Ian Wilson

20 january 2017 – 14 may 2017

KW Institute for Contemporary Art, KUNST-WERKE BERLIN e. V. , Auguststraße 69, 10117 Berlin – DE

The exhibition inaugurates the first season of director Krist Gruijthuijsen’s artistic program at KW, which examines Wilson’s work through three corresponding solo presentations by Hanne Lippard, Adam Pendleton, and Paul Elliman. Wilson’s work will be physically and conceptually embedded within each exhibition, serving as a framework for exploring roles of language and communication, and the broader significance of interaction between human beings. The exhibition is therefore in constant flux and changes gradually throughout the course of its duration.
In the spirit of Wilson’s practice, weekly commissioned performances, readings, lectures, and events titled TheWeekends take place at KW, and throughout the city of Berlin.


Jonathan Monk & Ariel Schlesinger – DIZZINES, Navigating the Unknown

10 february – 21 may 2017

Kunsthaus Graz, Lendkai 1, 8020 Graz – AT

Group show with a collaboration project by Jonathan Monk and Ariel Schlesinger, “Navigating the unknown elastic actions in a dizzying world”.

Curated by Anderwald & Grond, Katrin Bucher Trantow.


Letizia Cariello – CONNECTION, L’arte indaga e il design ricerca

17 december 2016 – 18 february 2017

Palazzo Garzoni Moro, San Marco 3417, 30124 Venezia – IT

At Palazzo Garzoni Moro in Venice, under the artistic direction of Manon Comerio, art and research come together in a cognitive exploration from different analytical perspectives with works by Letizia Cariello and the pieces of MAMM collection, realized by Morelato. On one side the “obsessive and repetitive dimension to explore the world of emotions and identity” which is depicted in the photographs of the artist Letizia Cariello; On the other side the sense of exceptionalism and uniqueness represented by the pieces of the MAAM of the Aldo Morelato Foundation, which tell the history and the evolution of design from the last century until today.
A succession of elements, unrelated for nature, feed the exhibition space and becoming they same tools and languages to decode.




Anish Kapoor

17 december 2016 – 17 april 2017

MACRO, Via Nizza 138, 00198 Roma – IT

For the first time in Rome, a major exhibition of the famous sculptor and architect Anglo-Indian artist Anish Kapoor, one of the most significant artists in the international contemporary art scene. Organized by Macro, the exhibition brings together a selection of recent works by Kapoor, an evolution compared to the three-dimensional shapes in primary colors, which in the early eighties have allowed the artist to get soon a major role in the new British sculpture.


Jonathan Monk – The Land That Time Forgot

4th November – 22nd December 2016

4th November 2016, 1- 3 pm

O P E N I N G  T I M E S
During Artissima
4th November 2016, 3 – 7 pm
5th November 2016, 10 am – midnight
6th November 2016, 10 am – 7 pm

From 7th November, by appointment

Studio Salvo
Via Alfonso Bonafous 2
10123 Torino, Italia
+ 39 331 1387463


Letizia Cariello – Opera per archi

27 October 2016 – 28 November

LAC Lugano Arte e Cultura,Piazza Bernardino Luini 6, CH – 6901 Lugano

The installation created by Letizia Cariello has two violoncello damaged, one sounding board and two unusable arches: objects without their nature, to create sound, to give harmony.
The artist collects and reassembles the different pieces in a work to which It gives a new sound, produced by the movement of Saturn’s rings and the Sun in their eternal rotation. The sound recorded in space, spreads whenever the violoncellos, drawing an arc of a circle, back to their point starting. The dimension of time takes shape through the large steel disc, a symbol dear to her, consisting of a long sequence of numbers and letters, the result of an exercise in western meditation.
Letizia Cariello lives and works in Milan, where he teaches Artistic Anatomy at the Academy of Fine Arts of Brera.


Artist Ryan Mendoza to Salvage and Recreate Rosa Parks’ Detroit Home in Berlin

Ryan Mendoza planning on repurposing the facade of American icon Rosa Parks’ original Detroit home for use in his Berlin studio before an eventual presentation to an open audience.

Mendoza was approached by Rhea McCauley, Rosa Parks’ niece, after the home was jeopardized by the threat of demolition because of the struggles of Rosa Parks Foundation in finding funding to maintain it.

Rosa Park is a notable member of American history for her refusal to sit in the back portion of the bus in the 1955, she had also important collaborations with civil rights figureheads such as Dr. Martin Luther King Jr.

It goes without question, therefore, as to why salvaging the home, has significant relevance to the American people and the world alike. “Her memory, her legacy will never die,” Parks’ niece Rhea McCauley said.

Ryan Mendoza is known for his practice based in the subject of memory, but his involvement, however, doesn’t lack self-consciousness or self-criticism. “It should be somebody in the black community doing this, not a white guy. I’m not even from Detroit,” he said.

Yet, he is the only artist who has volunteered to at least partially salvage the home, so his role has become essential.

Mendoza recognizes the importance in preserving Park’s legacy: “Do I leave Rosa Parks’ house to be demolished by the city,” he said, “or do I step up and say ‘OK, I’m going to help (McCauley) preserve the memory and save this house?’ That’s what this project is all about.”


Antonio CalderaraA light without shadow

1 October 2016 – 22 January 2017

MASILugano, Piazza Bernardino Luini 6, CH – 6901 Lugano

Antonio Calderara (1903-1978), an original but reclusive figure in the Italian artistic milieu, comparable in many ways to Giorgio Morandi, began his life as a self-taught artist in the 1920s. In the decades that followed, his painting, which features sculptural simplifications and a bright light reminiscent of Piero della Francesca and Seurat, was also distinguished by the appearance of a stylised intimism that approaches experiences of Magical Realism. A turning point in his painting came with the transition, in 1959, to abstraction. Such abstraction was relatively unique in Italy due to its rather drastic character, but perfectly in line with the contemporary experience in Europe and its tendency towards the zero degree of painting. However, in his case, geometry never features the rigidity of concrete art; instead, it is dominated by delicate and subtle vibrations of light obtained through the superimposition of thin layers of paint. In his works from the 1960s and 1970s, which were almost always on a small scale, there emerges a ‘light/colour’ which translates his aspiration to “paint the null, the void, which is everything, silence, light, order, harmony. The infinite”. This first, large, Calderara retrospective in Switzerland begins with pieces from his figurative period before dwelling on the various phases which distinguish his abstract output. In addition, the exhibition includes a large selection of works from the artist’s own collection, amassed through a series of exchanges with other artists with whom he was linked by friendship or mutual respect, including Josef Albers, Lucio Fontana, Piero Manzoni, Yves Klein, Dadamaino, François Morellet, Jan Schoonhoven, Max Bill and Gianni Colombo.


Sheila Hicks – Apprentissages @ Festival d’Automne à Paris

Monday 12 September – 18.00-20.30

Museè Carnavalet, 16 Rue des Francs-Bourgeois – Paris

Apprentissages is a three-part journey, taking place from September to December, in the form of a series of appearances, each linked in its own intimate way to Parisian geography. First off is the Musée Carnavelet, in which the universe of Sheila Hicks enters into a dialogue with the eclectic architecture of this museum dedicated to the history of Paris, notably in the Hôtel Carnavalet gallery, on the garden side, overlooking the Cour des Marchands-Drapiers. Secondly, Festival D’Automne will be given the opportunity to discover, in the course of various urban promenades, an ensemble of window spaces inhabited by the characteristic gestures of her chromatic, pictorial and textile-based vocabulary. Lastly, within the huge expanses of the construction workshop at the Nanterre-Amandiers theatre, specially opened to the public for the occasion, the artist will be re-exhibiting, in the midst of this resolutely modern architecture, her previously exhibited works. Partly because nothing is ever fixed in stone, and also because we always need to see things with fresh eyes, Apprentissages seeks to be a journey of “initiation” of an open nature, in which the encounter with art and matter enriches the shared experience, of our bodies, and our memory, that of the artist and of each of us alike.

Festival D’Automne a Paris