Ida Panicelli

  • Fabio Mauri

    Giving priority to ethics over aesthetics, Fabio Mauri has penetrated the West’s heart of darkness, analyzing the falsehoods of the ideologies that have characterized twentieth-century European history, revealing their pervasive mechanisms of cruelty. His rigorous inquiry focuses on the system of signs and symbols that Nazism and Fascism used to create consensus, seductively manipulating the masses. Investigating the forms—and even the beauty—through which totalitarian regimes have represented themselves, he asks us to personally participate in historical contradictions and to confront

  • picks January 17, 2017

    “You Say You Want a Revolution? Records and Rebels 1966–1970”

    The years 1966 to 1970, which formed and devastated much of a generation, marked a definitive cultural break during the postwar period in Europe and the United States. The widespread counterculture movement that united London and San Francisco generated a revolution in music, graphic design, fashion, and social behavior. In a lively, multifaceted setting, there was youthful rebellion, lots of great recreational drugs, sexual freedom, feminism, underground publications, anti–Vietnam War protests, the Monterey Pop Festival, and Woodstock.

    This exhibition deftly illustrates those five years, without

  • Anish Kapoor

    “Today You Will Be in Paradise,” Anish Kapoor’s exhibition at Gladstone Gallery this past spring, embarked on a visceral journey through the body, displaying sculptures that emulate its muscle fibers, fat, and intestines in a profusion of blood-red fluids, drippings, blobs, and creepy organic matter. Fearlessly, his senses fibrillating, Kapoor burrowed into the world of flesh.

    Kapoor’s chief material, silicone, is significant: It is a substance associated with plastic surgery, most notably with breast implants, and here it conveys the body’s materiality with intensity and luminosity. While the

  • Marzia Migliora

    In this highly political show, “Forza lavoro” (Work Force), Marzia Migliora examined the transitional moment of a dying architectural structure, the Palazzo del Lavoro in Turin, designed by Pier Luigi Nervi in 1959 for the Esposizione Internazionale del Lavoro (International Labor Exhibition) organized by Giò Ponti for Expo ’61. A majestic environment and a masterpiece of engineering, it is now in a state of total ruin following years of neglect that culminated in a devastating fire in August 2015. The building’s decay is rendered even more excruciating by its imminent conversion into a luxury

  • interviews April 26, 2016

    Janine Antoni

    Janine Antoni’s exhibition “Ally,” which is on view at the Fabric Workshop and Museum through July 31, 2016, is a “retrospective,” redefined. This exhibition, occupying four floors of the museum, manifests as a series of performances, installation environments, videos, and sculptures. Conceived and performed by Antoni, this presentation is also a deeply collaborative enterprise, having been developed with the choreographer Stephen Petronio and movement artist Anna Halprin. A book about “Ally” will follow, edited by British performance scholar and writer Adrian Heathfield. Here, the artist talks

  • interviews April 21, 2016

    William Kentridge

    William Kentridge had the audacity, in 2012, to propose an 1,804-foot-long drawing along the banks of the Tiber River, the largest public art project in Europe. It has recently come to life with the help of Kristin Jones, a New York–based artist who strongly believes in the notion of collaboration and acted as the artistic director of the whole project. Jones has worked with Kentridge for many years, against all manner of bureaucratic obstacle, to make Triumphs and Laments: A Project for Rome—an epic frieze with ninety figures, some as high as thirty-two feet—possible. This gargantuan work

  • Yoko Ono

    To those who wondered why Yoko Ono’s “The Riverbed” comprised two separate installations, identical in their components, that were sited in two separate galleries in close proximity in Chelsea, the answer quickly became evident. The show resonated differently in its two locations: In my experience, the installation at Galerie Lelong was more concentrated, silent, and intimate, while the one at Andrea Rosen Gallery was more luminous, open, and social. Others might have felt differently. But that is all to the point, for each visit was unique, affected by its participant’s individual memories and

  • picks February 17, 2016

    Jimmie Durham

    Like a haiku in four verses, this exhibition is cadenced between sounds and silences, mixing poetry with a touch of irony. Jimmie Durham presents two silent videos and two sound pieces, all made in Italy and altogether favoring an eclectic language that softens the works. Even the title of the show, “Sound and Silliness,” indicates that its significance should be sought in lightness and immateriality.

    In I Rondoni di Porta Capuana, 2013, an enveloping sound piece recorded in Naples, the songs of migratory birds create a concert of tones integrated with the noises of the city. With nature allowed

  • picks January 08, 2016

    Robert Ryman

    With only twenty-two paintings produced over six decades, this Robert Ryman exhibition is a summa of the artist’s process, via the reduction and synthesis of the fundamental elements of painting. Different mediums, textures, and supports—canvas, paper, aluminum, fiberglass, Plexiglas—are used to investigate the luminous frequency of white in all its possible gradations. The artist has chosen to exhibit the paintings under natural light, and he is right to do so. I viewed the show when the sky was clear, then when it was cloudy, and then under artificial light. The last condition was decisively

  • picks December 16, 2015

    Mario Rizzi

    For more than a decade, Mario Rizzi, a photographer and filmmaker attuned to sociopolitical changes in the Islamic world, has been investigating the fates of individuals and communities uprooted from their cultural traditions and homes by regional conflicts. Al Intithar (The Waiting), 2013, the first part of his trilogy Bayt (Home), 2012–, is a thirty-minute film at the center of this exhibition. It was shot in the Zaatari refugee camp in Jordan, just four miles from the Syrian border. At the time, the camp accommodated approximately forty-five thousand refugees (the number is now around eighty

  • Lara Favaretto

    IF, AS THEODOR ADORNO once famously asserted, “museums are the family sepulchres of art,” last spring’s presentation of Lara Favaretto’s 2010–15 series “Good Luck” transformed Rome’s MAXXI into a full-blown cemetery—albeit a quasi-Minimalist cemetery seemingly designed by Donald Judd with input from Walter De Maria and the stalwarts of Arte Povera. Each of the series’s twenty sculptures (there are eighteen on view in this exhibition) commemorates a different historical individual. But you wouldn’t know it at first glance: The monuments—composed of various arrangements of wood, polished

  • Janine Antoni

    Janine Antoni’s spring exhibition at Luhring Augustine featured a striking group of seven cast-resin sculptures: quasi-surrealist amalgams of bones, body parts, and everyday objects (a flowerpot, a stool, branches, and so on). Inspired by the tradition of milagros, the votive offerings that are hung in Latin American Catholic churches to invoke protection and healing, Antoni’s new work continues her decades-long exploration of the body and its psychological and spiritual dimensions.

    In to channel, 2015, one of the show’s most visceral pieces, an overturned flowerpot acts as a pedestal for the

  • picks May 18, 2015

    Donatella Landi

    In two videos now making their debut in Italy, Donatella Landi offers variations on nature and culture, passion and reason, to reveal profound changes that have occurred in both the social realm and the environment. In Casting Madonna, 2011, a ten-minute loop, a woman sits against the backdrop of an ancient town that is partially hidden by a green drape. She holds a baby in her arms (the arrangement is directly inspired by Titian’s 1510 Gypsy Madonna), and there is an intense interplay of glances between mother, child, and camera. The baby moves spontaneously and innocently, while the woman

  • picks February 26, 2015

    Davide Monaldi

    Davide Monaldi’s current exhibition is a poetic statement, whispered rather than vaunted, through a series of self-portraits. Each enameled ceramic figure depicts the face of the artist as a child; stylized into a full, flat shape. However, the atmosphere here is not that of a carefree age of innocence but rather one of solitude, a time marked by fears and anxieties: the child hidden in a corner, his head inside his sweater, from which only his terrified eyes poke out (Shy Boy, 2012); or the lonely birthday party of a sad little boy (Happy Birthday, 2010); or the family where every member has

  • Francesco Clemente

    Two tents stood alongside each other at Mary Boone Gallery’s Chelsea space, facing off like opposing armies. Recalling the tents in Mogul gardens (if not the camouflage tents still in use by the Indian military), these richly evocative cloth structures were masterfully crafted. To produce them, Francesco Clemente collaborated with artisans from Jodhpur, India, using techniques such as block printing and embroidery. Then he painted sprawling, multipaneled mural-like pictures on the interior walls. These designs, drawing from a globe-spanning range of references (Christian religious tradition,

  • Joan Jonas

    In the vast, cavernous space of HangarBicocca, Joan Jonas’s videos pop out of the dark like the bright facets of a kaleidoscope. They emerge not in chronological order, but according to a dynamic arrangement that highlights thematic relationships within her work. Time and space, memory and the present converge in an installation with a strong visual impact, emphasizing the process-oriented and narrative character of Jonas’s oeuvre. The show is grand yet intimate.

    The pivotal work at the center of the exhibition is Mirage, 1976/1994/2005, an installation comprising multiple forms of media: photos

  • interviews September 04, 2014

    Francesco Clemente

    Francesco Clemente’s longstanding love of India is at the core of “Francesco Clemente: Inspired by India,” an exhibition that opens at the Rubin Museum in New York on September 5, 2014. The show melds past and present, encompassing a range of styles and media. Throughout the works—which engage traditional Indian techniques and frequently investigate spirituality—Clemente’s respect for Indian culture is palpable. The show is on view until February 2, 2015.

    THIS EXHIBITION presents a panorama of work I’ve made in India. The layout of the show is designed like a temple, and both physically and

  • picks August 07, 2014

    Francis Alÿs

    Francis Alÿs’s film Reel-Unreel, 2011, is the centerpiece of this exhibition, which for the first time brings together works the artist made in Afghanistan between 2010 and 2014. Playing on the assonance between reel/real and unreel/unreal, the film points out the incongruities between what is filtered in stories created by the western media and the true life conditions in a city such as Kabul, defaced by war, swimming in a messy accumulation of rubble and garbage, with open sewers amid precarious makeshift dwellings. Within this devastated scenario, two children unroll and roll up two reels of

  • Robert Mangold

    For this commanding exhibition, Robert Mangold presented a group of ten paintings (accompanied by twelve drawings) executed between 2011 and 2014. Characterized, most saliently, by the wide holes cut into their centers, the spare, donut-shaped canvases explicitly recall the artist’s “Ring Paintings,” 2011, and “Frame Paintings,” 1983–85, and find him continuing the exploration of the fundamental elements of composition—of line, shape, and color—that he undertook in those series.

    The works are imposing; the largest, Angled Ring I, 2011, has dimensions exceeding eight by eight feet.

  • Ettore Spalletti

    This distinctive exhibition of Ettore Spalletti’s work, organized in three different venues in as many cities, achieves a unique presentation that conveys the complexity of his practice from both an emotional and a factual point of view, revealing his inner geography as well as his dedication to detail and love for material. Recent works are on display at MAXXI, in some cases conceived in dialogue with Zaha Hadid’s idiosyncratic architectural space. One example is Voce Bassa (Low Voice), 2014, an enormous panel of a joyful light-blue color laid out on the floor, following the museum’s ascending