Francesca Pola

  • Carol Rama, C'è un altro metodo per finire (There Is Another Method to Finish), 1967, mixed media, 13 x 19''.
    picks December 05, 2016

    Carol Rama

    Carol Rama’s traveling retrospective concludes in Turin, the artist’s native city, where she lived and worked. One of the most significant presences in twentieth-century Italian art, Rama was honored with the Golden Lion award at the 2003 Venice Biennale. This show, the most comprehensive exhibition of her work to date, retraces the salient moments and series of her production, with approximately two hundred works dating from 1936 until her death in 2005.

    Rama was self-taught as an artist, and early on, during the years of Fascism in the 1930s and 1940s, she already was addressing the thorny

  • Mimmo Rotella, Other Scenes, 1968, photographic emulsion on canvas, 36 1/4 × 28 3/4".

    Mimmo Rotella

    Ten years have passed since the death of Mimmo Rotella, one of the most versatile and revolutionary Italian artists of the second half of the twentieth century. A suite of staggered but overlapping exhibitions at Cardi Gallery, Robilant + Voena, Galleria Carla Sozzani, and Fondazione Marconi celebrate his creativity and relevance, revealing the experimental strategies and techniques that characterized the career of this volcanically inventive practitioner. The works on display at four venues throughout the city delve beyond his celebrated “Décollages” and “Retro d’Affiches” (made with torn

  • View of “Enrico Castellani, Robert Mangold, Robert Morris, Kenneth Noland,” 2016. From left: Kenneth Noland, Acute, 1974; Robert Morris, Untitled, 1974; Enrico Castellani, Superficie bianca (White Surface), 2001; Kenneth Noland, Blind Passage, 1977. Photo: Lucrezia Roda.

    Enrico Castellani, Robert Mangold, Robert Morris, and Kenneth Noland

    After a long, fruitful period in Bergamo, Italy, that began in 1971, the Galleria Fumagalli moved to Milan in 2011. This year the gallery moved again—though it remains in the same city—and opened its new venue with this show, “Enrico Castellani, Robert Mangold, Robert Morris, Kenneth Noland: A Personal View of Abstract Painting and Sculpture.” The main intention of the exhibition, organized by independent curator Hayden Dunbar, was to compare these four artists in relation to themes such as the redefinition of the artwork and its surface as objective and phenomenal realities, and the

  • View of “Matthias Bitzer: Immaculate Cloud,” 2016.
    picks October 20, 2016

    Matthias Bitzer

    For his fourth solo show at the gallery, Matthias Bitzer has produced a strongly evocative and inventively fresh installation. The image of the immaculate cloud that gives the exhibition its title refers to the spatial and temporal fluctuations that one perceives in this kaleidoscopic show. What emerges most clearly here is the versatility and breadth of the artist’s research, characterized by the destructuring and dematerialization of communicative codes and their tools, resulting in a new construction of signification.

    In the distortion, contraction, and use of different materials and

  • View of “Fifteen Works by Marco Gastini, 1969–1978, a Decade,” 2016.
    picks October 19, 2016

    Marco Gastini

    This invaluable exhibition, one of rare intensity, covers the first decade of Marco Gastini’s practice. During the 1960s in Turin, Gastini concentrated his work on the associations between the pictorial sign and its spatial presence, employing transparent materials, particularly Plexiglas. His experimentation took place at the same time but in a different direction from Arte Povera, Minimalism, and Conceptual art. Gastini proposes his work not as a compositional space but as an active field of relationships. The installation begins with an untitled piece from 1969 and the extraordinary Tre (

  • Emilio Isgrò, Dichiaro di non essere Emilio Isgrò (I Declare I Am Not Emilio Isgrò), 1971, seven mixed-media panels, each 66 × 23 3/4".

    Emilio Isgrò

    This retrospective, curated by Marco Bazzini, showcased Emilio Isgrò’s multiform creative process in all its richness and variety—presenting an oeuvre that, for over half a century, has been based on the encounter between word and image. Isgrò’s artistic journey began in the early 1960s, with his fictitious “Titoli di giornale” (Newspaper Headlines), 1962–64, in which he drew on his professional experience as a journalist to reflect on the ways in which current events are treated by the media, the mechanisms of distortion underlying that information, and the coexistence of truth and falsehood

  • Franco Vimercati, Untitled (Grattugia), 1997, gelatin silver print, 16 × 12".

    Franco Vimercati

    This exhibition offers the opportunity to assess the work of Franco Vimercati, one of most compelling figures in Italian conceptual photography. Vimercati’s photographs bring us up close to his seemingly weightless subjects, often presented against rich black backgrounds devoid of setting or texture. Yet because these subjects are reiterated and minimally varied, his work can be defined as a sort of conceptual figuration. The artist’s emphasis on seriality and mutation challenges the predominant notion of photography as capturing discrete moments in time. This is a poetics of objects articulated

  • View of “Studio Azzurro,” 2016.
    picks August 29, 2016

    Studio Azzurro

    For decades now, the Studio Azzurro collective has been a compelling presence on the international art scene, most recently evident in this splendid retrospective of their ambienti sensibili, or sensitive environments. Since 1995, they have maintained a fecund, innovative creative practice, conceiving installations activated by elementary interactions, such as touch or breath.

    The group’s current show confirms not only the historical importance of the collective’s pioneering oeuvre—which began at the threshold of the era in which we now find ourselves immersed in the virtual—but also the work’s

  • View of “Brian Eno: Light Music,” 2016.
    picks August 17, 2016

    Brian Eno

    In this new synesthetic installation by Brian Eno, sculptures and video paintings made from light boxes create a highly evocative environment nurtured by the interweaving of visuals, sound, and light stimuli. A series of screens on the walls, titled “Lightboxes,” 2016, pulsate with colorful geometric arrangements that vary according to the sounds emitted simultaneously. Inspired by research into the historical avant-garde, all the pieces here seem to almost suggest a link between the spiritual essentiality of Kazimir Malevich’s Suprematism and the plastic-dynamic tendencies of László Moholy-Nagy,

  • Dadamaino, Volume, 1958, tempera on canvas, 27 1/2 × 19 3/4".

    Dadamaino

    This revelatory exhibition of the work of the Italian painter Dadamaino (1930–2004) was organized chronologically, presenting sequential stages in the self-taught artist’s compelling career. Thirty-nine works produced over forty-three years evinced the artist’s persistent formal inquiry, making a case for the notion that a concept can be constantly rediscovered and made relevant anew.

    Dadamaino’s artistic debut took place in Milan in 1958, amid the vibrant international context of the neo-avant-garde group Azimuth. The core members of this collective, Enrico Castellani and Piero Manzoni, founded

  • Diane Bond, L’aborto (The Abortion), 1980, mixed media on emulsified canvas, 19 1/4 x 23 1/4".
    picks February 16, 2016

    “Altra misura”

    Altra misura” (Another Measure), is an exhibition about diversity and the affirmation of identity beyond roles imposed by cultural and social conventions. The artists in the show, all working in Italy beginning in the 1970s, were protagonists in the women’s liberation movement there, active on various levels: Tomaso Binga, Diane Bond, Lisetta Carmi, Nicole Gravier, Ketty La Rocca, Lucia Marucci, Paola Mattioli, Libera Mazzoleni, Verita Monselles, Anna Oberto, and Cloti Ricciardi. Using photography as an analytical and political tool, they interpret the “difference” (thus “Another Measure”) of

  • Pierre Alechinsky, Le Point du jour (Sunrise), 1966, oil on canvas, 51 x 32".
    picks February 04, 2016

    “Cobra. Una Grande Avanguardia Europea 1948–51”

    Among postwar art movements, Cobra undoubtedly played a decisive role in establishing a new and authentically European artistic language after the tragedy of World War II. This insightful exhibition is a unique occasion for those wishing to become acquainted with Cobra’s cultural revolution. The show includes 150 works by the principal exponents of the group—including Pierre Alechinsky, Karel Appel, Corneille, Constant, and Asger Jorn—selected and presented to construct a geographic, typological, and stylistic mapping that is truly exemplary of Cobra’s distinctiveness. These works are accompanied