Ana Vukadin

  • View of “Setsuko,” 2022. Photo: Matteo D’Eletto.

    Setsuko

    Rome holds a special place in the heart of Japanese artist Setsuko Klossowska de Rola, better known as Setsuko. She spent much of her twenties and thirties living in the lush splendor of Villa Medici, home to the French Academy in Rome, where her late husband, the painter Balthus, served as director until the couple moved to Switzerland in 1977. It was in Rome that Setsuko began to dedicate herself to art—mostly painting—and also where she met ceramicist Benoît Astier de Villatte, who would spur her work in clay decades later. The intimate exhibition “Into the Trees II” marked the octogenarian’s

  • Amalia Pica, (Quasi) Catachresis #10, 2022, chair legs, wooden spheres, glass bottle, 44 1⁄8 × 29 1⁄2 × 18 1⁄8".

    Amalia Pica

    Amalia Pica’s work has always been about relationships—how people communicate, what is lost or misunderstood—and about art as a way to give meaning where it is seemingly lacking. In 2008, for instance, Pica staged Strangers at Tate Modern in London: Two performers were asked to hold the opposite ends of a cord of colorful bunting, just so it would not touch the ground. The previously unacquainted performers were too far apart to engage in meaningful conversation but had to be attuned to each other’s body language in order to keep the thin fabric elevated. Suggestive of celebrations, the festively

  • Emma Talbot, The Trials (detail), 2022, watercolor on Khadi paper. Photo: © Carlo Vannini.
    interviews July 20, 2022

    Emma Talbot

    As the winner of the Max Mara Art Prize for Women, Emma Talbot completed a six-month residency in Reggio Emilia, collaborated with the historic Modateca Deanna archive to learn Intarsia knitting, studied permaculture at a farm on the Sicilian slopes of Mount Etna, and in Rome, researched Herculean myths and Etruscan pottery. The starting point for her project was Gustav Klimt’s 1905 painting Three Ages of Woman, which hangs in Rome’s Galleria Nazionale d’Arte Moderna. Her resulting exhibitions at London’s Whitechapel Gallery (June 30–September 4, 2022) and Collezione Maramotti (October 23,

  • John Stezaker, Train, 2012–21, HD video, color and black-and-white, silent, 9 seconds.

    John Stezaker

    The basement of the Palazzo Caracciolo di Avellino, home to the Fondazione Morra Greco, is a dark, cavernous space with a vaulted tuff ceiling resembling the mouth of a tunnel. The air is heavy with history; during recent renovations, an ancient Greek wall was revealed—a reminder that Naples is one of the world’s oldest continuously inhabited cities, one whose myriad histories literally grew on top of each other. It’s no wonder that British artist John Stezaker, whose solo exhibition took over the five floors of the palazzo, chose the basement as the site for the film loop Train, 2012–21, which

  • Giulia Marchi, Ci sono ferite che per cicatrizzarsi hanno bisogno di altre ferit (There are wounds that need other wounds to heal), 2022, marble slabs and pure gold leaf, dimensions variable.
    picks April 11, 2022

    Giulia Marchi

    Natural light floods Matèria’s airy new premises, enhancing the zenlike tranquillity elicited by Giulia Marchi’s “Una pietra sopra,” an elegant exhibition of recent work with a retrospective feel: The sculptures, installations, and works on paper borrow their titles from the artists, writers, or poets who have been key to this conceptualist’s practice, and the objects on display frequently reprise elements and materials from her earlier photographs.

    Long, almost translucent scrolls of white Xuan paper of varying sizes are pinned to a central pillar, some unfurling to the floor, in Quaranta righe

  • Goran Trbuljak, 1#(4)b, 1986, acrylic on canvas, 14 1/2" x 12 1/4”.
    picks March 21, 2022

    Goran Trbuljak

    In 1969, a young art student from Zagreb threw a series of frames into the Adriatic. They framed the sea temporarily before floating away (Sea Landscapes of Kvarner and the Southern Adriatic). In many ways, this action foreshadowed Goran Trbuljak’s ongoing obsession with the role of the canvas, charted here in “45 Years of Non-Painting.”

    Trbuljak is full of inventive approaches to applying paint to its support as indirectly as possible. A Conceptualist who emerged from Yugoslavia’s New Art Practice group, his deeply personal investigations into the social position of an artist are unwavering in

  • Otobong Nkanga, Lined with shivers sprouting from the rock, 2021, wool carpet, hand-knotted cotton ropes, weeping-beech wood, handblown glass, clay, metal, video, organic materials, various oils, dimensions variable.

    Otobong Nkanga

    To reach Otobong Nkanga’s exhibition, “Of Cords Curling around Mountains,” on the third floor of Castello di Rivoli, one first has to cross a footbridge overlooking the brick roof of the floors below. A voice beckons, singing a melancholy song, and before even entering the exhibition you are hit by a strong scent of mint, which almost instantly triggers memories and emotions tucked away in the recesses of the brain. Commissioned specifically for the galleries where it is installed, the show encourages viewers to slow down, to smell, to listen, to look. Thick black cords—handmade by artisans from

  • Nairy Baghramian, Misfits B, 2021, varnish and cast aluminum, dimen­sions variable. Installation view. From the series “Misfits,” 2021–.

    Nairy Baghramian

    The luxurious Neoclassical Villa Reale in Milan, which is home to the Galleria d’Arte Moderna (GAM), boasts the oldest English garden in the city. It is open to adults only if they’re accompanying children under twelve, which makes the GAM, whose art collection focuses on the nineteenth and twentieth centuries, something of a tease: On the ground floor, its nearly floor-to-ceiling windows open onto a terrace that beckons you to a lush and secluded garden with a pond, wooden bridges, and a small playground, essentially inaccessible to most visitors. The duality of playfulness and frustration

  • Pakui Hardware, The Host 2, 2021, stainless steel, fabric, resin, glass, 59 x 47".
    picks October 28, 2021

    Pakui Hardware

    Walking through “Host,” Pakui Hardware’s first solo show in Italy, is a delicate affair. Precariously installed tables rest on thin metallic legs that taper into the sharpest of stilettos. Black cables run from each table along the floor and into sockets in the wall. Metallic arms holding beautifully blown glass circles float above each table at the average viewer’s height. We are in a surgery of sorts—a remotely controlled one whereby the surgeon, miles away, operates on a patient via a robotic counterpart. How will the rapidly expanding field of telemedicine alter the relationship between care

  • Brigitte Schindler, La persistenza della memoria. S. D. (The Persistence of Memory, S.D.), 2019, color print on cotton paper, 86 1/2 x 58".
    picks June 11, 2021

    “Mollino/Insides”

    Ever since the enigmatic Italian architect and designer Carlo Mollino died in 1973, leaving behind a secret residence in Turin, wildly improbable speculations concerning the apartment’s “true” purpose have enthralled the art world. Whatever conjecture shrouds Casa Mollino, its allure and beauty are undeniable, and it has become a site of pilgrimage for art enthusiasts.

    “Mollino/Insides” is a testament to the designer’s enduring legacy and impact on artists today. The three-person show teases a look inside the flat through paintings by Enoc Perez and photography by Brigitte Schindler, which are