Francesca Pasini

  • Liliana Moro

    Abbassamento” (Lowering), the title of this show of Liliana Moro’s work, focuses attention on the actual depletion of energy that pervades contemporary ideas, behavior, and aspirations. But Moro’s work removes itself from the idea of critical commentary on the times and instead emphasizes the desire for a change from below, looking skyward without denying earthbound roots. At the same time, she doesn’t fall into the trap of lamenting that it is no longer possible to invent anything new, or to escape the asphyxiating space of modernity. History has not ended; what has ended is historical

  • Franz West

    If denunciation is transgressive, the same can be said of happiness. In these two exhibitions, Franz West expressed a desire for happiness that has seemingly been forgotten in our era. At the Pieroni gallery this feature seemed explicit in the large sofa upon which an old carpet was spread out, hiding the usual metal structure with which West creates his “functional objects.” The work evoked memories of the “western-eastern divan” of Goethe, or Freud’s sofa at Berggasse 19, along with the feeling of the East elicited by antique Russian carpets. This emphasis is connected to contemporary political

  • Daniel Buren

    Daniel Buren’s work emphasizes the dialectic between object, sign, and place. Through modularity, he creates a virtual space that takes shape in the relationships among volume, color, and viewer. In this show, this relationship was shown through a play between visibility and invisibility, between the design of the object and the multiplication of colors reflected in it. Buren alternated bands of mirror and white laminated wood, constructing a series of ten large square frames—a direct symbol for painting. But unlike a painting, here everything took place outside the frame. At its center, the

  • Alberto Burri

    This exhibition of Alberto Burri’s work consisted of 20 large paintings, entitled Opere Recenti Cellotex (New works cellotex), created specifically for the occasion. Each individual canvas was the supporting element for a structure of forms and colors with which the artist constructed the space. The internal design of the forms evoked the first images painted by Burri in the late ’40s, while their architectural layout created a bridge to his plastic, burlap, and cracked-surface pieces. A fundamental element of these new works can be perceived within the physical and theoretical structure of the

  • Piero Manzoni, Pino Pascali, Ettore Spalletti

    This show did not sanction a linear historical development but focused on an individual view of each of these three artists. The exhibition’s continuity was developed by means of a thread that didn’t obfuscate the differences among them, but exalted them, giving voice to the dialogue of constant contemporaneity. Contemporaneity is renewed in the moment that—as Piero Manzoni would say—we recognize the necessity to assume responsibility for our own actions. Isolating each artist’s work in terms of his individual development renews our debt to their innovations because it opens a dialogue with the

  • Stefano Arienti

    In these two shows, Stefano Arienti clarified his approach to art, and his withdrawal from it. In the De Carlo gallery he showed five posters that represented five fragments of Monet’s Water Lilies, 1904. Arienti retraces the colors with “brushstrokes” of Plasticine, so that the flat surface of the reproduction is enlivened and takes on a three-dimensionality. The treated surface becomes a place of memory, for the measurements of the reproduction never correspond to those of the real painting—at times they are magnified, at times reduced. In fact, the reproduced, fragmented image is always

  • Marco Bagnoli

    Marco Bagnoli’s three-part installation was held together by an optical axis, which united the three connecting rooms. The central space contained a sculpture made of many circular glass plates rotating around an axis. As they moved, the different circumferences caused a transparent blue/green female figure to emerge. This sculpture rested on a wooden hemisphere built of concentric disks.

    The access to the room on the left was blocked by a door slightly ajar, creating a narrow triangular space. Inside, amidst half-light and half-shadow, the space was inhabited by wood sculptures based on the

  • Günther Förg

    With these exhibitions, Günther Förg showed a transformation in the working of his painted surfaces, which have often allowed the viewer to glimpse the contradiction between the transparency and the opacity of matter. This relationship is what makes his architectural subjects so fascinating. Both the large-format photographs of façades and the vertiginous interiors of stairways and environments exhibit this same link between transparent and opaque structures. It is as if the exterior of the façades kept a magmatic interior at bay, and as though the support or skeleton of the image were presenting

  • Maria Nordman

    In her exhibition, entitled “dalle notte al giorno da una mano all’altra” (from night to day, from one hand to the other), 1990, Maria Nordman rearranges the usual view of the earth/sky, nature/culture relationship. Here, creation—the cycle of life within which any human being may find its source and its end—is not ruled by a universal measure, but, rather, by subjective, human speculation. A certain discontinuity takes shape, severing the norms and protocols of traditional scientific knowledge: it is the discontinuity that we experience when we make use of that more ancient knowledge of the

  • Luciano Fabro

    The announcement for Luciano Fabro’s exhibition read, “Computers di Luciano Fabro . . . Caramelle di Nadežda Mandel’štam” (Luciano Fabro’s computers . . . Nadezhda Mandelstam’s candies). The two phrases, presented like a book title, were connected by an open ellipsis. Fabro’s hand can be recognized in the subtle and continuous irregular mark that is his signature. It is a line that registers the amplitude of the arm, but also contains a double movement, rising and falling, revealing a relationship.

    It is a relationship of love, a love that has tied Fabro to the great Russian poet, Osip Mandelstam,

  • Mario Merz

    Some months ago I accompanied Mario Merz to see an exhibition of the work of Savoldo, a 16th-century painter of the Scuola Veneta. Upon our return, while we were discussing the paintings, Merz spoke to me about the “mysterious simplification” of contemporary art: “We don’t know why we have ended up with this simplification, but we do know that it isn’t tied to the story of society. It is a mystery. The paintings of Dürer, of Titian are rich in narrative content and this is one reason they are well received.”

    In Merz’s works, this mysterious simplification doesn’t lie in the telling, but in the