Francesca Pola

  • picks August 14, 2015

    Vincenzo Agnetti

    This exhibition, which also appeared in Galleria Il Ponte in Florence, offers a broad selection of work by Vincenzo Agnetti, one of the most eclectic and innovative figures in Italian art in the 1960s and ’70s. In the late ’50s, Agnetti worked with Enrico Castellani and Piero Manzoni to conceive of the magazine Azimuth and the nearly homonymous gallery, Azimut. But by 1967, he began forging an independent path, becoming a central figure in Italy’s Conceptual art practices. Agnetti’s particular brand of Conceptualism is exemplified by a series of works for which—rather than simply substituting

  • picks July 21, 2015

    Jacob Hashimoto

    The title of Jacob Hashimoto’s new site-specific piece for his solo show in Verona, Never Comes Tomorrow, 2015, seems to allude to the inventive, cyclical nature of his work. Yet while remaining faithful to his signature style, Hashimoto is always able to find a new way of working, without repeating himself. Thus the pieces in this exhibition feel at once recognizable and surprisingly new. The show presents in sum a monumental, immersive installation of suspended wooden cubes, wrought iron, plastic, cardboard, and stickers, and new works from his well-known series of work developed from kites

  • picks June 22, 2015

    Jannis Kounellis

    For those who want to encounter some of the mythical sites of Jannis Kounellis’s work, this two-venue show is not to be missed. The Milan gallery hosts monumental wall pieces from the early 1960s, works that go beyond the traditional coordinates of painting toward a primordial iconicity. Letters, signs, and fabric roses stand out against muted white backdrops, forming a new visual alphabet. The Pero exhibition space, in contrast, has a series of works that puts more emphasis on installation, where it is possible to discern some salient turning points in Kounellis’s language: from his revolutionary

  • picks June 08, 2015

    Giovanni Anselmo, Wolfgang Laib, and Ettore Spalletti

    The most surprising thing about this exhibition is the natural way in which Giovanni Anselmo’s, Wolfgang Laib’s, and Ettore Spalletti’s visual languages tackle the space in their own ways. Each artist has created a site-specific installation on one of the gallery’s three floors, and their use of materials to allude to immateriality seems to be the subtle connecting thread.

    On the ground floor, Laib’s The Rice Meals for Another Body (all works 2015) consists of an expanse of grains of rice organized in Laib’s usual fashion into small, regularly spaced piles. In a sort of rarified counterpoint and