art and Universal Art buildings. The proposal will be made up of thirty-two audio tracks that collect different sounds captured randomly throughout the country's capital city during the year 2022. The title of the work ironically portrays the constellation of neurological symptoms, commonly known as "Havana Syndrome," that has affected U.S. diplomats in foreign countries, including Cuba, since 2016. A year later, diplomatic relations between Washington and the island became strained over this issue, to the point that more than half of the U.S. staff was withdrawn from its headquarters in Cuba. The official visual arts event that will include this opera has generated intense controversy among Cuban artists and intellectuals due to the current situation they are experiencing in the country.
/Benedetta Fioravanti/Shadi Harouni/Ali Kazma/Paul Maheke/Basir Mahmood/Damir Očko/Agnese Purgatorio/Driant Zeneli
Horizontes Fluidos. Relatos y dislocaciones del videoarte
Casa Victor Hugo, Havana, Cuba
until 28.02.2025
"Horizontes Fluidos. Relatos y dislocaciones del videoarte" - Fluid Horizons. Stories and dislocations of video art - is a display of video works designed and curated by Giacomo Zaza exclusively for the Havana Biennial 2024 inaugurated on November 16, with the collaboration of the Embassy of Cuba in Italy, which ends on February 28, 2025, at Casa Victor Hugo, Havana, Cuba.
The exhibition project starts from the idea that our current “horizons”, understood as fields in which we can roam with our mind, are increasingly fluid and devoid of categories or schematisms. The exhibition with single-channel video works is conceived as a sort of representation of “a rhizome identity” (Édouard Glissant), that is, a human horizon that intertwines, becoming fluid, with other horizons.
The project testifies to how contemporary artistic research is involved in the cultural and social debate regarding the conditions of existence in the globalized world.
Eva Marisaldi - Enrico Serotti
Fuori, 2006
HD video, 4’ 10’’
Titina Maselli nel centenario della nascita
Villa Torlonia Museum, Casino dei Principi and Laboratory Museum of Contemporary Art of the "Sapienza" University of Rome, Rome
until 21.04.2025
On the occasion of the centenary of Titina Maselli's birth (1924-2024), the Museums of Villa Torlonia, Casino dei Principi and the MLAC Museum Laboratory of Contemporary Art of the La Sapienza University of Rome hosts the great anthology Titina Maselli. The exhibition, curated by Claudio Crescentini, Federica Pirani, Ilaria Schiaffini, Claudia Terenzi and Giulia Tulino, intends to enhance the work of the artist, one of the most important and influential artistic figures in the field of great international art of the twentieth century.
The exhibition unfolds along a chronological and aesthetic path that crosses the main iconographic themes dear to the painter (portraits, sports, trucks, in addition to the already identified urban landscapes and object still lifes), presenting a series of works that are little known and/or have not been exhibited for a long time, in addition to works held in public collections, and paintings and documents present in the Capitoline collections. Works from the artist's archive, foundations and private collections are exhibited too. A large documentary, archival, video and photographic apparatus that mark the history of her painting will also be on display.
Titina Maselli
Le plongéon, 1971
acrylic on canvas
200x200 cm
/Marilù Eustachio/Giosetta Fioroni//Elisa Montessori/Cloti Ricciardi
Carla Accardi, Marilù Eustachio, Giosetta Fioroni, Titina Maselli, Elisa Montessori, Cloti Ricciardi
Galleria Heimat - Associazione Archivio Marilù Eustachio, Roma
until 08.03.2025
Titina Maselli
Calciatore, 1970
Oil on canvas
99,5x80,5 cm
Línea Arte Contemporáneo, Havana
until 28.02.2025
Ariel Schlesinger will be the first artist to inaugurates, with the exhibition titled "Mierda y mariposas", a new space dedicated to contemporary art, both national and international, called Línea Arte Contemporáneo, in Havana, which will open tomorrow.
Ariel Schlesinger, Línea Arte Contemporáneo, Havana, 2024
15th Bienal de la Habana, Fanguito neighborhood, Havana
until 29.01.2025
"Fanguito" subverts the traditional codes of the museum, the canonical exhibition space, the curatorial norms and the mounting processes. Under the premise of intervention-integration, Wilfredo Prieto has selected the Havana neighborhood of the same name – El Fanguito – to situate a set of works that will encompass the entire territory, from the streets to the homes. In this way, he suggests a revisitation of Duchamp's concept of the ready-made, since for Marcel Duchamp the operation was based on extracting the object from its reality to be exhibited as art, whereas now the intention is to return it to its original medium. Thus, El Fanguito becomes a museum of contemporary art and its inhabitants become mediators.
Installation view
Wilfredo Prieto
Fanguito
15th Bienal de la Habana, Fanguito neighborhood
2024
The Continuous Thread Twists and Turns on Itself
15th Gwangju Biennale, Peruvian Pavilion, Gwangju
until 01.12.2024
For the 2024 Gwangju Biennale, Proyecto Amil presents "The continuous Thread Twists and Turns on Itself", an exhibition featuring the video works of Armando Andrade Tudela and Elena Tejada-Herrera. This theme serves as a metaphor for the complex and evolving nature of identity. It suggests that its identity, is not linear but fluid, weaving through time and experience in complex, looping patterns. The showcased artworks invite viewers to delve into the multifaced terrain of identity, where layers of history, culture, and personal narrative intersect. Across two floors, visitors embark on a journey of discovery, encountering a rich tapestry of visual narratives that challenge traditional boundaries and preconceptions.
Armando Andrade Tudela
Un pentàgono tallado en piedra, 2023
15th Gwangju Biennale, Peruvian Pavilion, Gwangju
2024
/Ron Arad/Giorgio De Chirico/Ettore Favini/Mark Handforth///Jonathan Olivares/Giovanni Ozzola/Stamuli
Metacosmo
Fondazione Teatro ragazzi e giovani, Turin
until 17.11.2024
Mario Merz
Il volo dei numeri
2000
Mole Antonelliana, Turin
Courtesy Fondazione Merz
A.R.S. Scaenica – installazione permanente e collages di Giulio Paolini
Teatro Franco Parenti, Milano
06.11.2024
Giulio Paolini
Collage
A.R.S. Scaenica, Teatro Franco Parenti, Milano
2024
///Giannantonio Battistella/Vincenzo Castella/Andrea Cavazzuti/Giovanni Chiaramonte//Vittore Fossati/Carlo Garzia//Shelley Hill//Gianni Leone/Claude Nori/Umberto Sartorello/Mario Tinelli/Ernesto Tuliozi/Fulvio Ventura/Cuchi White
Viaggio in Italia
Italian Cultural Institute, Paris
until 08.01.2025
From 8 November 2024 to 8 January 2025, the Italian Cultural Institute in Paris hosts the exhibition "Viaggio in Italia", a photographic journey that celebrates Luigi Ghirri's project of the same name forty years after its birth. The exhibition, curated by Matteo Balduzzi and organized by the Directorate General for Contemporary Creativity of the Ministry of Culture and by MUFOCO – Museum of Contemporary Photography, in collaboration with the Luigi Ghirri Heirs Archive, will present the works of over 20 Italian photographers.
The show celebrates the forty-year anniversary of "Viaggio in Italia", the photographic project conceived by Luigi Ghirri in 1984, considered a milestone in the history of contemporary Italian photography which has returned a different representation of our country, and will present the 86 images contained in the original catalog reprinted in an anastatic copy for this celebratory occasion.
This will be followed by the full screening of the documentary "Viaggio in Italia. I fotografi vent'anni dopo", a film by Maurizio Magri, produced in 2004 by Mufoco and Emmestudio, which saw the involvement of most of the protagonists of the time who, as Gabriele Basilico states in the film, were all united by the urgent "need to discover a normality of things, anti-heroic, anti-mythical, everyday and non-rhetorical".
Luigi Ghirri
Puglia, 1986
Italian landscape series, chromogenic print from negative 6x7 cm 15.4 x 24.3 cm
Alighiero e Boetti. Raddoppiare dimezzando.
Accademia Nazionale di San Luca, Palazzo Carpegna, Roma
until 15.02.2025
The National Academy of San Luca dedicates the exhibition "Alighiero e Boetti. Doubling by halving" to one of the most visionary and influential artists of the 20th century, curated by Marco Tirelli and conceived together with Caterina Boetti, president of the Alighiero and Boetti Foundation. The exhibition is organized under the High Patronage of the President of the Republic. For the thirtieth anniversary of the death of Alighiero Boetti (Turin, 1940 – Rome, 1994), the Hall of Honour, the White Room and the Borrominian portico of Palazzo Carpegna will host a selected group of works around the themes of the double and the proliferation of one to multiple. An unusual exhibition itinerary of his work, in its most rigorous and conceptual as well as imaginative aspects, focused on a work of monumental dimensions and rarely exhibited. Housed in the Hall of Honour, reconfigured for the occasion by an important exhibition structure, the work is a unicum which collects, in a sort of cosmography, the sum of all the artist's previous work and "brings back into the world" the highest steps of his research.
Alighiero Boetti
Specchio cieco, 1975
stampa alla gelatina bromuro d’argento su carta e inchiostro su cartoncino
34x24 cm
Fotografia eseguita da Gianfranco Gorgoni su indicazione dell’artista
Photo courtesy Archivio Alighiero Boetti, Roma
Salvo. Arrivare in tempo.
Pinacoteca Agnelli, Torino
until 25.05.2025
Installation view
Salvo. Arrivare in tempo
Pinacoteca Agnelli Torino, 2024
Image Courtesy Pinacoteca Agnelli, Torino
Ph. Credit Sebastiano Pellion di Persano
Berthe Morisot. Pittrice impressionista. Display di Stefano Arienti
GAM - Galleria civica d'Arte Moderna e Contemporanea, Torino
until 09.03.2025
The GAM - Civic Gallery of Modern and Contemporary Art of Turin presents the exhibition “Berthe Morisot. Impressionist painter", which celebrates the history and artistic path of the only woman among the founders of the impressionist movement.
The exhibition illustrates Morisot's link with the poetics of movement and brings out his very personal stamp in capturing the lability of the moment, as a symbol of the fragility of existence, capable of gracefully representing the elements of nature and reality.
The exhibition setup also includes a display, created by Stefano Arienti, one of the most recognized Italian artists, which is part of a project conceived by Chiara Bertola, Director of the GAM - Civic Gallery of Modern and Contemporary Art, entitled "The Intruder". In dialogue with Morisot's works, Arienti's contribution develops throughout the exhibition itinerary, using a variety of elements to imagine a context and a new setting for the artist's works that enriches the visitor experience.
installation view
Berthe Morisot. Pittrice impressionista. Display di Stefano Arienti.
2024
GAM - Galleria civica d'Arte Moderna e contemporanea, Torino
ph. Giorgio Perottino ed Edoardo Piva
//
Trame esplorative: un viaggio attraverso l’arazzo
Fondazione Dino Zoli, Forlì (FC)
until 16.03.2025
The Dino Zoli Foundation of Forlì (FC) presents an extensive examination dedicated to the art of tapestry in Italy, from the 1950s to today. Curated by Nadia Stefanel and promoted by Dino Zoli Textile and the Dino Zoli Foundation, the exhibition "Exploratory textures: a journey through the tapestry" intends to underline how the textile medium, traditionally seen as a decorative art, has over time become an innovative and plural form of expression, which has been able to intertwine histories, cultures and techniques.
The journey through the tapestry factories represents a unique opportunity to understand how art and craftsmanship come together in a collaborative creative process, capable of involving some of the most important masters of the second half of the twentieth century and of attracting the artists of the present.
In the exhibition itinerary, in fact, it will be possible to appreciate the value of the manual work and creativity of historicized anche contemporary artists such as, for example, Maurizio Donzelli, Stefano Arienti and Antonio Marras, among others, who approached tapestry as an expressive form.
Installation view
Fondazione Dino Zoli, Forlì
2024
OVAL - Complesso Lingotto Fiere Via Giacomo Mattè Trucco, 70 - 10126 Torino
until 03.11.2024
In a booth shared with Francesca Minini, we are presenting a selection of works by Stefano Arienti, Jacopo Benassi, Ivana Bašić, Sol Calero, Ambra Castagnetti, Haris Epaminonda, Peter Halley, Simone Holliger, David Maljkovic, Jonathan Monk, Ariel Schlesinger e Francesco Simeti.
David Maljkovic
Where I stopped, you will go, 2024
olio su tela
89x116 cm
Eva Marisaldi. Under the same sky
MET – Metropolitan Museum of Art, New York
25.10.2024
Eva Marisaldi
oggetti sonori realizzati per l’opera video Under the Same Sky, 2024
materiali vari
ph. Ela Bialkowska, OKNO Studio
Dedicato ad Alberto Garutti
Brera Academy of Fine Arts, Room 10, Milan
until 22.10.2024
The Brera Academy of Fine Arts in Milan is pleased to announce a full-day conference dedicated to Alberto Garutti's artistic practice. The seminar is conceived by the Academy’s Director, Giovanni Iovane, and curated by Laura Cherubini, Giacinto Di Pietrantonio, and Cloe Piccoli, in collaboration with Studio Alberto Garutti.
The seminar will feature four panels in which lecturers will discuss the key themes of Garutti’s artistic practice and his thirty-year experience as a professor. Prominent Italian and international guests, who have been in dialogue with Garutti for collaborations and projects, will join conversations and lecture series exploring and debating the radical thinking of an artist who since the 1970s has been questioning the ethical role of the artist in contemporary society.
The full-day conference is happening in conjunction with the publication of the book Alberto Garutti, edited by Studio Celant, the most comprehensive monograph on the artist. The volume is published and sitributed by a+mbookstore (Milan) in its Italian version and by Hatje Cantz (Berlin) in English.
The editorial project is supported by the Italian Council (13th edition, 2023), the program aimed at supporting Italian contemporary art in the world promoted by the Directorate-General for Contemporary Creativity within the Italian Ministry of Culture and promoted by Settore Musei Civici Bologna | MAMbo – Museo d’Arte Moderna di Bologna.
Alberto Garutti © Delfino Sisto Legnani.
Troppo facile per l’incredulo vedere da lontano
Spazio Volta, ex chiesa di San Rocco, Bergamo
until 12.01.2025
Two years after the start of the restoration project, the Associazione Volta APS is pleased to
inaugurate the former Church of San Rocco, a space that will host Wilfredo Prieto (1978, Sancti Spiritus), who is representing Cuba at the 2024 Venice Biennale.
Troppo facile per l’incredulo vedere da lontano stems from a dialogue between the ephemeral and
the eternal, the tangible and the intangible. In a process that reflects on the traps of society, five
works play, with the typical irony of the Cuban artist, on the dual nature of communication,
consumption, and the emotions we experience in contemporary life. Focusing on everyday objects,
Prieto creates amusing and unexpected pairings, whose meaning often remains ambiguous: an
egg and a billiard ball, a light bulb and a potato, or a perfume bottle hanging from the decorated
ceiling of the church. The works invite us to find an intersection between thought and feeling. It is
in this intersection that we find the essence of our humanity, what we are and what we could
become.
Wilfredo Prieto
Troppo facile per l’incredulo vedere da lontano
Spazio Volta
2024
Ph. Nicola Gnesi
Thyssen-Bornemisza Museum, Madrid, Spain
until 19.01.2025
Installation view
Peter Halley
Peter Halley in Spain, 2024, Thyssen-Bornemisza Museum
© Museo Nacional Thyssen-Bornemisza
Ludwin Museum, Budapest
until 29.06.2025
The Ludwig Museum – Museum of Contemporary Art presents Nedko Solakov’s humorous, site-specific installation, located in the museum’s lobby, next to the cloakroom. In this work, Solakov explores the idea of an artist who seeks to view the world from a radically different perspective, literally by turning himself upside down to shift his viewpoint.
The project, titled "A Cornered Solo Show", began in 2021 when Solakov proposed the directors and curators of leading museums to offer him an “insignificant” corner of their institution, outside of the typical exhibition spaces, yet still accessible to the public. To date, four installations have been staged in major European museums, each uniquely tailored to the specific qualities of the chosen corner: #1 MUDAM – The Contemporary Art Museum of Luxembourg (2021) #2 MAXXI – National Museum of 21st Century Art, Rome (2022) #3 Upper Belvedere, Vienna (2023–2024) #4 National Gallery, The Palace, Sofia (2024).
Nedko Solakov
The drawing of the idea for Ludwin Museum
CAMERA - Centro Italiano per la Fotografia, Torino
until 02.02.2025
From 16 October 2024 until 2 February 2025, the CAMERA Project Room will host "Mimmo Jodice. Oasi", an exhibition in collaboration with Fondazione Zegna.
Curated by Walter Guadagnini, with the collaboration of Barbara Bergaglio, the exhibition presents for the first time 40 images belonging to the series created by the Neapolitan photographer, between 2007 and 2008, for a commission received from the Foundation. An extraordinary corpus within which it is possible to find all of Jodice's poetics, his ability to transform the elements of reality, natural or artificial, landscapes or interiors, plants or industrial machinery, into metaphysical visions, suspended in time and space.
Mimmo Jodice
Oasi Zegna
2008
Fondazione Ermenegildo Zegna
Fondazione Sozzani, Milan
15.10.2024
Roger Ballen
Audience
courtesy Roger Ballen Studio
Counter/Surveillance: Control, Privacy, Agency
Wende Museum, Culver City, USA
until 19.10.2025
Nedko Solakov will be part of a group exhibition at the Wende Museum, in a show focuses on themes such as control, surveillance and privacy. In recent decades, technological advances have supercharged surveillance. Online, personal data are automatically collected and analyzed on a mass scale. Algorithms watch, listen, track, and identify people, complementing and sometimes replacing human eyes and ears. Powerful combinations of surveillance software and hardware, such as surveillance cameras outfitted with real-time facial recognition, are conquering public spaces.
In the exhibition "Counter/Surveillance: Control, Privacy, Agency" Solakov traces the historical roots of such surveillance devices and methods, and the Cold War dynamics that shaped and spread them. By showing the rich history of such acts of countersurveillance, the exhibition calls attention to the many ways in which people have reclaimed agency, it celebrates human ingenuity vis-à-vis state control, and it shows how art can be an inspirational signpost in the process.
frame from
Nedko Solakov
Top secret video
National Museum of Fine Arts of Cuba
08.10.2024
Next Tuesday, at the National Museum of Fine Arts of Cuba, there will be the presentation of the book "Telón", a catalog made for the Wilfredo Prieto Exhibition at the 2024 Venice Biennale.
//////////Emilio Prini/
Arte povera
Bourse de Commerce - Pinault Collection, Paris
until 20.01.2025
Installation view
Arte Povera, Bourse de Commerce – Pinault Collection, Paris, 2024
© Tadao Ando Architect & Associates, Niney et Marca Architectes, agency Pierre-Antoine Gatier
Ph. Florent Michel / 11h45 / Pinault Collection
Parco naturale delle Cinque Terre, Vernazza e Corniglia
until 31.12.2024
The OTP - Orizzonte Terzo Paradiso project opens up to the history of local art with a public program and exhibitions involving contemporary artists who have acted in different spaces between the villages of Vernazza and Corniglia, in the Cinque Terre, which began in September and will last until the end of 2024.
The project, curated by Ilaria Bernardi, unfolds in various locations in the Ligurian East with a program of meetings, already underway, and three exhibitions, proposing an interdisciplinary project through the main "keywords" of Arte Povera. With the triple aim of tracing the legacy of Arte Povera in the Italian artists of the most recent generations, as well as inducing the public to discover lesser-known parts of the territory, the exhibition includes site-specific interventions in different places between Vernazza and Corniglia, created by three artists such as Stefano Arienti, Marinella Senatore and the Vedovamazzei.
Installation view
Stefano Arienti
Via Mare
2024
Castello Doria, Vernazza
Penetrating: That U/uncanny s/Seeing
Stiftung Kunstforum Berliner Volksbank, Kaiserdamm 105, 14057 Berlin-Charlottenberg
until 08.12.2024
The two-part exhibition by artist and curator Michael Müller "Penetrating: That U /uncanny s/seeing" examines the (opposite) pairs: “penetrating (understanding)” vs. “penetrating (penetrating)” as well as the relationship discussed by psychoanalyst Sigmund Freud in his 1919 essay "The Uncanny" of “heimlich” versus “uncanny.” What at first glance seems mutually exclusive, is actually related, interpenetrate and often changes from one to the other.
Müller's concept removes works from the Berliner Volksbank's art collection from their previous exhibition context and subjects them to recontextualization. Sculptures, paintings and works on paper appear in a new light, permeated with literary anecdotes and set in unusual colors and shapes. The works become part of a new timeless narrative that emerges among Müller's works and loans.
For visitors, entering the exhibition means confronting new perspectives, questioning reality and discovering hidden meanings. The Kunstforum Berliner Volksbank Foundation becomes a place of artistic condensation, where the known and the unknown merge in a fascinating way.
The exhibition shows over 100 works by 23 artists and, within the exhibition, it is possible to find some photographs by Roger Ballen, lent by our Gallery to the Foundation.
"Durchdringen: Das U/unheimliche s/Sehen" (Inter/Penetration: The Uncanniness of Seeing)
Stiftung Kunstforum Berliner Volksbank
© Roger Ballen, Courtesy Roger Ballen & Galleria Massimo Minini, Nachlass Bertold Haag, Nachlass Max Kaminski
Ph. Natalia Carstens Photography
La contingenza e la materia – il soffio vitale negli oggetti
Palazzo Ducale di Sassuolo, Appartamento dei Giganti, Piazzale della Rosa, 1, Sassuolo (Modena)
until 31.12.2024
On the occasion of the 24th edition of the Philosophy Festival in Sassuolo, the Palazzo Ducale and Marca Corona and Gallerie Estensi inaugurated, on September 13th, an axhibition, curated by Francesca Disconzi, in which the protagonist is Stefano Arienti and his art.
The program extends with exhibitions that recall and explore the theme of the kermesse, dedicated to Psyche and a master of the Italian Transavanguardia. Arienti presents on this occasion his artistic process aimed at different materials, to reflect on the vitality of objects and on the possibility of putting open and contemplative processes into play.
In a path that takes place inside the Appartamento dei Giganti, Stefano Arienti, with a process aimed at matter and its transformation, searches for the lightness that is able to give vitality to things.
The spirit that animates the works therefore becomes a dual, close and essential relationship, where the vital breath of “Contingency and Matter” is revealed.
detail of
Stefano Arienti
Carrello elevatore
Luigi Ghirri – Il viaggio. Fotografie 1970-1991
MASILugano, Lugano
until 26.01.2025
Just over thirty years after his premature death, MASI Lugano dedicates an important exhibition to the Italian photographer Luigi Ghirri (Scandiano, 1943 - Reggio Emilia, 1992). Curated by James Lingwood, the exhibition tells the story of the pioneering figure and influential thinker of photography and its role in modern culture. In the 1970s and 1980s, Ghirri created a body of work unparalleled in the Europe of his time; giving rise to a playful, poetic and profound reflection on the photographic medium.
The exhibition project at MASI tells the story of Ghirri's fascination with travel - both real and imaginary. Through a careful selection of around 140 colour photographs, mostly vintage prints from the 1970s and 1980s, mainly from the Heirs of Luigi Ghirri and the collection of the CSAC in Parma, the exhibition offers the public the opportunity to discover not only the most famous shots, but also the lesser-known ones.
The exhibition will be open until January 26, 2025.
Luigi Ghirri, Rimini
1977
Courtesy Eredi di Luigi Ghirri.
Post Scriptum. Un museo dimenticato a memoria
MACRO - Museo d'arte contemporanea di Roma, Roma, Italia
until 16.02.2025
Alberto Garutti
Madonna
2007
scultura in ceramica, dispositivo elettrico di termostatazione
178 x 49 x 49,5 cm 135 x 70 x 70 cm (base)
Kunsthalle Düsseldorf, Düsseldorf, Germany
until 23.02.2025
Sheila Hicks
Convergence ardoise, 1996
linen
90×90 cm
MUSEO MADRE, MAXXI, MAMbo
until 25.09.2024
ALBERTO GARUTTI ( 1948/2023 ) has been, more than an artist of Galleria Massimo Minini, an unique and extraordinary friend.
A huge monographic publication conceived by Germano Celant and the artist, published by Hatje Cantz was on stage at:
29/08; MUSEION, Bolzano, at 6 PM
23/09: MUSEO MADRE, Naples, at 6pm
24/09: MAXXI, Rome, at 6pm
25/09: MAMbo, Bologna, at 6pm
and in the near future will be discussed at:
23 Oct Milano Triennale
26 Oct Lausanne, Mudac
30 Oct, Metz Centre Pompidou
This publication gives a comprehensive overview of the work of Italian artist Alberto Garutti. His innovative œuvre, consisting primarily of sculptures, installations, and works in public space, explores site-specificity along with its social realities and historical contexts. With the artistic and methodological strategies he has employed since the 1990s, he has revolutionized the vocabulary of public and site-specific art.
The monograph is realized thanks to the support of Directorate-General for Contemporary Creativity of the Ministero della Cultura in the context of Italian Council (2023) and co-financed by Galleria Massimo Minini.
This project is supported by MAMbo – Bologna in collaboration with:
Centre Pompidou-Metz;
Museo Madre, Naples ;
Kunstmuseum Liechtenstein, Vaduz;
MAXXI – Museo nazionale delle arti del XXI secolo, Rome.
MUDAC/Lausanne;
Zerynthia Associazione per l’Arte Contemporanea . Roma.
ALBERTO GARUTTI, curated by Studio Celant
with texts by Eva Fabbris, Alberto Garutti, Antonella Soldaini
English / Italian, 620 pages
Published by Hatje Cantz, Berlin (English) and a+mbookstore, Milan (Italian)
Monograph of Alberto Garutti, edited by Studio Celant
2024
Anish Kapoor awarded the 2025 Wilhelm Lehmbruck Prize
Lehmbruck Museum, Duisburg, Germany
The artist sculptor Anish Kapoor (born 1954 in Mumbai) will be honoured for his life's work with the renowned Wilhelm Lehmbruck Prize of the City of Duisburg and the Rhineland Regional Council. This has been decided by an international jury at the Lehmbruck Museum. Anish Kapoor is being distinguished for the outstanding quality of his often space-defying sculptures, which open up new dimensions of human perception.
The jury, chaired by museum director Dr Söke Dinkla, praised Anish Kapoor ‘as one of the most important and innovative artists of his generation. With great imaginative power, he expands our concept of the possible and challenges all our senses. It is the magic of monochrome, symbolically charged colours, reflective surfaces and monumental forms that makes Anish Kapoor's work unique. He uses a wide variety of materials, from colour pigments, wax, PVC and silicone to stone and steel with formidable technical mastery and precision. The interplay of architecture and sculpture in particular with which Kapoor transcends the limits of what is supposedly feasible, establishes correspondences with the architecture of the Lehmbruck Museum.
Anish Kapoor
Peter Halley: The Mirror Stage
NSU Art Museum Fort Lauderdale
until 12.01.2025
Ph. Peter Halley Studio
BAG - Bocconi Art Gallery, Bocconi Campus
until 19.10.2024
Vanessa Beecroft
VBSS.002
2006-2018
Digital C-print
Courtesy Fondazione San Patrignano, gift from the artist
Ex Asilo Regina Elena - Castagnole Monferrato
until 07.09.2024
Museion Passage, Bolzano
until 29.08.2024
Museion hosts the national première presentation of the first complete monograph on Alberto Garutti (1948-2023), the artist who redefined the way of doing public art in Italy. Conceived by Germano Celant and completed by Studio Celant, the book covers the key transformations in the art of Garutti, the artist, lecturer and one of the most influential figures on the Italian and European art scene in the last fifty years. Don't miss the presentation at Museion Passage on August 29, at 7:00 p.m.
The monograph on Alberto Garutti is a project promoted by Settore Musei Civici di Bologna | MAMbo - Museo d’Arte Moderna di Bologna in cultural partnership with Centre Pompidou-Metz (Metz), Donna Regina Foundation for Contemporary Arts – museo Madre (Naples), MAXXI Foundation - Museo Nazionale delle Arti del XXI Secolo (Rome), Kunstmuseum Liechtenstein (Vaduz), MudaC - Museum of Contemporary Design and Applied Arts (Lausanne) and benefits from the promotional support of Zerynthia Association for Contemporary Art.
The international editorial project is realized thanks to the support of the Directorate- General for Contemporary Creativity of the Ministry of Culture as part of the Italian Council (12th edition, 2023), the program for the international promotion of Italian contemporary art.
Cover of the monograph on Alberto Garutti, edited by Studio Celant
2024
Piccolo Museion – Cubo Garutti. Un racconto (A story)
Museion, Bolzano
until 01.09.2024
Installation view
Alberto Garutti
Piccolo museo per gli abitanti del quartiere Don Bosco
2001-2003
Opera finita
Fondation Louis Vuitton, Seoul, KR
until 08.09.2024
Don't miss "Atterrissage", the exhibition dedicated to the work of Sheila Hicks at Fondation Louis Vuitton in Seoul, on view until September 8, 2024. Breaking down the barriers between fine arts and applied arts, artist Sheila Hicks seamlessly blends modernism, abstraction, extra-western traditions and savoir-faire in her hand-woven works, soft sculptures, and monumental installations. Using sculptures and environments composed of wool, nylon, silk, linen or cotton, Hicks creates inviting atmospheres where visitors can wander.
Installation view
Sheila Hicks
Another break in the wall
2016
Photo credits: © Kwa Yong Lee / Louis Vuitton
Fondazione Michetti - Francavilla al Mare, Chieti
until 06.10.2024
Stefano Arienti
Autoritratto
courtesy the artist
Javits Center - New York
until 08.09.2024
Landon Metz
Untitled, 2020
Dye on canvas
200x160 cm
The Regent's Park - London
until 13.10.2024
Wilfredo Prieto
The end of the strike, 2024
Acrylic on canvas
59,5x81 cm
Ph. Andrea Rossetti
KW - Institute for Contemporary Art, Berlin
until 20.10.2024
Paul P.
Untitled
2020
Watercolor on paper
26,5x18,5 cm
Jonathan Monk: Torre Bonomo
Torre Bonomo, Spoleto
until 14.07.2024
Jonathan Monk
Sol Always Shines (nine books from my library) V
2020
Wood, wood glue, water based varnish, 24 carat gold leaf and plastic wall fixtures
21×12×6 cm
Paolo Novelli. Il giorno dopo la notte
CAMERA - Centro Italiano per la Fotografia, Torino
until 21.07.2024
Paolo Novelli
Day n.3
2017-18
Gelatin silver print
40×30 cm
Edition of 12 + II AP
Giovanni Anselmo. Oltre l’orizzonte
MAXXI, Roma
until 20.10.2024
Detail of
Giovanni Anselmo
Particular
1972-2016
projectors, slide with the word “particolare”
variable dimensions
When Images Learn to Speak
Arles, Les Rencontres de la Photographie
until 29.09.2024
Installation view
Hans-Peter Feldmann, Polygraphs, Gallery of Modern Art, Glasgow, 2017
Messe Basel - Messeplatz 10 - 4058 Basel, Switzerland
until 16.06.2024
For Art Basel 2024 we are presenting a selection of works by Carla Accardi, Daniel Buren, Sol Calero, Haris Epaminonda, Alberto Garutti, Peter Halley, Sheila Hicks, Paolo Icaro, Anish Kapoor, David Maljkovic, Landon Metz, Paolo Novelli, Wilfredo Prieto, Nedko Solakov.
Daniel Buren
Dal singolo al doppio
2023
Mirror, wood, film
318x200 cm and 304,5x91,35 cm
Dialoghi e altri sguardi. Il Tempo della Comunanza
Fondazione Garuzzo, Torino
until 15.09.2024
Detail of
LETIA – Letizia Cariello, Fratellini & Sorelline
2015-2021
Pairs of objects, porcelain and red thread
ph. Mattia Gaido
Pesaro 2024 – Capitale Italiana della Cultura
Pesaro
19.04.2024
Installation view
Paolo Icaro,
Meteorite, gemello
2024
Pesaro 2024 - Capitale Italiana della Cultura
Rifrazioni. 15 curatori x 15 artisti
Accademia di San Luca, Roma
until 28.06.2024
Installation view
Paolo Icaro, Sottosopra
2024
Accademia Nazionale di San Luca, Roma
Luigi Ghirri. Atelier Morandi
Palazzo Bentivoglio, Bologna
until 30.06.2024
Luigi Ghirri
Modena, 1975
Vintage C-Print
11.8x19.4 cm
Series Kodachrome
//
ITALIA 70 – I NUOVI MOSTRI
Milano
until 21.04.2024
Giulio Paolini, Delfo
1965, Fotografia su tela emulsionata,180 x 95 cm
PHOS, Torino
until 15.05.2024
Detail of
Paolo Novelli
Never Beyond n.2
2006
Gelatin silver print
30x40 cm
Davanti a Bellini. Quattro artisti contemporanei in dialogo con un capolavoro
Museo Diocesano Carlo Maria Martini
until 11.05.2024
Detail
Letizia Cariello (Letia), Museo Diocesano Carlo Maria Martini, Milano, 2024
Parole chiave per un Nuovo Umanesimo
Fondazione Luigi Rovati, Milano
until 11.04.2024
Detail of Letizia Cariello (Letia), Calendario Suono del Tempo
Penna a inchiostro su lenzuolo, ricamo e rami oro su telaio tondo, Ø 100 cm, 2023
ARKEN Museum of Contemporary Art
until 20.10.2024
Installation view
Anish Kapoor. Unseen, 2024, ARKEN Museum of Contemporary Art, Denmark
La Casa Dentro (The Home Within)
Fondazione ICA Milano
until 19.07.2024
Formafantasma
Triennale Milano
until 12.05.2024
Installation view
Dan Graham, A new work with curves, May 2015
VOL. XXXI: Futurism Drama
Museo del Novecento, Milano
until 12.05.2024
Haris Epaminonda
VOL. XXXI: Futurism Drama, Museo del Novecento, Milano, 2024
Fondazione Musei Civici di Venezia
Casa Carlo Goldoni, Venezia
until 24.11.2024
Detail of
Eva Marisaldi, Pixeland, porcelain confetti, 2005
Villa Bardini, Firenze
until 14.07.2024
Detail of
Mimmo Jodice, Mare Lux, opera n. 28, 2009
/
Taken Apart & Put Back Together Again
Tlön Projects, Amsterdam
until 21.04.2024
Installation view
Wilfredo Prieto, Fondazione Morra Greco, Napoli, 2019
Hans-Peter Feldmann – 100 Jahre
Kunsten Museum of Modern Art Aalborg, Denmark
until 26.06.2024
Installation view
Hans-Peter Feldmann / Pier Paolo Calzolari, April 2013
Mimmo Paladino in the Palace of the Pope
Palazzo Boncompagni, Bologna
until 09.06.2024
Portrait
Mimmo Paladino
Quartz Studio, Torino
until 20.04.2024
Quartz Studio is pleased to present a special project conceived as a dialogue between Isabell Heimerdinger (Stuttgart, Germany, 1963) and Jonathan Monk (Leicester, UK, 1969).
Heimerdinger and Monk, partners in life and art, reflect on Italy, starting from their experience in Rome several years ago to create an exhibition where their memories mingle with visions of grand tour travelers. A multitude of inspirations and techniques pile into the space: the Le Silence neon, Heimerdinger’s mosaic diptych, Monk’s collection of magnets, a boot-shaped wooden board, après Luciano Fabro (which becomes a base for Heimerdinger’s ceramic works). Themes of sacredness and irreverence, play and death are sparked by the powerful intersection of Heimerdinger and Monk’s work in this two-person show at Quartz in Turin.
Jonathan Monk
Selected Meeting Selected (Teatro Romano via dei Musei Brescia 13 settembre 2031 prima del tramonto)
2016
Colored vinyl letters on wall
230×150 cm
Castel Ivano, Trento
until 30.04.2024
Detail of
Roger Ballen
Off the hook
2004
Gelatin Silver Print
50x50 cm
Ed. 2/10
from Boarding House series
Museo RISO, Palermo
until 30.04.2024
Installation view
Vanessa Beecroft, vb62.017.nt, Chiesa dello Spasimo, Palermo, 2008
Digital C-print, 178×226 cm
Edition 1/6
Hammer Museum, Los Angeles
Hammer Museum, Los Angeles
until 05.05.2024
Installation view
Stanley Brouwn,
1 x 1 foot, 1 foot,
1991
2 aluminum elements presented on a wooden table
Dimensions of the table 1x1 m
Fondazione Made in Cloister
Fondazione Made in Cloister, Naples
until 21.09.2024
Detail of
Letizia Cariello, installation for InterACTION, Naples, 2024
The Metropolitan Museum, New York
The Metropolitan Museum, New York
until 16.06.2024
Detail of
Sheila Hicks
Ganymède, 2023
linen, cotton, synthetic fibers
86x86x10 cm
Serralves Museum, Porto
until 31.03.2024
Installation view
Dan Graham, A new work with curves, May 2015
Museo MAXXI, Roma
until 12.03.2024
Jan Fabre
Croci nel silenzio della tempesta, 1992
biro blu su seta
Palazzo delle Esposizioni, Roma
Palazzo delle Esposizioni, Roma
until 01.09.2024
Carla Accardi
Verde e blu, 1965
casein tempera on canvas
130×210 cm
Arch. n. 417 tris
The Design Museum, London
The Design Museum, Londra
until 08.09.2024
Curated by Hans Ulrich Obrist with Francesca Giacomelli at The Design Museum in London, this major exhibition will celebrate the life and work of one of the greatest Italian designers of the 20th century, Enzo Mari, whose designs have inspired generations of creatives around the world.
Not only one of the 20th century’s most significant designers, Mari was also an artist, teacher, theorist, and more. During his prolific career, he created countless enduring and timeless designs, filling the homes and streets of the Milanese and beyond. An outspoken critic of the design industry, his uncompromising belief in the social responsibility of design resonates powerfully today, as we face ecological and ethical issues with ever greater urgency.
Detail of
Enzo Mari
Struttura 728B
1963
Anodized aluminum
130,5×40,5×12,5 cm
MAXXI, Roma
until 14.04.2024
Detail of
Mimmo Jodice, Trittico di Ulisse, 1992
Car Crash. Piero Gilardi e l’Arte Povera
PAV Parco Arte Vivente, Torino
until 05.05.2024
Installation view of Car Crash. Piero Gilardi and Arte povera at PAV Parco Arte Vivente, Torino
Guggenheim Museum Bilbao, Bilbao
until 19.05.2024
Cuban Pavilion – Biennale di Venezia
Teatro Fondamenta Nuove, Venice
until 24.11.2024
Wilfredo Prieto will represent Cuba at the 60th International Art Exhibition La Biennale di Venezia.
The artist is presenting "Curtain".
Commissioner: Daneisy García Roque
Curator: Nelson Ramírez de Arellano Conde
Catalogue: Maretti Editore
Support: EMINENTE
Wilfredo Prieto ©️Joyme Cuan
TheMerode Art Salon, Brussels
until 08.03.2024
TheMerode is pleased to present Maurizio Donzelli’s exhibition Arazzi e Reti , curated by Daniella Ferretti.
Tapestries, in particular those created in the historical period from the Middle Ages to the early years of the Renaissance, exerted a strong fascination on Maurizio Donzelli. The absence of perspective, the dreamlike and enigmatic themes, and the fairy-tale atmospheres are the traits that most piqued the artist's interest.
For the exhibition, we will discover the approach of Maurizio Donzelli to making art that is rooted in philosophical considerations of the nature of perception, and how visual phenomena such as colour, images, and art itself affect the way we see and understand reality. He considers drawing both an intellectual and technical pursuit, and it is central to his practice. Donzelli’s work also features mirrors, which he sees as symbols of the process of perception.
Installation view of Maurizio Donzelli's exhibition: Arazzi e Reti at TheMerode Art Salon, Brussels
YOU MATTER. DON’T GIVE UP
Subtitled NYC, 113 Franklin St, Brooklyn, NY 11222
until 21.01.2024
Detail of
Wilfredo Prieto,
Egg and 8 Ball, 2016
6 x 11 x 6cm
You don't matter give up,
Subtitled NYC,
Ph. Paul Rho
National Gallery of Victoria, St Kilda Road Melbourne vic 3004
until 07.04.2024
For more than seven decades, Paris-based, American artist Sheila Hicks has worked with textiles to challenge traditional boundaries between art forms. She studied painting with Bauhaus artist and designer Josef Albers at Yale University, and gained insight into pre-Columbian weaving with art historian George Kubler. Hicks has lived and worked in Chile, Mexico, South Africa, India, Morocco, Japan and Saudi Arabia.
Informed by these extensive periods of time – travelling, living and working around the world – her depth of knowledge of materials and form is communicated through knotted, weaved and tied sculptural forms.
Installation view
Sheila Hicks,
Nowhere to go,
NGV Triennial, Melbourne.
Photo: Sean Fennessy
Palazzo Comunale Seriate, Piazza Alebardi n. 1, Bergamo
until 13.01.2023
Paolo Novelli
Day n.3
2017-18
Gelatin silver print
40×30 cm
Edition of 12 + II AP
A Cornered Solo Show #3 (with Charles Esche as my artistic conscience)
Belvedere, Prinz Eugen-Straße 27, 1030 Vienna
until 19.06.2024
Installation view
Nedko Solakov
"A Cornered Solo Show #3 (with Charles Esche as my artistic conscience)"
Belvedere, Vienna
November 24, 2023 - June 19, 2024
Photo: Johannes Stoll
La Biblioteca del Mondo. Conversation piece I Part IX
Fondazione Memmo, via Fontanella Borghese 56/b, Roma
until 21.04.2024
The Memmo Foundation presents La Biblioteca del Mondo, ninth from 13 December 2023 to 21 April 2024
edition of Conversation Piece, the annual exhibition cycle, curated by Marcello Smarrelli, born with
the intent to provide an overview of the Italian and foreign artists who choose Rome every year as
place of residence, research and work.
The ninth edition, entitled La Biblioteca del Mondo, involves nine artists who have a common denominator in use
of the book as "building material" of the work of art.
With Equilibrio (2023) Paolo Icaro gives body to space through a primary metallic structure that originates from the tracing of a few simple lines, articulated vertically, while it is placed on the ground, to do as a counterweight ensuring the balance of the sculpture, an edition of War and Peace (1863-1869) by Lev
Tolstoy, on whose open pages the artist places a sheet of dusting paper which has written on the reverse, War and peace in Russian and on the obverse, War and Peace in Ukrainian
Paolo Icaro
Equilibrio, 2023
Metal and book
Triennale Milano
until 11.02.2024
Detail of
Stefano Arienti,
Cancello dorato, 2020
Gold paint and digital printing on paper
Massimo Minini. The Story of a Gallerist
Maxxi, via Guido Reni 4/3, Roma
until 12.11.2023
Massimo Minini,
The Story of a Gallerist,
video 67 min, director Manuela Teatini
2019,
Hotel Principi di Piemonte, Via Piero Gobetti 15, Torino
until 05.11.2023
The ballroom of the historic hotel Principi di Piemonte | Una Esperienza in the centre of Torino will host, for the fourth time in collaboration with Artissima, a contemporary art exhibition titled "Perché non Lilloni?", curated this year by Massimo Minini and his namesake gallery in Brescia.
For the 50th anniversary of Galleria Massimo Minini, the project orchestrates a plot twist that draws attention to Umberto Lilloni (1898- 1980), seen by Massimo Minini as “a mysterious, metaphysical artist, a Morandi of the forest rather than the trees, creator of vases with cut flowers, landscapes of northern cities such as Stockholm, portraits, maidens…”.
Umberto Lilloni,
Bosco, 1968
oil painting on canvas
30×39 cm
OVAL – Complesso Lingotto Fiere Via Giacomo Mattè Trucco, 70 – 10126 Torino
until 05.11.2023
In a booth shared with Francesca Minini, we are presenting a selection of works by Carla Accardi, Stefano Arienti, Jacopo Benassi, Sol Calero, Ambra Castagnetti, Simon Dybbroe Møller, Flavio Favelli, Alberto Garutti, Landon Metz, Paul P., Giulio Paolini, Ali Kazma, Riccardo Previdi, Wilfredo Prieto, Albert Samson, Nedko Solakov, Francesco Simeti and Armando Andrade Tudela.
Alberto Garutti,
Un filo dorato lungo 18590 metri..., 2021
Brass wire ø 16 cm, brass shelf 18x35x31 cm
Peter Halley firma il nuovo Red Carpet
Veronafiere, V.le del Lavoro 8, 37135, Verona
until 15.10.2023
Peter Halley,
Magic Carpet,
Installation site-specific,
2023
Galleria d’Arte Moderna Achille Forti, Verona
until 03.03.2024
Giulio Paolini,
Et in arcadia ego, 2023
Pencil and collage on paper, triptych
TANZ AUF DEM VULKAN. Storie dalla Collezione Morra Greco II
Largo Proprio d'Avellino, 17 Napoli
until 16.12.2023
TANZ AUF DEM VULKAN is the new exhibition of the Morra Greco Foundation, an exhibition project that brings together a selection of works of painting, sculpture, installation, photography and video from the Morra Greco collection. The works on display interrogate the legacy of modernism through a critical reading of society and individual life in late capitalism.
The title refers to a 1938 German musical inspired by a phrase uttered by the then German Foreign Minister, Gustav Stresemann, who described German society in the midst of a turbulent situation of change as "dancing on a volcano".
There will be works of Candice Breitz, Adriano Costa, Lothar Hempel, Evan Holloway, Judith Hopf, Jonathan Horowitz, Jim Lambie, Miltos Manetas, Win McCarthy, Ryan Mendoza, Helen Mirra, Henrik Plenge Jakobsen, Daniel Pflumm, Hannah Starkey, Simon Starling are presented , John Pilson, Tim Rollins & K.O.S.
Ryan Mendoza,
The rabbit and his housewife,
2020
Oil on canvas, diptych
Left: 108.5x98 cm
Right: 77x54.5 cm
Place de l’Institut, Paris
until 25.10.2023
Installation view
Sheila Hicks, VERS DES HORIZONS INCONNUS, 2023, Pigmented acrylic fibers, approximately 5m50. Installation on the Parvis de l’Institut de France, Paris. Photography by Claire Dorn.
Courtesy of Sheila Hicks, Frank Elbaz gallery, Meyer-Riegger and Massimo Minini
La Cabane éclatée polychrome aux miroirs, travail situé (2000),
MAC VAL, Vitry-Sur-Seine
Photos-souvenirs : La Cabane éclatée polychrome aux miroirs, travail situé (2000), in « L’Oeil vérité. Le Musée au second degré », MAC VAL, Vitry-Sur-Seine, 2023. Détails © DB - SIAE
Anish Kapoor. Untrue Unreal
Fondazione Palazzo Strozzi, Firenze
until 04.02.2024
Anish Kapoor "Svayambhu"
2007
Dave Morgan. ©
Letizia Cariello Letia. Echelle
Milano, Cinema-Teatro Angelicum, Piazza San’Angelo, 2 - 20121 Milano
until 27.11.2023
Detail of
Letizia Cariello
"Planetario"
2023
Maxxi, via Guido Reni 4/3, Roma
07.10.2023
Alberto Garutti, "Queste luci vibreranno quando in Italia un fulmine cadrà durante i temporali. Quest’opera è dedicata a chi passando di qui penserà al cielo",
2017-19.
Veduta dell’opera presso Ca’ Corniani, Caorle. Fotografia di Agostino Osio.
Andature III Helene Appel / Eva Marisaldi
Museo Marino Marini, Firenze
until 24.12.2023
At the Marino Marini Museum in Florence, "Andature III" opens to the public on Thursday 5 October, on the occasion of the Florence Art Week, an exhibition with works by Helene Appel and Eva Marisaldi.
Starting from real, concrete or abstract data, Eva Marisaldi and Helene Appel, through their poetic imagination, turn their gaze to the "here and now" to attempt, through what is clearly visible to our eyes, to reach elsewhere, to a revelation , to that something that escapes, that we do not grasp, to open up to possible other meanings and transformations.
Eva Marisaldi
Frame da "Linee"
2019
Archivio Vincenzo Agnetti – Via Machiavelli 30 – 20145 Milano
until 10.01.2024
Detail of
Stefano Arienti
Gelsomino Canelli
2020
Lumière naturelle versus Lumière électrique, travaux in situ versus travaux situés
Centre d’art contemporain, Anglet
until 14.10.2023
From the end of the 1960s, Daniel Buren became interested in light, natural or electric, in a multitude of works playing with transparency, reflections, chromatic superpositions, lighting and light radiation.
Over the course of his interventions, which began in 1968 on glass roofs, windows, doors or facades, cellophane papers printed with white stripes were added to the striped papers, subsequently replaced by colored transparent filters which have become one of Daniel Buren's favorite materials. Thus the transparent color is introduced, described as indescribable by the artist.
Detail of
Photos-souvenirs: « Lumière naturelle versus Lumière électrique, travaux in situ versus travaux situés », Centre d’art contemporain, Anglet, 2023. Détaisl © DB - SIAE
Padiglione d'arte, Fondazione Luigi Rovati
until 30.09.2023
Detail of
Sabrina Mezzaqui,
Segni,
2005-2009
PROJECT ROOM – SANTIAGO TORRESAGASTI
Galleria Massimo Minini
until 11.11.2023
With Santiago Torresagasti's exhibition "zero virgola quattro", a new project begins. During the gallery's openings, the project room will present the work of young Italian and international artists.
The reproduction of moving images is the technological invention that has led human beings to maintain observation of the world in its act of transformation.
Santiago Torresagasti explores the microscopic distance between one image and another is where the observers build the perception of the image in their movements.
"Zero point four" is the calculation of the average time of the duration of a blink of an eye, the body version of darnkess between the movements and the world.
Detail of
Santiago Torresagasti
"0,4"
Video, 2023
Javits Center, Main Entrance Crystal Palace, 429 11th Avenue, New York
until 10.09.2023
In a booth shared with Francesca Minini, Galleria Massimo Minini presents a selection of works by Carla Accardi, Ivana Bašić, Sol Calero, Sheila Hicks, Anish Kapoor, Bertrand Lavier, Ryan Mendoza, Landon Metz, Paul P., Alice Ronchi, Francesco Simeti and Betty Woodman.
Landon Metz
MMXXIII XL, 2023
Dye on canvas
80×100 cm
Kunstmuseum St.Gallen
until 14.01.2024
Ph. Bjarne x Takata
Palazzo Martinengo Cesaresco, via dei Musei, 30, Brescia
until 03.09.2023
Installation view
Maurizio Donzelli
Palazzo Martinengo
2023
Museo Correr, Venezia
until 29.10.2023
Museo Correr’s initiative marks Accardi’s 100-year anniversary. Although she lived in Rome, Accardi maintained a personal and professional link with Venice throughout her life. In 1948 she made her debut at the Biennale, returning in 1964 with her own room and an introduction in the catalogue by Carla Lonzi. She returned in 1976, 1988 (own room) and 1993, and her work was shown posthumously in 2022. Works, photos and other documentary material confirm her relationship with Venice, including a photo from 1952, during the time of her show at Galleria del Cavallino, when she visited the Guggenheim collection with her husband, the artist Antonio Sanfilippo, and Tancredi Parmeggiani. Curated by Pier Paolo Pancotto, the Venice project is an homage rather than a retrospective exhibition. The limited selection of work is arranged in the form of an installation that interacts with the museum’s historical rooms. Despite their singularity, these rarely seen works fully represent her artistic research and, in their own way, summarise her creative journey.
Installation view
Carla Accardi
"The Seventies: Lenzuoli"
Museo Correr, Venice
Centre Pompidou Malaga
until 10.09.2023
Installation view
Sheila Hicks
"Hilos que viajan"
Malaga
2023
Conduits. Paintings from the 1980s
MUDAM, Luxembourg
until 15.10.2023
Installation view
Peter Halley. "Conduits: Paintings from the 1980s"
I nodi dei giardini del Paradiso
Grande Miglio, Castello di Brescia
until 05.11.2023
Installation view
"I nodi dei giardini del Paradiso"
Call of the Void, (Danse macabre No. VIII)
Museum Tinguely, Basel, Svizzera
until 29.10.2023
Roger Ballen, Headless 2006 © courtesy Roger Ballen
Giulio Paolini. A come Accademia
Accademia Nazionale di San Luca, Roma
until 15.07.2023
Giulio Paolini
Studio per “In cornice”
2023
pencil and collage on paper
50 x 70 cm
Art Institute Chicago, USA
until 31.07.2023
Stanley Brouwn
At this moment
1998
ink on paper
13x10cm
Quetzal Art Center, Vidigueira, Portogallo
until 31.08.2023
Installation view
"In the Pictorial Code" Quetzal Art Center, Vidigueira, Portogallo
MoMA, New York, Usa
until 09.09.2023
Armando Andrade Tudela Huaco Deforme
Armando Andrade Tudela
Huaco Deforme
Inside Out Center for the Arts
Johannesburg, Sudafrica
28.03.2023
Inside Out Center for the Arts, South Africa, Johannesburg
Luigi Ghirri e Modena. Un viaggio a ritroso
Fondazione Modena Arti Visive, Modena, IT
until 20.11.2022
Luigi Ghirri
Modena, 1975
Vintage C-Print
11.8x19.4 cm
Series Kodachrome
In “The Milk of Dreams”, 59th Biennale Arte.
La Biennale di Venezia.
until 27.11.2022
installation view
Roger Ballen
"The Theater of Apparitions"
2022 Biennale, South African Pavillion, IT.
Palazzo della Ragione, Bergamo, IT
until 29.01.2023
Jonathan Monk
Lost VI, 2017
marble thumb
21x142x37 cm
Istituto Italiano di Cultura, Stockholm, SE
until 06.06.2023
The title Fare piano refers to the expressiveness of the artist, developed modalities around the concepts of delicacy, slowness and silence. Mezzaqui's works concretize the passage of time in the material, by means of a manual process that imprints, in different forms and supports, the regularity of minute gestures (threading beads, cutting out, folding, drawing small motifs). In her works, she often compares writing (short texts, memoirs, literary references, reworked books).
Sabrina Mezzaqui
Senza Titolo I-II
2006
Sheets hand-carved in squares
140x140x6.5 cm each
Neuer Berliner Kunstverein, Berlin, DE
until 31.08.2023
Haris Epaminonda has conceived an architectural intervention that uses playful visual and conceptual shifts to subtly question entrenched social structures while suggesting possibilities for change. Extending this work is an installation at the window on the 1st floor of n.b.k., which makes further references and connections between the interior and exterior architecture. In her diverse body of work, which includes collages, installation, films, and photography, Haris Epaminonda explores the idiosyncratic inherent life of images, their power, and logic. Re-contextualized recurring motifs in Epaminonda's oeuvre reflect her preoccupation with archetypal forms, colors, light, composition, figuration, and abstraction. Her fascination with found imagery is evident in her distintive visual compositions, which link times and places and create new narratives.
Haris Epaminonda
Untitled #12 t/g, 2019
Veneered wooden structure, cushion with tassels
Overall dimensions 47X44.7X44.7 cm
Edition unique
© Petrò Gilbe
Comme tombèes du ciel, les couleurs in situ et en mouvement
Gare de Liège-Guillemins, Liège, BE
until 15.10.2023
Ten thousand square-meters of the roof's station is wrapped with transparent and adhesive filters in seven colors. Five colors - pink, green, blue, white and orange project a checkerboard pattern from the glass panels while two others yellow and red- cloak the side awnings in a form that is 'reminiscent of the striped panels,'a recurring feature of the artist's work since 1960s.
"It is the sun and the sky that will make these entirely coloured rectangles come to life with their projections onto the platforms, people, trains, objects, the stairs…These projections will unleash the colour to meander freely".
Daniel Buren
Daniel Buren
Comme tombées du ciel, les couleurs in situ et en mouvement.
Gare de Liège- Guillemins, Liège.
Details © DB-ADAGP Paris
//
in A Time of One’s Own: Escaping the Clock
Centre Pompidou Malaga, ES
until 15.10.2023
Goethe —the German writer who became the coordinator of the “cloud service” of the city of Weimar (which itself had a wide network of observation points)— used to say that the day is too long for those who don’t know how to appreciate or use it. We could apply this statement to life itself, which by definition is sometimes so short. If we don’t know how to appreciate and use time well, it can seem long and something even worse: empty. However, wasting or making the most of time is a subjective matter that varies from one person to another, depending on how we look at it. In these times when tribulations assault us in different ways and one after the other, and sometimes even simultaneously, rethinking the way we use our time —in other words, our life— is no longer a necessity but practically an obligation.
Valentina Moimas, the curator of A Time of One’s Own: Escaping the Clock, has selected a broad sample of works from the collections of the Musée National d’Art Moderne in Paris which shine a spotlight on the reflections and creations of artists, architects and designers about the place where we engage with ourselves, our loved ones and our surroundings, which is none other than time, that prized asset which we find so scarce.
José María Luna
Director of Centre Pompidou Malaga
Installation view
A Time of One’s Own: Escaping the Clock at Centre Pompidou Malaga, ES
Palazzo Reale, Palermo, IT
until 26.09.2022
The artist worked three years for this exhibition at the foot of Mount Etna always in contact with the Fondazione Federico II, in Palermo.
It is useless to look for a plot: to shatter any static of meaning, Mendoza chooses to break up, he chooses the path of anti-narration. The real plot is the non-plot. Works that go beyond images, which occlude the real meaning of the world declined by the establishment. Beyond the conflicts sedated by the appearance of meaning-images which regulate our breath without ever resolving the ambiguities of the consumer society.
In this organized delusion some clue, or point of reference, is found in two diametrically opposed elements.
The golden calf, which gives the exhibition title, biblical symbol of false idols and idolatry, which is contrasted by the bat: the anti-hero, which for Mendoza includes the multitude of the marginalized and the weakest. Behind that form that most have always looked at with reluctance, for the artist there is probably the body of anxieties and conflicts in society.
MAXXI, Rome, IT
until 25.09.2022
“A Cornered Solo Show #2”, curated by Zhou Hanru and Monia Trombetta, is Nedko Solakov’s second unconventional intervention for a corner of the MAXXI museum in Rome.
Writing and drawing enrich the stories conceived for this corner of the museum: short writings, aphorisms, double meanings become vehicles for comments and thoughts on social and collective issues.
Relying on a witty play on words - corner / cornered - the artist chooses a corner of the MAXXI to critically narrate highly topical socio-cultural questions and ironically reveal the most hidden mechanisms of contemporary art 'corner'. Of the latter he explores the complexities, contradictions, alternatives and experiments derived from the urge to think, to shape, to negotiate with the human condition and self-representation. In the course of work, reflections and thoughts on the Russian-Ukrainian war that broke out in February 2022 were added to these themes, which prompted the artist to replace some of his stories with new works designed to recall the tragic events of the present in the collective imagination.
Installation view
Nedko Solakov, A Cornered Solo Show #2, MAXXI, Rome, IT
© Nedko Solakov
Biblioteca Classense, Ravenna, IT
until 13.09.2022
Installation view
Maurizio Donzelli, Fragments, 2022, Biblioteca Classense, Ravenna, IT
Monopoli ancient seaside village, IT
until 04.09.2022
We are glad to announce the participation of Stefano Arienti in the new edition of the city-wide exhibition Panorama Monopoli, a project by ITALICS, curated by Vincenzo De Bellis, Curator and Associate Director of Programs, Visual Arts at the Walker Art Center in Minneapolis.
The exhibition itinerary encompasses the ancient historic center of the Adriatic town and entails twenty exhibition venues, including palaces, churches, piazzas, votive aedicules hidden in alleyways and lanes. It will host 70 works ranging from the 15th-century to today and includes 7 performance pieces, created by 60 international artists of different nationalities and from different eras and generations.
We are waiting for you in Monopoli for a new itinerary of ancient and contemporary art and architecture, accompanied by a schedule of informative side events, performances and special projects open to the public. “Panorama Monopoli” is realized with the patronage of the Ministry of Culture, the support of the Department of Tourism, Economy of Culture and Valorization of the Territory of the Puglia Region and the Departments of Culture and Tourism of the Municipality of Monopoli.
Belmond Ltd. is joining ITALICS as main partner to support the Consortium activities and “Panorama Monopoli”.
Fosun Foundation, Shanghai, CN
until 04.09.2022
Bertrand Lavier
Blue Eames
2017
Acrylic painted chair, wooden base
chair : 78,5 x 63,5 x 60 cm
base: 9 x 80 x 80 cm
Courtesy Galleria Massimo Minini
Friendly in the Knife-edged Moment
Oakville galleries, Toronto, CA
until 28.08.2022
Paul P explores the visual aesthetics of the late nineteenth century, he considers and commemorates queer social histories, particularly the period of gay liberation that occurred just before the onset of the HIV/AIDS epidemic in the 1980s.
The artist is known for portraits appropriated from source material found in the Canadian Lesbian and Gay Archives. Less well known are his numerous delicate watercolours of gardens, flowers and statuary, as well as seascapes and shorelines, drawn from life over the past 15 years. Responding to views of the garden and lake outside the gallery, the exhibition brings together a number of these non-figurative works, which are almost entirely exhibited for the first time. They include sketches of flowers, flower stalls, neoclassical statuary in the Jardin des Tuileries, a public park in Paris (where the artist was based for many years), as well as seascapes in various locations, including Venice, Italy, its namesake Venice Beach in California, and Fogo Island in Newfoundland.
The exhibition title, 'Friendly in the Knife-edged Moment', is an excerpt from a poem by Jocelyn Brooke. An early twentieth-century English author and naturalist, his search for a rare orchid became both the catalyst for one of his most well-known books (The Military Orchid, published in 1948) and a symbol of a search for self. The imagery in Paul P.'s work is presented in a similarly allusive way, as subtle allegories expressing the politics and aesthetics of longing.
Paul P.
Untitled
2009
Oil on canvas
46x33 cm
Courtesy Galleria Massimo Minini
Coal Drops Yard, London, UK
until 16.10.2022
Sheila Hicks has realised “Woven Wonders”, a new monumental outdoor site-specific installation which has been displayed today at Coal Drops Yard in King’s Cross, London.
The artist has made a vast, floating sculpture which transforms Coal Drops Yard into an diversified environment of colour and moving forms. The uniquely chosen hydrophobic material is resistant to the atmospheric agents, thus creating a fadeless and timeless experience in vibrant technicolour.
The work is suspended between two former buildings and creates a connecting threads becoming a focal point for community assembly and future cultural expression.
Installation view
Sheila Hicks, Woven Wonders, London, 2022 © Sheila Hicks
Ph: Cara McCarty
in Giardini disobbedienti
Hortus Artieri, Trento, IT
until 18.06.2022
Paolo Novelli
Day n.2
2017-2018
Gelatin silver print
40x30 cm
Edition of 12 + II AP
Magazzino Italian Art, Cold Spring, NY
until 09.01.2023
Through an ample selection of relevant works, the exhibition seeks to recount and illuminate the experience of a pioneering artist who, at the height of the 1960s, opened a dialogue between Italy and the United States, and who remains committed to investing in the formation of an international artistic community that embodies the tie between art and life.
Since 1965, Gilardi has conceived Tappeto-Natura to concretize a dream: the dream of an ideal nature, uncontaminated, “recreated” through an artificial material like polyurethane foam, which takes shape through the intaglio (carving) technique and is then saturated with synthetic pigment – at first dissolved in vinyl resin, and later, in rubber latex. During this era, the artist’s intent was to create real “aesthetic objects of practical use” that overcome the dualism between art and technology; natural and artificial; body and world. It was possible to walk, lie down and have a multisensory experience of art and life on these soft rugs. Focus and aim were redirected towards the infinite possibilities of these works and towards creating everyday interactions with each individual consumer.
Installation view
Piero Gilardi: "Tappeto-Natura" at Magazzino Italian Art, Cold Spring, New York, NY, 2022 Photograph by Marco Anelli/Tommaso Sacconi ©
Roger Ballen. The place of the upside down
Palazzo del Duca and Palazzetto Baviera, Senigallia, IT
until 02.10.2022
Senigallia città della fotografia [Senigallia City of Photography] presents Roger Ballen' solo show curated by Massimo Minini. It is the only one that will take place this year in Italy in a public location, in addition to his participation in the LIX Biennale in Venice for which he was
called to represent South Africa in its national pavilion.
This exhibition investigates the human condition and the
depths of the subconscious, inviting the viewer to ask himself questions about what he is looking at
and consequently to ask questions about himself as well. The images created by Ballen are
characterized by a perfectly recognizable visual style, to the point that a neologism, "Ballenesque",
has been coined to define a mysterious, chaotic, sometimes dark atmosphere that resides in his
works. Over the years the artist's style has evolved in search of new creative possibilities, he has
experimented different visual languages where photography interacts with drawing, painting,
collage and sculpture, giving life to a new hybrid aesthetic that has made him famous all over the
world.
Roger Ballen
Woman man and dog
1995
Archival pigment print, 40x40 cm
Ed. 29/35
Luigi Ghirri (non) luoghi
Fondazione Cassa di RIsparmio di Jesi, Palazzo Bisaccioni, Jesi, IT
until 31.07.2022
The solo show, curated by Massimo Minini,
wants to present itself as an emotional story,
a path that reveals to the visitor the way in which
Ghirri enters into a relationship with things,
celebrating the artist and focusing on his intimate need to photograph.
With his shots he demonstrates how photography generates
possible worlds, never artificial and unreal, but which always
tell the perception of another truth, the result of the perfect
"balance between detection and revelation".
Luigi Ghirri
Ravenna
1986
serie Un piede nell’Eden
Stampa cromogenica da negativo 6x7 cm
43.5 x 54.5 cm
The Hepworth Wakefield, Wakefield, EN
until 25.09.2022
Sheila Hicks
Perruque, 1968-1969
linen and cotton
48×24×32 cm
KAPOOR | UNA MOSTRA IN DUE SEDI
Gallerie dell'Accademia - Palazzo Manfrin, Venezia, IT
until 09.10.2022
Anish Kapoor
Lady Chrysanthe, 2016
Fiberglass and gold
65 x 65 x 65 cm
Edition 3/3 +2AP
Palais des Etudes des Beaux-Arts Paris, Paris, FR
until 24.04.2022
Landon Metz
Untitled, 2020
dye on canvas
200x160 cm
Villa Carmignac, Île de Porquerolles, Hyères, FR
until 16.10.2022
Haris Epaminonda
Untitled #03 t/g, 2019
Mirrored and black polished lacquered wooden structure with brass hinge, veneered wooden structure, cube and panel, ceramic vase and glazed ceramic bowl, plaster head
180×107,5×112,5 cm
in Astratte. Donne e astrazione in Italia 1930-2000
Villa Olmo, Como, IT
until 29.05.2022
“The exhibition tells about some long-neglected or forgotten protagonists of Italian abstract art who, thanks to the critical activity carried out in particular in the last twenty years, are returning to the center of attention”.
Carla Accardi
Parentesi n.1, 1981
vinyl paint on raw canvas
141×172 cm
Arch. n. 806
Palazzo Pusterla, Milano, IT
until 03.04.2022
Maurizio Donzelli is among the artists presented at the new exhibition space of Banca Generali, BG Art Gallery.
Banca Generali has been working for some time to support culture in its various forms of expression. In particular, in recent years, the Bank launched the BG ArTalent project embarking on a path to promote creativity in its most innovative expressions and to bring new light on Italian talent.
The collection of BG Art Gallery is currently distinguished by the presence of 13 works representing the best of Italian contemporary art.
The works of the 5 artists selected by Vincenzo De Bellis (associate director of the Walker Art Center in Minneapolis, USA) as part of the BG ArTalent project and then those of 5 other leading exponents of contemporary art intermingle and dialogue with each other.
Maurizio Donzelli
Mirror #0222, 2022
Mixed media, wooden frame
140x95,8x7,5 cm
Fondazione Made in Cloister, Napoli, IT
until 10.09.2022
Peter Halley is on view in this group show curated by Demetrio Paparoni at Fondazione Made in Cloister, in Naples. “INTERACTION responds to a precise social, cultural, political and dialogic message, which proposes new horizons for a global city in which different languages confront each other and coexist above any conflictual dimension, without losing their own specificities. The exhibition proposes the concept of "action", combined with those of "cooperation", of "doing", of "building". The title of the exhibition, as its curator explains, therefore emphasizes the need to combine "doing" with "building together"”.
Installation view
"INTERACTION", Fondazione Made in Cloister, Naples
© Francesco Squeglia
Museo Novecento, Firenze, IT
until 07.09.2022
Giulio Paolini
Atto di nascita, 2021
photographic reproduction, plexiglas plate, plaster casts, plexiglas case, white base plate 35 x 35 cm, case 40 x 40 x 40 cm, base 100 x 45 x 45 cm,
overall dimensions 140 x 45 x 45 cm
in FUTURA. Measuring Time
Hamburger Kunsthalle, Hamburg, DE
until 10.04.2022
Ceal Floyer
KEEP CLEAR, 2021
Inline printed floor marking tape, empty wall
Variable dimensions
Edition 1/4 + II AP
in Marta Maps. New Routes through the Collection
Marta Herford Museum of Art, Architecture, Design, Herford, DE
until 29.05.2022
Carla Accardi
Si sdoppia e ricompare
2013
Vinyl paint on canvas
100×160 cm
Arch. n. 374C
Kunsten Museum of Modern Art Aalborg, DK
until 21.08.2022
vbm.012.10, Gambe nere, 2010
black belgium marble (feminine legs), pink portugal (base), white Carrara, black belgium (wedge)
Daniel Buren: Going for a Walk in a Zigzag
EMMA, Espoo Museum of Modern Art, Espoo, FI
until 17.07.2022
Photo souvenir: Daniel Buren, Folding Screens, (Les Paravents), work in situ, 2022
© DB-ADAGP
in Poetica del semplice. Moda e design secondo Monica Bolzoni/Bianca e Blu
Galleria Nazionale d'Arte Moderna e Contemporanea, Roma, IT
until 27.02.2022
This exhibition is dedicated to Monica Bolzoni and to her historic brand and perfomative place Bianca e Blu to tell her experience as a fashion designer in order to explore the process which has animated her creativity. The poetic of the simple is the essential ingredient; it gave life to a unique language achieved making highly selective choices. The object of her research are the archetypes of the feminine, according to precise study of modular forms. The result is a contemporary and sophisticated canon of elegance which enhance the real body of the woman.
Letizia Cariello is part of this collective exhibition with My Sister is Always with Me: a performance in which the artist turns into art seven pieces in jersey by Bianca e Blu. This is the first work for which the artist used her face and body, a work physically engaging: holding a pose copied from a painting requires not only identification.
Letizia Cariello, My Sister is Always with Me, cibachrome print, 120x90 cm, courtesy the artist and Fondazione Museion
in Praise the Insignificant Dwarf Planets
DANGXIA Art Space, Beijing
until 23.04.2022
Ariel Schlesinger is part of the inaugural exhibition “Praise the Insignificant Dwarf Planets” at DANGXIA Art Space in Beijing, curated by Yang Zi, with his work entitled “Two Good Reasons”.
Here a excerpt of Massimo Minini’s poem about Ariel Schlesinger’s artwork:
white sheets dance
Though the maker may well disagree this is a dance of love I see dancing joined as foes and friends two white fields laid out for the pen. the room is empty. on the floor the sheets engage in open war.
a war of forms in three dimensions harmoniously curved ascensions.
Two shapes lie flat there, on their own white rectangles: each one alone.
Ariel Schlesinger, Two Good Reasons, 2015,
Polypropilane, engine, wood, 100x132 cm each sheet 310x300 cm set up dimension.
Courtesy Galleria Massimo Minini
//
in Canova tra innocenza e peccato
MaRT, Rovereto, IT
until 18.04.2022
Installation view
Vanessa Beecroft, vb62.017.nt, Chiesa dello Spasimo, Palermo, 2008
Digital C-print, 178×226 cm
Edition 1/6
/
in Bocconi Art Gallery 2021
Via Röntgen 1, Milano, IT
17.11.2021
Letizia Cariello, Gate # 0 Bocconi, 2020, Site Specific, Unique edition
CSAC, Abbazia di Valserena, Parma, IT
until 28.02.2022
Eva Marisaldi, Omissioni, 1998-2018
Post-it modified
76.3 x 76.3 cm
in “Mehr licht!” (Più luce!)
Casa Masaccio, San Giovanni Valdarno, IT
until 06.02.2022
The last words spoken by Johann Wolfgang von Goethe before his death give the title to the next exhibition of Casa Masaccio.
The concept of light has been a fundamental element of the history of art, as well as an essential means for the vision and transmission of colors in space and, since the sixties of the last century, has become an integral part of the expressive language of art.
The artist Alberto Garutti takes part in the exhibition that brings together artists of various nationalities and generations whose works focus on perceptual phenomena and on the idea that light itself can be both the subject and the object of art.
The journey of light has very remote sources, has crossed myth and metaphysics, theology and art, arriving secularized in our daily lives, trapped in our control and our operation. Becoming the material of our objects and the object of our work, it calls for a different perception of the world, a different posture of the body, a much more liquid boundary between inside and outside.
Installation view
"Mehr Licht", Casa Masaccio, San Giovanni Valdarno, AR
©Ela Bialkowska
OKNO studio
in Understudies: I, Myself Will Exhibit Nothing
KW Institute for Contemporary Art, Berlin, DE
until 09.01.2022
Understudies: I, Myself Will Exhibit Nothing is an exhibition curated by the artist Iman Issa, whose work often takes the form of displays featuring multiple elements and where text plays a central role. The curator reflects on her artistic methodology through the prism of a group exhibition. In order to unfold this introspective venture, the exhibition brings together works by artists, writers, and filmmakers, who each create their own parameters and universes within their practice. Many of the selected works touch upon notions of illustration, portraiture, and self-narration. The artist Haris Epaminonda will exhibit one of the books, taken from the ongoing project The infinite library, she made through the recombination of pages from one or more found publications; the concept for each new volume develops gradually, starting from the content of the original book and the associations that unfold in the process of making.
Haris Epaminonda, Daniel Gustav Cramer, The Infinite Library Index
8 color risograph prints with a two page Index
Edition of 50
in Autoritratto come Salvo
MACRO, Roma, IT
until 27.02.2022
Self-portrait as Salvo is a polyphonic compendium of works that outline the complexity of the figure of Salvo. Born in Leonforte in the province of Enna, he moved in 1956 to Turin where at first he developed a research closer to Arte Povera thanks to artists such as Sol Lewitt, Robert Barry and Joseph Kosuth. In 1973 he returned to painting, a painting practiced in the very first years of training and which, at the beginning of the seventies, was to be considered as an unconventional choice, out of time. The central themes of his research such as the relationship with tradition and the past, the reinterpretation of the history of art, combined with a research partly self-satisfied ego, are expressed in a more solid way in this second moment that will last until 2015.
The exhibition project, playfully echoing the spirit of one of the artist’s best known works, Autoritratto come Raffaello, offers in the form of a large picture gallery an exhaustive image of his work. The artist Jonathan Monk together with Nicolas Party and Nicola Pecoraro will be part of this drawing on the walls following an irregular timeframe, while the sound performer and musician Ramona Ponzini will offer her personal interpretation of the exhibition.
Salvo, Autoritratto come Raffaello, 1970, Collezione Paul Maenz, Berlino
Modern Art Oxford, Oxford, UK
until 13.02.2022
Installation view
© Ben Westoby
Frac Grand Large, Dunkerque, FR
until 31.12.2021
Installation view
© Salim Santa Lucia
“Castello Ursino” Civic Museum, Catania. IT
until 06.01.2022
THE WORLD ACCORDING TO ROGER BALLEN
Fotomuseum Den Haag, Den Haag, NL
until 06.03.2022
Installations view
© Gerrit Schreurs
Università Cattolica del Sacro Cuore, Milano, IT
until 27.11.2021
Letizia Cariello
Calendario Door
scrittura a inchiostro e ricamo su lenzuolo intelaiato
Ø 120 cm, 2017
Fondazione Rolla, Bruzella, CH
until 09.01.2022
John Hilliard
For Your Eyes Only, 1995
cibachrome print on aluminium
126 × 142 cm
Ettore Spalletti. Il cielo in una stanza
Galleria Nazionale d'Arte Moderna e Contemporanea, Roma, IT
until 27.02.2022
The first exhibition that celebrates the great master of contemporary art a few years after his death.
A selection of works, including painting and sculpture, rewrite the spaces of the Central Hall transforming it into a landscape that expresses the meaning and scope of the artistic research of Ettore Spalletti, protagonist of a solitary path and characterized by features of uniqueness in the history of Italian contemporary art, starting from the beginnings in the seventies, crossed the swirl of the avant-garde from a perspective detached, original and strongly coherent.
Rigorous choices and a very clear visual education have placed a limit to primary geometric shapes and colors of choice, such as blue, white, gray, pink and purple. The same applies to sculptural forms, such as the column, an element of tradition, the ellipse, the basin and the amphora. But it is a limit that stretches to infinity, where the golden rules of the artist have the power to amplify the expressive power of his works, from the writing of pure color to the studied interactions with surfaces and environmental dynamics.
The light blue color, which dominates the exhibition, in the form of the monochrome occupies the space and invites the viewer to immerse themselves in this landscape and take part in an emotional experience. The vibrations of the blue color follow the variation of light and atmospheric situations, while even the time of the observer acquires a meditative dimension. The presence of a metaphysical tension that characterized Spalletti’s research, at an artistic and personal level, is therefore evident. The questions about the incorporeal dimension that the artistic object possesses subtend a deep spiritual involvement, the same that guides him in the intent to translate the supernatural into something tangible, to bring the sky into a room.
CENTRALE.hall, Bruxelles, Belgio, BE
until 13.03.2022
Sabrina Mezzaqui participates in the collective exhibition entitled La Vie matérielle: dialogue between 12 artists, Italian and Belgian, around the link between art and life.
La Vie matérielle, like the homonymous collection by Marguerite Duras, explores and connects artistic development and personal experience. Both the Duras' book and the works on display are defined by a constant dialogue between ordinary everyday life (in which the body is a crucial element) and the inner and intimate life, fought between its deep aspirations and reality.
By re-using, hybridizing, diverting or decontextualizing organic materials, objects of daily use, and offering them a new life that transcends their usual use, the artists on display go beyond the divisions between the artistic disciplines to create a "refuge" of the self in the world.
Sabrina Mezzaqui
Rilke, 2014
Grey cellulose (from R.M. Rilke "Elegie Duinesi, nona elegia"
70×70 cm
Tra albe e tramonti. Immagini per la Puglia
Fondazione Pino Pascali, Polignano a Mare, Bari, Italia, IT
until 20.01.2022
The famous photographer, one of the most significant of the second half of the twentieth century, undertook in 1983 a personal trip to Puglia, taking over a hundred photos; an important selection of these was then exhibited at the Fiera del Levante in Bari.
The Ghirri family, through negatives and original photos, reconstructed the journey with the images of the photographer who loved Puglia so much and often returned with friends like the songwriter Lucio Dalla, the writer Gianni Celati and the intellectual and photographer Gianni Leone.
Luigi Ghirri, Otranto, 1982
dallas contemporary, Dallas, Texas, USA
until 13.02.2022
CELL GRIDS, Peter Halley’s first exhibition in Texas in more than fifteen years, presents a unique series of paintings made from 2015 to the present. CELL GRIDS showcases a surprising vein of Halley’s work, paintings in which one element of his distinctive iconography – his intensely colored rectilinear “cells” – is isolated and arranged into syncopated grids, bringing his work into dialogue with the structural grid of classic Modernism as represented in the work of Piet Mondrian, Agnes Martin, Andy Warhol and others.
Since the 1980s, Peter Halley’s paintings have blurred the distinction between geometric abstraction and representation. In Halley’s paintings, monochromatic squares become “prisons” and “cells,” while straight lines become the “conduits” connecting them.
The paintings on view in CELL GRIDS at Dallas Contemporary are a focused presentation of a new direction in Halley’s work developed over the last six years in which the artist has isolated a single element of his personal iconography, the intensely colored rectilinear “cells,” arranging them into large-scale syncopated grids.
Multiple canvases are bolted together into a tightly packed jigsaw puzzle devoid of atmosphere, while the paintings’ bright, luminous color combines with their rough tactile surfaces to create a palpable tension between attraction and repulsion.
Devoid of Halley’s usual practice of deploying his prisons, cells and conduits in a figure-ground space to create a recognizable narrative, the CELL GRIDS paintings tread a subtle line between purist Modernist abstraction and Post-Modern referentiality, creating yet another level of tension and ambiguity.
Shown together at Dallas Contemporary for the first time, this group of eighteen large-scale paintings extends Halley’s ongoing exploration of the language of painting. The exhibition offers a surprising new way of engaging with the artist’s work.
CELL GRIDS curated by Dallas Contemporary Executive Director Peter Doroshenko and will be accompanied by an exhibition catalogue.
Peter Halley. Under the Light, 2021. acrylic, fluorescent acrylic, and roll-a-tex on eleven joined canvases.
© Peter Halley
MUDAM, The Contemporary Art Museum of Luxembourg, LU
until 18.04.2022
A Cornered Solo Show #1 (2021) is deliberately an unconventional intervention conceived by the artist Nedko Solakov (b. 1957, Cherven Bryag, Bulgaria) for a corner of the museum (as opposed to the galleries where artworks are usually displayed). It is for the artist the first of a series of solo exhibitions in insignificant corners in various prominent museums.
Renowned for his acerbic sense of humour and work that highlights the absurdities and contradictions of social norms, Solakov chose to present his work in Mudam’s cloakroom. In this confined and often overlooked space, he presents an installation that plays with the aesthetic judgements and codes of the retrospective exhibition format. The exhibition can be seen to engage with the subject of the social isolation engendered by the current health crisis. The artist elaborates: ‘It is a story about our times, when, even if we are cornered by the situation worldwide, we still have to survive, and an artist’s point of view, from the corner, might help us to better swallow the bitterness of daily life’.
34th Bienal de São Paulo – Though it’s dark, still I sing
Pavilhao da Bienal, São Paulo, BR
until 05.12.2021
Some artists’s work has its own, unique tone, which makes it immediately recognizable. In the case of Haris Epaminonda (1980, Nicosia, Cyprus), this tone permeates her collages, videos, films, artist books and even the elements that come together in her always carefully arranged installations. These installations often include simple objects of timeless beauty, such as vases and bowls, and sculptures of a lightness that makes them almost ethereal. These elements are often arranged on, near or behind bases, in an extremely self-aware balance, where nothing can be removed without profoundly changing the sense of the whole.
In Epaminonda's work, everything is significant, including, or principally, the spaces, the voids, the remains: “I consider the exhibition space as part of the work – not only the occupied zones, but equally the empty gaps, rhythm, distances”, she says. It is in this ability to shift the viewer's gaze, to lead them to see what seemed, until then, irrelevant, that we can identify a distinctive quality in Epaminonda's work. The short films which make up the series Chronicles, filmed in distinct locations over a number of years, can be seen as a programmatically dispersed and yet coherent index of possible suspended narratives: the numbers of the page of a book, small ancient sculptures against colored backgrounds, a lone palm tree against a blue sky… For the work commissioned by the 34th Bienal, Grids (2021), Epaminonda delved into the huge archive of 35mm photographs she has been taking since 1997. Images taken in different moments and places are put in relation to each other, identifying and making almost tangible the forces of attraction that, invisible, operate in the world.
Jacopo Crivelli Visconti
Installation view
Haris Epaminonda,
34th Bienal de São Paulo - Though it’s dark, still I sing
I quaderni di Hannah Arendt
Palazzo Borromeo, Milano
until 02.11.2021
The miart returns to Milan, this year exceptionally in September, with an exhibition organized by LCA Studio Legale at Palazzo Borromeo, in collaboration with Antonini Milano, AXA XL and Apice.
This year, with the support of the Galleria Continua and the Galleria Minini, Sabrina Mezzaqui will exhibit her work "I quaderni di Hannah Arendt".
As the artist writes: "This work is a manual copy of the pages of Nel deserto del pensiero - Quaderni e diari 1950-1973 by Hannah Arendt, ed. BEAT, publication of 29 manuscript workbooks, in which the author notes and deepens her reflections. Even Hannah Arendt frequently copies texts by other authors and writes, in addition to German, in English, French, Greek and Latin. The 29 notebooks have been hand-bound with gray-black covers decorated with motifs inspired by the Bauhaus period, while the white sewn sheets are those used for printing legal and administrative documents, light paper that makes noise when leafing through it (...)".
"Reality isn't tough, it isn't strong, it needs our protection".
Hannah Arendt
Detail of
Sabrina Mezzaqui
I quaderni di Hannah Arendt,
Palazzo Borromeo, Milano, IT, 2021
MIART 2021 – Promozione delle opere contemporanee in mercati internazionali attraverso la partecipazione a specifiche fiere del settore
Fiera Milano City
until 19.09.2021
PANORAMA PROCIDA. Island-wide exhibition curated by Vincenzo de Bellis Procida, Italy. September 2- 5, 2021
Procida, Italy
until 05.09.2021
Galleria Massimo Minini – member of ITALICS – is pleased to announce the first in-person project of the consortium. ITALICS, the first consortium in Italy to unite more than sixty of the country’s most influential galleries of contemporary, modern and ancient art, presents its first in-person project: PANORAMA, an island-wide exhibition on Procida (off the coast of Naples) from Thursday, 2 September to Sunday, 5 September 2021, curated by Vincenzo de Bellis, Curator and Associate Director of Programs, Visual Arts at the Walker Art Center in Minneapolis.
It is the first in a series of exhibitions, each with the title PANORAMA, organised by ITALICS to tell the story of some of the most fascinating places in Italy, in an offline continuation of the extraordinary journey begun in October 2020 on the pages of the website italics.art.
The first exhibition in the PANORAMA series is taking place on the island of Procida, a picturesque location distinguished for its intellectual bent and natural surroundings, in the form of a long conversation between the curator Vincenzo de Bellis and Agostino Riitano, director of Procida: Italian Capital of Culture 2022.
The exhibition brings together about forty-five works of art spanning sculpture, painting, video, performance and installations from a wide range of historical and production contexts. The itinerary stops at twenty sites island-wide, including public and private buildings, churches, historical palazzos and more, all pivoting around the fortified village of Terra Murata, dominated by Palazzo d’Avalos (1563), a former prison citadel.
Through constant dialogue and comparison of notes, Vincenzo de Bellis and Agostino Riitano highlight a few of the key features of the project: the relationship between work of art and a highly distinctive space like that of the island, social potential, understood as an attempt to update communication and the use of art and, lastly, dialogue with institutions.
Spreading the project throughout the island, PANORAMA presents not just Procida’s works of art but also its houses, churches, streets, terraces, piazzas and even residents.
With PANORAMA, ITALICS is renewing its commitment to promote the beauty of Italy in all its profound complexity, through the eyes of Italian gallerists.
PANORAMA is made possible by Intesa Sanpaolo, ITALICS’ project Partner, with additional support from the Region of Campania and the Fondazione Donnaregina per le arti contemporanee - museo Madre, and the sponsorship of the Municipality of Procida. The exhibition is part of the program “Towards Procida 2022”.
Museo Nivola, Orani, IT
until 22.08.2021
Starting in the 1990s, Peter Halley began to transform the architectural space through digitally generated mural works, sometimes developed in collaboration with other artists. The project created for Museo Nivola focuses on this aspect of his work: Halley has completely transformed the museum’s temporary exhibition space’s walls, in tune with the mission of Museo Nivola, an institution dedicated to Costantino Nivola, one of the protagonists of the movement for a “synthesis of the arts” at mid-century. In the old public washhouse used by the museum for temporary exhibitions – a clear and linear building similar in shape and proportions to a church – the tone is joyful and lively, the space euphoric. Entering from the terrace – a light-flooded environment overlooking the museum park – the visitor will experience a visual shock produced by Halley’s favorite fluorescent hues and the images’ exuberant and dynamic character. Arranged in a scheme recalling the Italian fourteen-century fresco cycles, which suddenly rises in a series of colored waves, the surface combines the artist’s painting’s distinctive repertoire with art historical references from the Renaissance to Warhol, from Matisse to cave art.
“The installation – states Giuliana Altea, curator of the exhibition together with Antonella Camarda – enhances the contrasts in Halley’s painting. It is both conceptual and decorative, critically reflective and spectacular, intensely contemporary, and nourished by the dialogue with art history. It combines opposite polarities, not so much to seek a synthesis between them or to try to reconcile them, but rather to put them in tension and trigger short circuits of the viewer’s imagination.”
Installation view
Peter Halley, Antesteria, 2021, Museo Nivola, Orani
ph. Daniele Brotzu
/
Carta bianca. Una nuova storia. 49 artisti x 49 copertine
Museo Gigi Guadagnucci, Massa, IT
until 29.08.2021
Invited by Valentina Ciarallo on the occasion of the White Issue Vogue Italia, 49 Italian artists have transformed the prestigious magazine from content to container, writing a new story on white paper: The white image desired by Vogue Italia for the April 2020 cover expresses through the the presence of an event antithetical to a context dedicated, by its specific nature, to beauty and the joy of living is disconcerted. The white that represents the principle of the vital phase, a sign of hope and trust, becomes a creative stimulus for artists capable of adhering to our contemporaneity. Back to vibrate, powerfully visionary, reinterpreted through personal readings. The surface, like a canvas, a sheet, a space capable of accommodating innovative requests, becomes a collective tale animated by different languages, techniques and materials. From painting to embroidery, from photography to ceramics, from collage to customization with A.I.
With this project, the spaces of Villa della Rinchiostra, seat of the museum dedicated to the sculptor Gigi Guadagnucci, opens up to the artists of the present, capable of getting back into the game, of rediscovering new aspirations, of reinventing other expressive ways.
Letizia Cariello, Saving time, 2020
Ink and red thread intervention on paper, 28,5x23 cm
Filatoio Rosso di Caraglio, Cuneo, IT
until 10.10.2021
Curated by Olga Gambari, the exhibition presents some works that tell the story of the last few years, together with site-specific creations, with a declination that connects to the present time and to the specific location of the exhibition. Il tuo cielo è verde presents several families of works.
Gates is a series of windows weaved with red wool thread and nails which create passages between inner and outer space. By creating passages, they heal bonds and rebuild lost connections. They are possibilities of crossing in multiple directions with the body, or with the gaze. They define everything we need: to look outside, through the grate - which is not always a prison - formed by the weaving of wool.
While in Letizia Cariello's photographic work, the shots fix the objects, extrapolating a visible element from the flow of time in which we are immersed. The embroidery and the artist's interventions on the photographs are gestures of affective care, they take on the value of remedies, making visible the hidden links between things.
Museo Civico Medievale, Bologna, IT
until 19.09.2021
The site-specific solo exhibition enters into dialogue with the works, rooms and halls of Bologna's Medieval Museum: the itinerary invites visitors to discover the unexpected relationships between the museum's fine artefacts and centuries-old architecture, and the artist's works, from the Tapestries to the Mirrors, through the Disegni del Quasi and the more recent monochromes on gold to the presentation of Notturni, the new series of nocturne paintings conceived, between the end of 2020 and the start of 2021, as a pictorial meditation on isolation and waiting and, as yet, unreleased. Several large-format works on paper evoke celestial maps of interstellar filaments and burning stars; others are inspired by Descartes' drawings on magnets: waves and magnetic fields that spread or stop like water waves when they meet, visual metaphors of mutual analogies and resonances between all worldly things.
Installation view
Maurizio Donzelli, In Nuce, 2021, Museo Civico Medievale, Bologna
/
in Elles font l’abstraction
Centre Pompidou, Paris, France
until 23.08.2021
Carla Accardi,1966
Ph. Ugo Mulas
in Europe: Ancient Future
Halle für Kunst Steiermark, Graz
until 15.08.2021
Production phase
Haris Epaminonda, Chapters, 2013
16mm film transfered to digital, single screen version, 1:37 min
in Here to Stay. Nuove opere per la Collezione
Museion, Bolzano
until 08.08.2021
The Museion 2021 exhibition program opens with a large-scale collection show consisting exclusively of donations, long-term loans and promised gifts. This new stimulus to the Museion collection creates two major clusters and cements future collection research though public-private partnership.
As the element that binds an intergenerational alliance of artists together, the exhibition highlights a systematic interest in the conditions of art production and authenticity. For artists in the early 2000’s experiencing art was never a neutral affair, but shaped by social consensus and policed by public institutions. By appropriating the broader context of art as their craft, artists were able to appropriate public formats that were previously seen as unbiased, such as display, education, or even distribution; making them personalized, speculative, and socially critical. This progressive artistic shift happened on a global scale at the time, but can be traced back to the specific positions of conceptual artists around the 1970s, such as Berty Skuber, Franco Vaccari, and the art group Poesia Visiva. Here to Stay marks their historic role in paving the way for a new understanding of the art object. One in which authenticity is never owned, an art object is never finished and the art experience is never limited to the architecture of a museum building.
Installation view
David Maljkovic, Retired Form, 2010, Museion, Bolzano
ph. Luca Meneghel
///
in Io dico Io – I say I
La Galleria Nazionale, Rome
until 23.05.2021
The show puts together Italian female artists of different generations, who, in different historical and social contexts, have told their own adventure of authenticity and have expressed their own way of inhabiting the world through a constellation of visions.
Self-representation, a gaze that challenges existing roles, writing as a practice and self- narration, body as a measure, a limit and a trespass, resisting homologation — these are just a few of the themes around which the show is layered, overturning points of view and creating new visions and narratives.
Io dico Io – I say I evades any retrospective vision and is situated in the present; it does not invent new words, but instead looks deep into the word we already have, “feminism”. Through various and singular ways, the show gives substance to that notion.
Francesca Woodman, Untitled, Providence, Rhode Island, 1978
Gelatine silver estate print
9,8×9,8 cm
Edition 7/40
in Muselmann. Omaggio ad Aldo Carpi
Memoriale della Shoah, Milan
until 19.03.2021
With works by Clara Bonfiglio, Letizia Cariello, Marco Casentini, Marco Cingolani, Gabriele Di Matteo, Omar Galliani, Franco Marrocco, Barbara Nahmad, Stefano Pizzi, Tamara Ferioli, Dany Vescovi and others.
Letizia Cariello, Rimedio inutile, 2021, cut sheet with mending, 20x20 cm
in Compassion Fatigue Is Over
Galerie Rudolfinum, Prague
until 18.04.2021
The exhibition “Compassion Fatigue Is Over” presents the next step in the ongoing program “Rudolfinum_Time-Based“. A series of narrative videos and films, alongside architectural interventions in the gallery’s historical space, aims its attention at a set of essential topics of our times. Issues of race, labour exploitation, re-evaluated historical narratives, sexuality, and gender, fallen and rediscovered utopias or abstract thinking vital for any rational judgment. In contrast to everyday media reality’s disturbing noise, the exhibition gives space for a favourable reception of these themes’ given artistic interpretations. The gallery’s safe space provides conditions for a slower, more attentive appreciation of the given content than one could ever experience in the quotidian rush.
Haris Epaminonda has been invited to join the exhibition, together with Candice Breitz, Anna Daučíková, Naeem Mohaiemen, Jeremy Shaw, Hito Steyerl, Aleksandra Vajd & Anetta Mona Chisa. The work included will be Chimera, 2019, super 8 digitalised film presented in first place during the 58th Venice Biennial. Meditating on time, place and memory, Epaminonda’s Chimera is an experimental audio-visual travelogue.
The exhibition will open as soon as the circumstances permit. Stay tuned!
Still from
Haris Epaminonda, Chimera, 2019
Super 8 digitalised film, duration 34’ 15”, colour, sound (by Kelly Jayne Jones)
Ed. 5 +2AP
MAK Museum of Applied Arts, Wien
until 18.04.2021
Dynamic, sensually enticing, infinitely colorful, delicately intimate, and often monumental and space-defining: the fabrics, sculptures, and installations of artist Sheila Hicks chal-lenge traditional notions of art and explore new territories. Hicks is a virtuoso in textile vocabularies and their historical traditions, interweaving the fine arts with design, the applied arts, and architecture to create objects and environments in which materiality, tactility, form, and color—ranging from the subtle to the vibrantly luminous—become a fascinating language of their own. In the MAK exhibition SHEILA HICKS: Thread, Trees, River, her first solo show in Austria, the artist presents both recent and familiar works with room-filling sculptures, relating them to the architecture.
Installation view
Sheila Hicks, Monumental, 2018-2020, MAK Wien
ph. Georg Mayer
ITALICS Art and Landscape
Italy from the viewpoint of its gallerists: the new digital platform to discover Italian excellence.
Out of the vision of nine of the most influential galleries in Italy, comes a first-hand guide to the country’s art, culture and contemporary lifestyle, written and illustrated by the gallerists themselves.
ITALICS Art and Landscape is an all-digital editorial platform that will spotlight the profound cultural experiences cultivated on the Italian territory by its most celebrated gallerists, exploring the extraordinary art heritage of the country. Through insightful storytelling and eye-catching photography, readers will be offered a sense of discovery and unrivalled access to explore Italy.
The project stems from an idea Lorenzo Fiaschi (Galleria Continua) and Pepi Marchetti Franchi (Gagosian) had in April 2020 at the height of lockdown during the pandemic: to develop a new mode of cultural and human encounter between lovers of art in step with today’s digital age. A workgroup rapidly formed around the concept, made up of Alfonso Artiaco, Ludovica Barbieri (Massimo De Carlo), Massimo Di Carlo (Galleria dello Scudo), Francesca Kaufmann (kaufmann repetto), Massimo Minini, Franco Noero and Carlo Orsi, in addition to Fiaschi and Marchetti Franchi.
Casa del Manzoni, Milano
22.10.2020
Gitti e Bertelli editori is pleased to present Il Libro del Silenzio - The Book of Silence, a series of 12 unique artist book + 1 AP by Letizia Cariello. The work contains the delicacy and sacredness of an artistic and spiritual work at the same time, since the books conceived by the artist were assembled by the hand of the Benedictine Nuns of the Abbey of Viboldone, in a silent work practice, punctuated by prayer and meditation: they confirm with their work an interior dimension very close to the practice of Letizia Cariello. The book is therefore an opportunity to look and listen and the possibility of welcoming a certain Thought into one's inner space. The pages of the Book of Silence bound by the nuns feature a serigraphed calendar, hand-transcribed text, as well as rose petals, thorns of roses, pressed flowers, drops of red nail lacquer, embroidery with red thread, bird feathers, drawings. Each book is unique because the same elements follow each other in different sequences and organizations each time.
Detail of
Letizia Cariello
Libro del Silenzio
2020
curated by Hans Ulrich Obrist with Francesca Giacomelli
La Triennale di Milano, Milan, IT
until 18.04.2021
"Enzo Mari curated by Hans Ulrich Obrist with Francesca Giacomelli" examines over 60 years of activity of one of Italy’s greatest masters and theorists of design. The exhibition consists of a historical section and a series of contributions from international artists and designers – Adelita Husni-Bey, Tacita Dean, Dominique Gonzalez-Foerster, Mimmo Jodice, Dozie Kanu, Adrian Paci, Barbara Stauffacher Solomon, Rirkrit Tiravanija, Danh Vō, Nanda Vigo, and Virgil Abloh for the merchandising project – who have been invited to pay tribute to Mari with site-specific installations and new, specially commissioned works. One contribution in particular is that of Nanda Vigo, whose work, made especially for the exhibition shortly before her death and never shown previously, uses light to reinterpret 16 animali and 16 pesci, two of Mari’s most famous works. At the same time, nineteen Research Platforms, specially created for the Triennale exhibition, give insights into the individual projects that have given rise to the key themes of Mari’s artistic vision and practice. The exhibition also includes a series of video interviews by Hans Ulrich Obrist that illustrate Mari’s constant ethical tensions, the depth of his theoretical understanding, and his extraordinary design skills with which he has given shape to the essential.
Enzo Mari
Struttura 918
1968
Natural and black anodized aluminum
91x91x11.5cm
Castello di Rivoli, Rivoli, IT
until 25.07.2021
Giulio Paolini, 2013
Ph. Luciano Romano
Dom Museum, Wien, AT
until 28.08.2021
John Hilliard, Landscape In Ruins (Pendragon Castle Unfocused, Decayed And Blurred), 2014, pigment print on Hahnemuhle paper, 73×84 cm
Almost home. The Rosa Parks House Project
Palazzo Reale, Naples, IT
until 06.01.2021
Mercedes-Benz Art Scope 2018-2020
Hara Museum, Tokyo, Japan
until 06.09.2020
Haris Epaminonda, Untitled #01 b/l, 2020
installation of wooden brass gilded sphere, red carpet, sound, text on paper (work contribution by Daniel Gustav Cramer, Hiroshi, 2020, size varied)
Ph: Keizo Kioku
in The Artist Columned Hall
STOA169 Foundation Stiftung, Polling
13.09.2020
Installation view
Peter Halley, The artist columned hall, STOA169 Stiftung, Polling, Germany
Museo del Novecento, Milan, IT
until 27.06.2021
Carla Accardi
Due rettangoli mimetici
1979
Sicofoil on painted wooden stretchers
38×75 cm each
Milano, CityLife public park
09.09.2020
Installation view
Wilfredo Prieto
Beso, 2020
Courtesy ArtLine Milano
© Alberto Fanelli
Variations – Eugène Frey’s Light Set Projections presented by João Maria Gusmão
Nouveau Musée National de Monaco, Villa Paloma, Monaco, MC
until 30.08.2020
Illuminare lo spazio, lavori in situ e situati
GAMeC, Bergamo, IT
until 01.11.2020
MAC, Lissone, IT
until 27.09.2020
Maurizio Donzelli, Talisman drawing, 2019, acrylic resin on board, 41.5x31x3 cm
in Double Wall of Silence
Hestia, Belgrade, YU
until 02.08.2020
Curated by Anja Obradović and Hana Ostan Ožbolt - with Daniel García Andújar, Louis-Cyprien Rials, Driton Selmani, Ariel Schlesinger.
The starting point of the group exhibition “Double Wall of Silence” is a field of tension between the spoken and the unspoken, between the muted and the forgotten, between the individual and the collective. Migration as a dominant theme in recent years has sparked discussions about national borders, refugees, minorities, loss of identity, about them and us, danger and trauma. The power of recording experiences and memories poses a question of the forms of narrative – who is the speaker and who is the listener? How much time – and silence – does it take for the speaker's place to belong to the nameless, and how much for the listener, even if it is an unwanted testimony, to be able to fully hear it? When is dialogue possible at all, and what happens if what is said remains unheard? Through a selection of works by four artists who explore or play with the presence and absence, existence and non-existence, the exhibition focuses on the silenced and the power of the unspoken; on silence as a form of language and narrative.
Detail
Ariel Schlesinger, we started with a flame, February 2019
Three Ball Total Equilibrium Tank and other problems
Quartz Studio, Turin, IT
until 25.07.2020
Quartz Studio is pleased to present Three Ball Total Equilibrium Tank and other problems, an edition by Jonathan Monk (Leicester, UK, 1969), purposely conceived for the Turin non-profit space. The project of this edition, following the one of Poster (Manifesto), realized in collaboration with Maurizio Nannucci in 2014, was pending since the exhibition Cool Your Jets (2016), resulting from a dialogue between Liam Gillick and Jonathan Monk on the topics of soccer and economy. Now, within the expanded time of the health emergency, that idea finally takes shape in order to support Quartz through the production of an edition of 10 (+1 AP). On the occasion, three installations have been produced. Each of them is composed by seven hexagonal cement tiles replicating the colors of the original Quartz floor cement tiles and three balls realized in Germany in 2016, thanks to the technical advice of Giulia Mainetti from Altofragile studio, Milan. The original project for the exhibition Cool Your Jets - writes the critic Marco Scotti – was born from a conversation between Jonathan Monk and Liam Gillick, in which to the questions posed by the latter related to themes of contemporary sociology, the former replied with quotations from the world of football.
Monastero di Astino, Bergamo, IT
until 31.10.2020
Daniel Gustav Cramer/
The Infinite Library
Centre d’Art Contemporani - Fabra i Coats, Barcelona, ES
until 24.05.2020
The project "The Infinite Library" began in 2007 as an exchange between the two artists Daniel Gustav Cramer and Haris Epaminonda and is still being continually extended. It consists of an archive of books, made by removing pages from antique books and reassembling them in collage before binding them again. In many cases these are illustrated books which are, in this way, bound with altered patterns of causality. A series of collages assembled anew with the imagery of a publication with gothic plates is displayed in the first room. In the corridor a video work gives a deeper insight into the project showing turning pages of the books. The entirety nevertheless remains unrevealed and incomplete so far. The title of the project is a reference to José Luis Borges’s fantastic description of a library organised in endless hexagonal rooms. It serves as a metaphor for the universe, where humanity is on an endless search for total knowledge. Preoccupation with found images and the medium of the book is a common interest and a recurring motif in the works of Cramer and Epaminonda.
Daniel Gustav Cramer & Haris Epaminonda - The Infinite Library
Tate, London, UK
until 01.03.2020
In Nedko Solakov’s performance work A Life (Black & White), two workers continuously paint the gallery walls. One uses black paint and the other uses white.
The painters follow each other around the space, painting over each other’s work. This is constantly repeated for the length of time the work is on display. The materials used in the performance are also laid out in the space. These include tins of paint, rollers, rags and signs for the painters’ breaks.
In A Life (Black & White), Solakov is exploring issues about work, labour, time and repetition. The piece also comments on the process of making a painting, but here the paint is applied directly onto the gallery wall instead of a canvas.
As well as performance, Solakov makes work in media such as drawing, painting, video and installation. He explains ‘I am telling stories in space’. He frequently plays with the expectations of his audience, using humour to convey political concerns, often about his native Bulgaria. His work also playfully questions the conventions used in galleries and other art institutions.
Nedko Solakov "A Beauty 4", 2011. White artificial fur, black cloth, stuffing materials, acrylic and ink on paper, sanded glass, bulb 110x200x500 cm
MMSU, Rijeka, HR
until 20.04.2020
“With the collection” is an open-ended exhibition based on a series of collaborations that would take place on different locations at different times. It centers on Maljković’s extraordinary site-specific intervention which, in an unconventional way, represents the MMSU’s collection. Even though the Museum was founded in back 1948, its collection has never been presented in the form of permanent display, mostly because of the lack of spatial resources. Therefore, in Maljković’s spatial reconfiguration, the Museum’s collection becomes present, it receives a new face, and each of its works becomes more than just an artefact, acquiring a fresh meaning and a renewed social relevance. While building the relationship with the collection, Maljković rejects taxonomies and linear narratives. Instead, he applies his own recognizable artistic methods: he creates a collage of the existing artefacts and plays with the ways we perceive and experience exhibitions.
Palazzo delle Esposizioni, Rome, IT
until 13.04.2020
Devoted to a true master in the field of Italian and international photography, the exhibition will be focusing on the theme of the city, showcasing approximately 270 photographs ranging from the 1960s to the 2000s, some them on display here for the very first time.
The city always lay at the heart of the interests and investigative work conducted by Gabriele Basilico (Milan 1944–2013) from the very start of his career. The theme of the man-made landscape, of its development and of the historical stratifications of a ceaselessly changing city, its outskirts and its surroundings, were invariably the predominant driving factor behind his art.
The exhibition will be showcasing some of the work that he produced in the numerous cities he photographed in the course of his lifetime, including Beirut (with pictures both from 1991 and from 2011), Milan, Rome, Palermo, Naples, Barcelona, Madrid, Lisbon, Montecarlo, Paris, Berlin, Buenos Aires, Jerusalem, London, Boston, Tel Aviv, Istanbul, Rio de Janeiro, Moscow, San Francisco, New York and Shanghai, juxtaposed in an interplay of similarities and differences, of assonance and dissonance, offering different viewpoints that perfectly capture his varied approach to interpreting the built environment.
Gabriele Basilico,
Unidentified Modern City. Globalized Brescia,
2011
Pure pigmented print
60x80 cm
Exhibit Model Six – The Tel Aviv Version
CCA Tel Aviv, IL
until 01.02.2020
On the occasion of his solo exhibition at CCA Tel Aviv, Jonathan Monk will present the latest, sixth, iteration of a project called “Exhibit Model” that he has been showing in modified forms since 2016 in Kunsthaus Baselland (2016), Galleri Nicolai Wallner, Copenhagen (2016), VOX, Montreal (2017), Kindl Centre for Contemporary Art, Berlin (2019), and the bathroom at Casey Kaplan Gallery, New York (2019). The idea for “Exhibit Model” was born of the artist’s desire to offer a new take on the conventional framework of realizing an art exhibition as well as budgetary constraints. Thus, the artist decided to replace a straightforward exhibition of objects with a 2D photo installation made up of a wallpaper presenting images of some of his previous exhibitions. Covering all the walls of the exhibition space, the wallpaper does resemble a model of a planned exhibition. However, based literally and metaphorically, as it is, on the notion of reflection, rather than model of a future exhibition, “Exhibit Model” only looks like one. Thus, it generates a somewhat disorienting encounter with the images. Such a proposition brings into the physical exhibition space a similar experience to that provided nowadays by the “metaphysical” cyberspace of the Internet, where a growing number of people search for installation views of exhibitions they are unable to visit in person.
Jonathan Monk, Exhibit Model Detail with Additional Information, 2019, Mixed media, 182,5×123×15 cm
CAFA Art Museum - Imperial Ancestral Temple, Beijing, CN
until 01.01.2020
Installation view
Anish Kapoor, Martin-Gropius-Bau, Berlin, 2013
MoMA, New York, USA
until 04.01.2020
Installation view
Sheila Hicks, Surrounds, MoMA, New York, 2019
Museo Chileno de Arte Precolombino, Santiago, CL
until 31.01.2020
Portrait
Sheila Hicks
Secret Structures, Looming Presence
Dallas Museum of Art, Dallas, Texas, USA
until 12.01.2020
SH, Untitled, 2019, 73x50cm
Sheila Hicks
Untitled
2019
Linen on wooden support
73x50cm
On the spiritual matter of art – curated by Bartolomeo Pietromarchi
MAXXI Museum, Rome, IT
until 08.03.2020
Haris Epaminonda
Untitled #13 t/g
2019
Mirrored and black polished lacquered wooden structure with brass hinge, mirrored and black polished lacquered wooden column, velvet curtain, two wooden spheres with golden leaf
Overall dimensions
270x166x230 cm
Le monde selon Roger BALLEN
Halle Saint Pierre, FR
until 31.07.2020
Roger Ballen reigns over the black-and-white world of the human psyche. Disturbing, provocative and enigmatic, the work of this American-born South African photographer, a geologist by training, expresses the sense of confusion of a man confronted by the nonsensical nature both of his life and of the world in general. Ballen’s work has been the subject of exhibitions at prestigious institutions for more than thirty years now. Although each of his shows is an event, his decision to exhibit at the Halle Saint Pierre in Paris, an atypical museum devoted to outsider art and unusual forms of creativity, demonstrates his freedom from artistic genres. For the Halle Saint Pierre, a collaboration with Roger Ballen is an invitation to showcase – or test out – the artistic and cultural otherness of art brut. In his relationship with creativity, Ballen has constantly explored a form of art that is rooted in the deepest layers of human nature; like the French dramatist, actor and writer Antonin Artaud, he is always moving towards more primal means of artistic expression.
Installation view
Roger Ballen, Ballenesque, Les Rencontres, Arles, 2017
Nature morte/Nature vivante
Le Grand-Hornu, Magasin aux Foins, Écuries, BE
until 08.03.2020
Since the late 17th century, the French expression nature morte (literally ‘dead nature’) has been used to refer to still life, the field of painting that approaches nature from a sensual perspective and explicitly alludes to its fragility and ephemerality, and indirectly also to the vanity of human intervention on its composite elements. Over time, the term has extended to include any arrangement of inanimate objects organised in a certain fashion with a symbolic intention, which is meant to induce a poetic emotion. In our so-called “anthropocene” age, man’s unwarranted action is contributing to the impermanence of nature, or even its annihilation. With this sombre outlook, the term nature morte takes on even greater relevance. Yet nature has a formidable capacity for regeneration. Works by numerous creative minds question, provoke or encourage mechanisms that nature uses to underpin its intensity, reproduction and durability. In reality, each state of matter is a snapshot in a long, slow, evolutionary process of transformation, aggregation, assimilation and decomposition… Nature is very much alive! In this exhibition organised at the CID, designers, architects and artists present intensive, practical or experimental research that questions the relationship between man and nature, calling in equal measure on ecology, science, our moral conscience and artistic creation. Nature morte/Nature vivante reveals how much man’s ambiguous relationship with nature can be both perverse and inspiring.
Installation view
Ariel Schlesinger, we started with a flame, February 2019
Museum HOUSE OF HUMOUR AND SATIRE
until 19.01.2020
Nedko Solakov uses a characteristic method of making the viewer read and look simultaneously, an approach which “works” especially and equally well in his detailed installations, in his major museum exhibitions and in empty gallery spaces. The viwer can see how this happens in Stingy Doodles at the Museum of Humor and Satire. The work was created especially for the space, and the artist offers very local and personal commentaries; in this way, local viewers from Gabrovo will find themselves in a similar situation to that of viewers in museums such as the Museum of Modern Art in Frankfurt; Haus Konstruktive, Zurich; Museum Frans Hals, Haarlem; Kunstmuseum, St. Gallen; P.S. 1 MoMA, New York; Serralves Museum, Porto; De Appel Contemporary Arts Centre, Amsterdam; Museo Reina Sofia, Madrid and currently the exhibit A Passion for Drawing. The Guerlain Collection from the Centre Pompidou Paris in the Albertina, Vienna.
Nedko Solakov
My Dream Bulgarian Cultural Reporter’s Butt
2014
Oil on canvas
97x130 cm
Studio Legale Withers, Milan, IT
until 19.04.2020
Titina Maselli
Calciatori, 1971
Oil on canvas
196x130 cm
