Francesca Pasini

  • Grazia Toderi

    “There was something of the fairy in her, and nothing is more unbearable, to judge from fairy tales, than living with a fairy.” Grazia Toderi uses this phrase, taken from Marguerite Yourcenar, as the title for two of her works. Toderi unearths the fairy tale, with all its touches of cruelty, and sets it within the framework of video and photography. A color video, Soap focused on the interdependence of objects, fairy tales, and art. The object was a washing machine; the story centered around the Ken doll and his absent girlfriend, Barbie; the art was Maria Callas’ rendition of “Casta Diva” from

  • Marisa Merz

    Marisa Merz envisions her work as an organic whole, without separate titles and dates for individual pieces. Everything is articulated in the present, in this present in which she has reorganized the space and time of the appearance of every single work. Thus, she bridges the distance between the moment of creation and that of exhibition, a distance that she has always marked. This was a far cry from a traditional retrospective; it was instead a global view where each piece seemed contemporaneous with the others.

    At the entrance was an extraordinary duet: on a thin tripod, a clay sculpture acted

  • Eva Marisaldi

    “The well is 3 meters deep, it holds 4,000 liters, the human capacity load is zero. It wasn’t made to cause damage. This is an invitation to pay attention.” These words greeted the viewer entering Eva Marisaldi’s exhibition. Carved into a large steel disk hanging on the wall, these words included the title that had appeared on the invitation: “La portata umana è nulla” (The human capacity load is zero). But the images on the invitations remained enigmatic; they consisted of real postcards—some depicting natural environments, some emptiness, some human or animal traces. Marisaldi then collected

  • Margherita Manzelli

    Margherita Manzelli’s show “Il vascello fantasma” (The flying dutchman) soared on dreams and intimate, subjective tales. The gallery was filled with 25 small oil paintings, hanging from invisible nylon threads. The first paintings one saw hung about one meter from the floor and then, bit by hit, the height increased. In order to read the title, written by hand along the bottom edge of the panel, it was necessary to hold the paintings and turn them.

    Manzelli’s phantasms come from the shards of memory, unexpected eruptions of feeling, visual flashes that have struck her sensibility. They give an

  • Cesare Viel

    An actor read a long text from a video screen. If one listened closely it became clear that it was a particular type of monologue, directed toward someone who seemed to be far away. One soon discovered that what was being read was a letter, or really four letters, one after another. The voice emanating from the video screen, located in a corner of the gallery, created an invisible diagonal trajectory that propelled the viewer toward the side wall. There, four photographic panels without frames—hung at a slight distance from the wall seemed suspended in the space between speaker and listener.

  • Laura Ruggeri

    In her recent show, “Il Maestro è un mostro” (The master is a monster), Laura Ruggeri surprisingly juxtaposed Lucio Fontana and Freddy Krueger. The title brought to mind the horror of a tabloid headline, from which one can surmise some sexual crime. But written in an infantile hand, the phrase also evoked the mysterious fear that wafts between rows of school desks, a fear brought on by the imposition of knowledge. It is also the “monstrosity” of a creative supremacy that, for millennia, has been delineated in strictly male terms.

    What gesture is Ruggeri making when she pairs Fontana and Krueger

  • Name Diffusion

    Marion Baruch has made female subjectivity the core of her work. In 1990 she formed a company, called NAME DIFFUSION, signing her works with this “commercial” logo. An industrial product needs a name and needs to be diffused. But men and women also need a name, and they too require the diffusion of their products—emotions, work, ideas. A telephone-directory entry has no voice, no face, no thoughts, it remains anonymous. To break from this condition, in any field of endeavor, both public and private, it is necessary for the name imposed upon us to produce its own discourse one that is singularly

  • Alfredo Pirri

    Alfredo Pirri’s exhibition was entitled “PER NOI” (For us), implying a dedication, and a prayer. In fact, the work resonates with the Catholic invocation ora pro nobis. However this symbolic reference was tied not to stately places of ritual, but to moments of private reflection, and thus maintained a certain correspondence with the various “stations” of the cross. These appeared as metaphors in the perspectival space constructed by Pirri. In each room of the gallery, the artist traced a rhythmic scansion that produced an overall visual intimacy. At the same time, each work was composed of a

  • Thomas Schütte

    Being let in on a secret is always very exciting, particularly when what is revealed is something we thought we had already understood. It is disconcerting, not because certainties are overturned, but because places of the mind and of the heart, until then closed off, become accessible. This is how one felt upon seeing Thomas Schütte’s show. In fact, Schütte creates a connection between deeply submerged images and the birth of a new vision. The secret that he reveals is about the birth of subjective awareness that occurs in the exchange between what has already become conscious and what needs

  • Gilberto Zorio

    It is, perhaps, no accident that we are seeing a renewed interest in ideas that preceded the political and scientific revolutions of the 17th century. In fact, we are witnessing increasingly frequent use of esoteric and alchemic ideas, presented not as historical references but as the impetus for expanding one’s own sensibilities, for seeking a way out of the stagnant uncertainties that affect individuals and institutions the world over. It is as if the fall of the grand ideologies of the century has revitalized a dialogue with our distant roots: the need to view our own historic, cultural, and

  • Jannis Kounellis

    Telling one’s own story doesn’t simply mean showing what has happened, but creating, first of all for oneself, a relationship between the past and the present. This act gives rise to communication between the various places of a person’s development. In these two shows, Jannis Kounellis condensed his artistic evolution and presented the viewer with both his own story and a sense of continuity with the birth of a new vision. This is not a new way of working for Kounellis, but is, in fact, the basis of his artistic process. What emerged from the shows was the necessity to give shape to the

  • Abigail Lane

    To leave a mark on history is every individual’s aspiration. Abigail Lane, a 25-year-old English artist who attended Goldsmith’s College in London, invests her work with this vision. Making History (all works 1992) supplied the interpretive key for this show. It consists of a series of photographs, arranged in a sequence of four, with a single unit added on. This work captures the progress of a footstep through the image of a woman’s two bare legs depicted from the knees down. The feet are clad in thick-soled clogs that leave the sign of their passage on the floor. In this manner, Lane introduces