Adriana Rispoli

  • picks September 05, 2018

    Francesca Grilli

    For the Italian pavilion at the Fifty-Fifth Venice Biennale in 2013, Francesca Grilli installed a colossal iron wall and a hanging microphone-Fe203, Ossido ferrid (Fe203, Ferric oxide). Invited to interact daily with the sculpture-the mic was connected to the wall via a device that discharged water droplets onto the metal in response to sonic intervention-female performers gradually bore a rusted wound into the structure's center.

    This exhibition, “NaOH,” also takes its title from the chemical formula for the element on which the project pivots—namely, sodium hydroxide, a base for everyday

  • picks May 10, 2018

    Pennacchio Argentato

    Pivoting on themes of liquidity and combustion, Pennacchio Argentato poses an increasingly relevant question for our time in “#Burn Burn Burn,” the Neapolitan duo’s second solo exhibition here: To what extent must we sacrifice our privacy online in order to fuel an ephemeral sense of self?

    The series “The New Oil” (all works 2018), consists of four abstract wall sculptures that evoke the trajectories of a human finger dragging an unlock pattern on a smartphone. This rote and intimate gesture is juxtaposed with the public nature of the images used in the background: shots of a combustible

  • picks April 16, 2018

    Allora & Calzadilla

    In recent years, Allora & Calzadilla have grown fond of deploying both the surreal and the kitsch, administering sociopolitical commentary to the public imagination in a direct and biting manner. At the Fifty-Fourth Venice Biennale, the duo represented the United States with a blatant j’accuse of both militarism and the myth of bodily perfection—most startlingly with Track and Field, 2011, a living monument in the Giardini section composed of an overturned tank conquered by an American Olympic athlete on a treadmill.

    Here, the expressive dynamic of the artists, who live in Puerto Rico, is subtler

  • picks February 20, 2018

    Giovanni Giaretta

    This exhibition of two video works and a series of photographs by Giovanni Giaretta investigates the disordered vision that results from the slippage between reality and fiction. The video installations, while different in feeling and technique, share a subtle connection in the way they navigate streams of consciousness, or voluntary unconsciousness.


    The Nightshift, 2017, which clearly implies an autobiographical element, is a hypnotic narration of that confused somnambulant state when the imagination is its most fecund. Made inside an Amsterdam hotel and here projected on a screen that leans

  • picks February 07, 2018

    “Carta Bianca Capodimonte Imaginaire

    For this exhibition, ten intellectuals were invited to draw upon the immense patrimony of this institution, which boasts a small but precious collection of contemporary art, to create their own juxtapositions of old and new works. The utterly personal interpretations of the historic collection range from the naturalistic vision of architect and landscapist Paolo Pejrone—who has framed a window among various paintings to surprisingly reveal the museum’s park—to the evolutionist approach of Laura Bossi Régnier, a neurologist who reflects on the relationship between man and ape, presenting paintings

  • picks December 14, 2017

    Delia Gonzalez

    In her second solo show in this Neapolitan space, Delia Gonzalez firmly maintains the infrastructure of her artistic dynamic: the electronic music, the dance floor, the boundary between the personal and the universal, and a language that deliberately eludes categorization as it sows seeds of disquietude.

    A postapocalyptic atmosphere pervades the gallery. The suffused pink, acidic light generated by the neon The Last Days of Pompeii (all works cited, 2017) and the hypnotic original sound track by Gonzalez, Vesuvius, converge to create a club-like setting bordering on ironic. In certain ways, this

  • picks June 20, 2017

    Tadashi Kawamata

    Japanese artist Tadashi Kawamata has created a large-scale rhizomatic installation—organic and invitingly habitable—for this very distinctive sixteenth-century cloister, repurposed after years of decay as the main point of departure for a vast urban-renewal project in Naples. As always in his interventions, Kawamata exploits both the site’s architectural characteristics and the anthropological and social details of its environs. The Shower, 2017, is an immersive multiplanar cascade of four thousand fruit crates, twisting and tumbling down from all sides around a central gazebo-like wooden support

  • picks May 06, 2017

    Louise Bourgeois

    The world of Louise Bourgeois, made up of obsessions, subconscious paranoias, and imaginary monsters, is halfway between mythology and verisimilitude—an unstable equilibrium between emotionality and rationality. The tangle of ideas and spirit of this great artist is reflected in Studio Trisorio’s selection of her lavish yet minimal works. The show consists of an array of thirty-four drawings made between 1949 and 2009, exhibited in chronological order. Many of them dynamically clash, accentuating the sense that they give access to the most intimate labyrinths of the artist’s psyche. It is no

  • picks March 02, 2017

    Irma Blank

    Irma Blank’s works—whether on paper or canvas, large or small—assert themselves in this Apollonian space invaded by light. “Life Line” includes fifteen pieces from her “Radical Writings” series, 1983–95, and three new works from “Global Writings,” 2016. While at first glance one might consider Blank’s art as visual poetry, closer examination reveals how her path is a solitary and existential journey that reflects a private quest, resulting in a complete identification between writing, artwork, and life. Here, Blank’s calligraphy completely loses legibility through an exhausting ritual dictated