Palazzo Comunale Seriate, Piazza Alebardi n. 1, Bergamo
opening 10:30 am
10.12 - 13.01.2023
In contrast to an encyclopedic listing of the exhaustive history of Italian photography, curator Roberto Mutti has opted for a selection of authors whom he believes represent its cornerstones and subsequent development. This choice has given rise to a reflection on what was once called the avant-garde because it traced, in advance, the boundaries of a new and different expressiveness imposed by contemporary art, a challenge even more pressing today.
Day n.3, 2017-18
Gelatin silver print
Edition of 12 + II AP
A Cornered Solo Show #3 (with Charles Esche as my artistic conscience)
Belvedere, Prinz Eugen-Straße 27, 1030 Vienna
"A Cornered Solo Show #3 (with Charles Esche as my artistic conscience)"
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
opening 6:00 pm
12.12 - 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
Metal and book
Cancello dorato, 2020
Gold paint and digital printing on paper
Massimo Minini. The Story of a Gallerist
Maxxi, via Guido Reni 4/3, Roma
The Story of a Gallerist,
video 67 min, director Manuela Teatini
Hotel Principi di Piemonte, Via Piero Gobetti 15, Torino
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…”.
oil painting on canvas
OVAL – Complesso Lingotto Fiere Via Giacomo Mattè Trucco, 70 – 10126 Torino
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.
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
Galleria d’Arte Moderna Achille Forti, Verona
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
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.
The rabbit and his housewife,
Oil on canvas, diptych
Left: 108.5x98 cm
Right: 77x54.5 cm
Place de l’Institut, Paris
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
Anish Kapoor "Svayambhu"
Dave Morgan. ©
Letizia Cariello Letia. Echelle
Milano, Cinema-Teatro Angelicum, Piazza San’Angelo, 2 - 20121 Milano
Maxxi, via Guido Reni 4/3, Roma
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",
Veduta dell’opera presso Ca’ Corniani, Caorle. Fotografia di Agostino Osio.
Andature III Helene Appel / Eva Marisaldi
Museo Marino Marini, Firenze
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.
Frame da "Linee"
Archivio Vincenzo Agnetti – Via Machiavelli 30 – 20145 Milano
Lumière naturelle versus Lumière électrique, travaux in situ versus travaux situés
Centre d’art contemporain, Anglet
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.
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
PROJECT ROOM – SANTIAGO TORRESAGASTI
Galleria Massimo Minini
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.
Javits Center, Main Entrance Crystal Palace, 429 11th Avenue, New York
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.
MMXXIII XL, 2023
dye on canvas
Ph. Bjarne x Takata
Palazzo Martinengo Cesaresco, via dei Musei, 30, Brescia
Museo Correr, Venezia
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.
"The Seventies: Lenzuoli"
Museo Correr, Venice
Centre Pompidou Malaga
"Hilos que viajan"
Conduits. Paintings from the 1980s
Peter Halley. "Conduits: Paintings from the 1980s"
I nodi dei giardini del Paradiso
Grande Miglio, Castello di Brescia
"I nodi dei giardini del Paradiso"
Call of the Void, (Danse macabre No. VIII)
Museum Tinguely, Basel, Svizzera
Roger Ballen, Headless 2006 © courtesy Roger Ballen
Giulio Paolini. A come Accademia
Accademia Nazionale di San Luca, Roma
Studio per “In cornice”
pencil and collage on paper
50 x 70 cm
Art Institute Chicago, USA
At this moment
ink on paper
Quetzal Art Center, Vidigueira, Portogallo
"In the Pictorial Code" Quetzal Art Center, Vidigueira, Portogallo
MoMA, New York, Usa
Armando Andrade Tudela Huaco Deforme
Armando Andrade Tudela
Inside Out Center for the Arts
Inside Out Center for the Arts, South Africa, Johannesburg
Luigi Ghirri e Modena. Un viaggio a ritroso
Fondazione Modena Arti Visive, Modena, IT
In “The Milk of Dreams”, 59th Biennale Arte.
La Biennale di Venezia.
"The Theater of Apparitions"
2022 Biennale, South African Pavillion, IT.
Palazzo della Ragione, Bergamo, IT
Lost VI, 2017
Istituto Italiano di Cultura, Stockholm, SE
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).
Senza Titolo I-II
Sheets hand-carved in squares
140x140x6.5 cm each
Neuer Berliner Kunstverein, Berlin, DE
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.
Untitled #12 t/g, 2019
Veneered wooden structure, cushion with tassels
Overall dimensions 47X44.7X44.7 cm
© Petrò Gilbe
Comme tombèes du ciel, les couleurs in situ et en mouvement
Gare de Liège-Guillemins, Liège, BE
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".
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
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
A Time of One’s Own: Escaping the Clock at Centre Pompidou Malaga, ES
Palazzo Reale, Palermo, IT
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
“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.
Nedko Solakov, A Cornered Solo Show #2, MAXXI, Rome, IT
© Nedko Solakov
Biblioteca Classense, Ravenna, IT
Maurizio Donzelli, Fragments, 2022, Biblioteca Classense, Ravenna, IT
Monopoli ancient seaside village, IT
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
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
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.
Oil on canvas
Courtesy Galleria Massimo Minini
Coal Drops Yard, London, UK
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.
Sheila Hicks, Woven Wonders, London, 2022 © Sheila Hicks
Ph: Cara McCarty
in Giardini disobbedienti
Hortus Artieri, Trento, IT
Gelatin silver print
Ed. 12 + 2APs
Magazzino Italian Art, Cold Spring, NY
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.
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
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
Woman man and dog
Archival pigment print, 40x40 cm
Luigi Ghirri (non) luoghi
Fondazione Cassa di RIsparmio di Jesi, Palazzo Bisaccioni, Jesi, IT
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".
serie Un piede nell’Eden
Stampa cromogenica da negativo 6x7 cm
43.5 x 54.5 cm
The Hepworth Wakefield, Wakefield, EN
linen and cotton
KAPOOR | UNA MOSTRA IN DUE SEDI
Gallerie dell'Accademia - Palazzo Manfrin, Venezia, IT
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
dye on canvas
Villa Carmignac, Île de Porquerolles, Hyères, FR
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
in Astratte. Donne e astrazione in Italia 1930-2000
Villa Olmo, Como, IT
“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”.
Parentesi n.1, 1981
vinyl paint on raw canvas
Arch. n. 806
Palazzo Pusterla, Milano, IT
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.
Mirror #0222, 2022
Mixed media, wooden frame
Fondazione Made in Cloister, Napoli, IT
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"”.
"INTERACTION", Fondazione Made in Cloister, Naples
© Francesco Squeglia
Museo Novecento, Firenze, IT
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
KEEP CLEAR, 2021
Inline printed floor marking tape, empty wall
Edition 1/4 + II AP
in Marta Maps. New Routes through the Collection
Marta Herford Museum of Art, Architecture, Design, Herford, DE
Si sdoppia e ricompare
Vinyl paint on canvas
Arch. n. 374C
Kunsten Museum of Modern Art Aalborg, DK
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
Photo souvenir: Daniel Buren, Folding Screens, (Les Paravents), work in situ, 2022
in Poetica del semplice. Moda e design secondo Monica Bolzoni/Bianca e Blu
Galleria Nazionale d'Arte Moderna e Contemporanea, Roma, IT
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
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
Vanessa Beecroft, vb62.017.nt, Chiesa dello Spasimo, Palermo, 2008
Digital C-print, 178×226 cm
in Bocconi Art Gallery 2021
Via Röntgen 1, Milano, IT
Letizia Cariello, Gate # 0 Bocconi, 2020, Site Specific, Unique edition
CSAC, Abbazia di Valserena, Parma, IT
Eva Marisaldi, Omissioni, 1998-2018
76.3 x 76.3 cm
in “Mehr licht!” (Più luce!)
Casa Masaccio, San Giovanni Valdarno, IT
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.
"Mehr Licht", Casa Masaccio, San Giovanni Valdarno, AR
in Understudies: I, Myself Will Exhibit Nothing
KW Institute for Contemporary Art, Berlin, DE
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
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
© Ben Westoby
Frac Grand Large, Dunkerque, FR
© Salim Santa Lucia
“Castello Ursino” Civic Museum, Catania. IT
THE WORLD ACCORDING TO ROGER BALLEN
Fotomuseum Den Haag, Den Haag, NL
© Gerrit Schreurs
Università Cattolica del Sacro Cuore, Milano, IT
scrittura a inchiostro e ricamo su lenzuolo intelaiato
Ø 120 cm, 2017
Fondazione Rolla, Bruzella, CH
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
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
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.
Grey cellulose (from R.M. Rilke "Elegie Duinesi, nona elegia"
Tra albe e tramonti. Immagini per la Puglia
Fondazione Pino Pascali, Polignano a Mare, Bari, Italia, IT
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
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
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
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
34th Bienal de São Paulo - Though it’s dark, still I sing
I quaderni di Hannah Arendt
Palazzo Borromeo, Milano
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".
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
PANORAMA PROCIDA. Island-wide exhibition curated by Vincenzo de Bellis Procida, Italy. September 2- 5, 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
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.”
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
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
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
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.
Maurizio Donzelli, In Nuce, 2021, Museo Civico Medievale, Bologna
in Elles font l’abstraction
Centre Pompidou, Paris, France
Ph. Ugo Mulas
in Europe: Ancient Future
Halle für Kunst Steiermark, Graz
Haris Epaminonda, Chapters, 2013
16mm film transfered to digital, single screen version, 1:37 min
in Here to Stay. Nuove opere per la Collezione
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.
David Maljkovic, Retired Form, 2010, Museion, Bolzano
ph. Luca Meneghel
in Io dico Io – I say I
La Galleria Nazionale, Rome
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
in Muselmann. Omaggio ad Aldo Carpi
Memoriale della Shoah, Milan
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
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!
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
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.
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
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.
Libro del Silenzio
curated by Hans Ulrich Obrist with Francesca Giacomelli
La Triennale di Milano, Milan, IT
"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.
Natural and black anodized aluminum
Castello di Rivoli, Rivoli, IT
Giulio Paolini, 2013
Ph. Luciano Romano
Dom Museum, Wien, AT
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
Mercedes-Benz Art Scope 2018-2020
Hara Museum, Tokyo, Japan
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
Peter Halley, The artist columned hall, STOA169 Stiftung, Polling, Germany
Museo del Novecento, Milan, IT
Due rettangoli mimetici
Sicofoil on painted wooden stretchers
38×75 cm each
Milano, CityLife public park
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
Illuminare lo spazio, lavori in situ e situati
GAMeC, Bergamo, IT
MAC, Lissone, IT
Maurizio Donzelli, Talisman drawing, 2019, acrylic resin on board, 41.5x31x3 cm
in Double Wall of Silence
Hestia, Belgrade, YU
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.
DetailAriel Schlesinger, we started with a flame, February 2019
Three Ball Total Equilibrium Tank and other problems
Quartz Studio, Turin, IT
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
Daniel Gustav Cramer/
The Infinite Library
Centre d’Art Contemporani - Fabra i Coats, Barcelona, ES
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
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
“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
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.
Unidentified Modern City. Globalized Brescia,
Pure pigmented print
Exhibit Model Six – The Tel Aviv Version
CCA Tel Aviv, IL
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
Anish Kapoor, Martin-Gropius-Bau, Berlin, 2013
MoMA, New York, USA
Sheila Hicks, Surrounds, MoMA, New York, 2019
Museo Chileno de Arte Precolombino, Santiago, CL
Secret Structures, Looming Presence
Dallas Museum of Art, Dallas, Texas, USA
SH, Untitled, 2019, 73x50cm
Linen on wooden support
On the spiritual matter of art – curated by Bartolomeo Pietromarchi
MAXXI Museum, Rome, IT
Untitled #13 t/g
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
Le monde selon Roger BALLEN
Halle Saint Pierre, FR
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.
Roger Ballen, Ballenesque, Les Rencontres, Arles, 2017
Nature morte/Nature vivante
Le Grand-Hornu, Magasin aux Foins, Écuries, BE
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 viewAriel Schlesinger, we started with a flame, February 2019
Museum HOUSE OF HUMOUR AND SATIRE
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.
My Dream Bulgarian Cultural Reporter’s Butt
Oil on canvas
Studio Legale Withers, Milan, IT
Oil on canvas