Alessandra Pioselli

  • Aldo Tagliaferro

    In a note concerning his work Identificazione in una variabilità oggettiva temporale (Identification in an Objective Temporal Variability), 1973, Aldo Tagliaferro writes, “Two moments exist as components in the structure of the work. One is direct and objective, fixed by a date. The other is indirect and subjective in the sense of memory and the identification of a subjectively ideal reality . . . attaining the point of verification when the ideal reality is no longer our (real) reality.” The central piece in this exhibition and the resulting cycle of works, Memoria—Identificazione—in

  • Laura Grisi

    Laura Grisi had her last solo show in 1995, having exhibited with the likes of Leo Castelli and Konrad Fischer since the mid-1960s. “Hypothesis on Infinity,” a fine-tuned exhibition of seven works dated from between 1966 and 1981, casts new light on the complex work of this now somewhat overlooked artist, who passed away last year at the age of seventy-eight. Avoiding any one category, her reflective and poetic art is rooted in a personal and singular interpretation of Pop and kinetic art, expanding toward conceptual and process-related ways of working.

    The earliest work on view here is Seascape

  • Carlo Gabriele Tribbioli

    It is not easy to face the questions posed by Carlo Gabriele Tribbioli’s latest documentary film, which he created in collaboration with director and philosophy researcher Federico Lodoli. Frammento 53 (Fragment 53) (2015) is uncomfortable not because it confronts the subject of war, but because of the interpretation and method Tribbioli has chosen. The filmwas the core of the exhibition “Intorno l’altare di un dio sconosciuto” (Toward the Altar of a God Unknown), which consisted of three other parts, developed from research materials the artist collected with Lodoli for the film: eight portraits

  • picks March 26, 2018

    Marta Sforni

    In the five paintings here that are part of “Mirror Fenice,” 2016–, a series that floats between abstraction and figuration, Marta Sforni returns to the subject of her series “Green Mirror,” 2015, which is also featured in this exhibition. In both projects, each work’s surface, built up through glazes of green or red oil paint, depicts a frame belonging to a large baroque mirror that appears to be shattering. The painted surface resembles a reflective glass, only it betrays no interior or person. Instead it becomes a threshold that leads the viewer into depths in which phantasms, memories, and

  • picks March 22, 2018

    Tobias Zielony

    “Maskirovka,” which means “mask” or “concealment” in Ukranian, is the title of a series Tobias Zielony created between 2016 and 2017 in Kiev. Here, the word refers to both military camouflage and the daily practice of many young people in the Ukrainian capital’s queer scene. The term likewise indicates Russian policy in Ukraine.

    This exhibition consists of one film, one video, a slideshow, and a series of photographs. Also titled Maskirovka, 2018, the stop-motion video constructs a syncopated narration, alternating between images of public demonstrations and military assaults—references to the

  • Grazia Varisco

    Mounted in Grazia Varisco’s hometown of Milan, “Ne ho solo 80” (I’m Only 80) is a worthy homage to this pioneer of kinetic art, who was born in 1937. Covering more than fifty years of her research into space and time, it begins with works from her “Tavola magnetica” (Magnetic Table) series, 1959–62, formed of mobile geometric elements attached to magnets that viewers can move over a metal surface. Engaging in this apparently simple game leads to a probing of categorical opposites, such as order and disorder, closed and open. A childlike playfulness encourages us to reconsider seemingly elementary

  • picks December 01, 2017

    Anita Leisz

    Anita Leisz’s work by turns evokes a visual unity and highlights the nature of its construction from disparate elements. One piece, composed of two galvanized-iron cylinders (all works Untitled and 2017), is the only on view that clearly brings to mind a three-dimensional structure. The other six works are simultaneously paintings and sculptures. Hung from the walls, they possess a mutable-seeming depth that complicates their status as paintings, even though their presentation encourages categorization as such. One wood, gypsum, and fiberboard piece, for example, is five inches thick. Another

  • José Parlá

    José Parlá’s personal grand tour of Italy extended north to south through seven cities—Milan, Bologna, Rome, Naples, Matera, Bari, and Lecce—whose urban plans reveal profound differences in land, politics, and culture. The route was echoed in the artist’s ten new canvases on view here. Fragments of walls, which Parlá found and picked up along his travels, and other materials were superimposed in complex and harmonious abstract compositions.

    In these works, the artist has a dual viewpoint. From a distance, the viewer could grasp the totality of the painting and the formal play among its

  • Adrian Paci

    Adrian Paci’s exhibition “The People Are Missing” was orchestrated on two different registers: Immersive installations were constructed alongside a selection of photographs and videos of found materials. Four works presented a narrative that unfolded in four stages, one after another, in the gallery’s four rooms. One space had been transformed into a shower (Untitled, 2017). Water fell violently onto the floor and was immediately sucked into a drain hole. An old gas heater emitted a sinister noise. If a domestic bathroom is a private and reassuring place for tending to one’s body, this environment,

  • picks April 23, 2017

    Andrea Sala

    Along the gallery’s walls Andrea Sala has installed reproductions of simple hand-operated tools at the height of a work surface in pieces titled Maglio (Mallet), Tasso (Stake), Rotaia (Rail), Suola (Sole), Tacco (Heel), and Tappo (Stopper) (all works 2017). Sala has previously examined the forms of objects in the context of the modernist traditions of design and architecture. Now, he turns his eye to the workshop: to the world of implements with essential forms. The function of these tools is no longer obvious thanks to the decontextualizing effect of Sala’s process (he creates the works with

  • Claudia Losi

    Sphere of Influence, 2017, installed in the gallery’s first room, perfectly captured the themes broached by this exhibition. The work is a photographic print of a fertilized egg, taken from a scientific publication, in which the artist has intervened with cotton threads as if the photo were a canvas. The threads surround and outline the image, then, soft and light, cascade outside the frame. If one did not know what the picture was of, the enlarged egg might seem like a distant and mysterious planetary system, made up of celestial bodies growing within one another. Sphere of Influence hints at

  • picks January 30, 2017

    Karla Black

    Conceived specifically for the spaces of the gallery, this show presents new works by Karla Black made primarily of cotton wool. Orchestrated as variations on a theme, these soft, sensual, and delicate abstract works first hide, then quietly reveal, a complexity of form and meaning. The artist establishes a long-distance dialogue of sorts with the tradition of abstract painting, investigating two-dimensionality but dismantling the canvas’s optical space in favor of physical, tactile work that ideally can be appreciated from more than one side. For example, In Place of Requirements (all works

  • picks January 17, 2017

    Lynda Benglis

    “Benglis and the Baroque,” Lynda Benglis’s first solo show in Italy, highlights the artist’s long-standing interest in the period in question. The sinuousness of seventeenth-century sculpture, along with the Baroque enthusiasm for artifice, is reflected in the American artist’s magmatic forms. In this exhibition, she continues to address themes of the knot and the torso, interpreting the topos of the male bust without limbs. As such, in Torso, 2016, a piece comprising five torsos created for this show, Benglis reprises the sculpture of Gian Lorenzo Bernini. Here, for the first time, Benglis has

  • picks December 05, 2016

    Giulio Turcato

    This show—which focuses on Giulio Turcato’s “Superfici lunari” (Lunar Surfaces) and “Tranquillanti” (Tranquilizers), two series emblematic of his 1960s production—reveals the nuances in a body of surprisingly poetic work that alternates between pure abstraction and Art Informel. The nine pieces on view from “Superfici lunari,” dating from 1965 to 1970, suggest an imaginary spatial realm while reinforcing the physicality of their “canvases.” Turcato painted in oil and mixed media on foam rubber, and thanks to these materials, his surfaces are never flat but appear rich in variations, signs,

  • Sabrina Mezzaqui and Paolo Novelli

    There is no clear purpose in hand-drawing ornamental motifs, yet in her I quaderni di Adriano (Hadrian’s Notebooks), 2016, Sabrina Mezzaqui has exhaustively reproduced the decorative scheme of a mosaic floor. Turning the pages of the twenty graph-paper notebooks that comprise the work, arranged in rows of four by five, viewers encountered varying motifs from mosaics in the Roman emperor Hadrian’s villa in Tivoli, an elegant repertory of arabesque, geometric, and floral elements. Ornamentation—an organizational expression of a human predilection for beautiful form—conveys configurations

  • picks July 27, 2016


    The artist duo Alis/Filliol have always interrogated the meaning of making sculpture, dragging the medium beyond its confines and thinking of it as a magmatic form in transformation, the result of repeated manipulations. Their latest installation, Ultraterra, 2016, features wallpaper that covers two large walls of the gallery; it depicts a landscape made up of solids and voids, thickenings and cavities, like a grotto.

    The wallpaper began with a plaster cast of a head that was filled with polyurethane until it burst. The artists then cast this exploded head, now made up of two shells, and the

  • picks June 21, 2016

    Marion Baruch

    Marion Baruch’s current exhibition focuses on an ongoing project that the artist began in 2012, for which she makes use of the scraps of mangled fabric that remain after pieces have been cut out by garment makers. She restores and displays these fragments, reading the presence of images and meanings (which are suggested by the works’ titles) into the now useless material’s gaps and edges. The fifteen works on view, made over the past three years, create a visual score in the gallery, with rhythmic relationships between solids and voids, geometric figures and graphic signs. Many remnants are

  • Runo Lagomarsino

    For his first solo show in Milan, Swedish-Argentinean artist Runo Lagomarsino continued his reflection on the ways in which history—especially histories of migration and colonialism—is inextricably entwined with depictions of space. At the gallery entrance was a blue-and-white enamel welcome sign that read as a warning: DEPORTATION REGIME. The plaque (Deportation Regime, 2015) was elegantly retro, its aesthetic contradicting its harsh message.

    The installation that gave the show its title, West Is Everywhere You Look, 2016, comprises nine maps that hung, furled, from the ceiling at

  • picks March 03, 2016

    Emma Ciceri

    Almerino is a gentleman who raises birds. Feeding and caring for them, he spends days marked by repeated gestures. He uses scrap materials to construct perches, piece by piece, in the courtyard of his house—an environment organized according to animal life. Emma Ciceri has created a series of photographs capturing this place and has then deleted swaths of her images with an eraser, leaving behind only the aforementioned original structures (Untitled, 2016). She also shot two videos, Almerino vola (Almerino Flies), 2015, and Nenia (Dirge), 2015, in two very different expressive registers. The

  • Graham Wilson

    The thread connecting the fifteen works (all 2015) in Graham Wilson’s recent exhibition “I Clocked Out when I Punched In” seemed to be time—specifically, time as it plays out in the valuation of artistic production. Wilson’s self-reflexive exhibition presented cheeky meditations on the status of his own work, in terms of both its cultural and economic capital. Some pieces are quite literal: Institutionalized suggests that the time spent producing a work can be systematically monetized, and that the artist might be conceived as an office worker. A broken vintage punch clock was installed on