Ida Panicelli

  • Luisa Rabbia, Love (detail), 2016, colored pencil and acrylic on canvas, 9' × 16' 10".

    Luisa Rabbia

    The color blue has been important to Luisa Rabbia’s artistic investigations since the 1990s. This show of ten works made between 2009 and 2017 adds new nuances and tonalities: violet, maroon, red. Drawing in pencil on acrylic paint on paper or canvas, she weaves an intricate web of signs and achieves pictorial plenitude in the combination/opposition of a flat, frequently blue background and the vertiginous stratification of pencil marks. In these works, inner and outer landscapes coexist, demanding a variable perspective from viewers. At close range, one can perceive traces of the artist’s hand,

  • Massimo Bartolini, Pensive Bodhisattva (detail), 2017, enamel on galvanized iron, hydraulic motor, electronic control unit, bronze, 98 x 197 x 197".
    picks December 21, 2017

    Massimo Bartolini

    Massimo Bartolini has a history of interrogating notions of absence and presence—and here he approaches his subjects from different emotional and conceptual angles, such as the longing for a distant lover or the effacement of a writer’s identity. All of his works point to contradictions of the real and how much we invest in and identify with our beliefs.

    The two most impressive works in this exhibition mix Asian and European spiritual symbols with a minimalist rationalism. The Cartesian order of Pensive Bodhisattva, 2017, a large-scale iron structure, features an antique Korean statue of a

  • View of “Petrit Halilaj: RU,” 2017–18.
    picks December 15, 2017

    Petrit Halilaj

    Petrit Halilaj’s complex exhibition merges issues of identity, collective narrative, and echoes of past battles in a dreamlike environment populated by flocks of imaginary birds. In the two-channel video The city roofs were so near that even a sleepwalking cat could pass over Runik without ever touching the ground (all works 2017), Halilaj interviews people living in the titular village in Kosovo, where he grew up—an area that contains important Neolithic settlements found during archeological digs in 1968 and 1983. After the Yugoslav Wars of the 1990s, the artifacts became displaced. The most

  • Lin Tianmiao, Protruding Patterns, 2014, wool and acrylic yarn, carpets. Installation view, 2017.

    Lin Tianmiao

    This show screamed out loud. Some 120 words in English and Chinese were woven into thick protuberances that rested on an assortment of antique carpets covering the entire floor of the gallery’s main room. These terms were all related to womanhood—expressions of appreciation or derogatory insults—and they reflected the stereotypes, social pressures, and repressive roles imposed for centuries on women all over the world. Over the past six years, Lin Tianmiao has collected approximately two thousand such words from different languages and their slang and local dialects, as well as from

  • Diego Ibarra Sánchez, Hijacked Education, Zahlé, Lebanon, December 16, 2016, 2016 ink-jet print, 7 7/8 x 11 7/8".
    picks November 14, 2017

    Diego Ibarra Sánchez

    “Hijacked Education,” featuring photographs by Diego Ibarra Sánchez, is the third in a series of six exhibitions titled “GUERRE” (WARS) that Mudima Lab is devoting to freelance war photojournalism. Sanchez began the exhibited project in Pakistan in 2009, in part as a means of documenting and denouncing the catastrophic effects of the region’s conflicts on the fate of children living in these war zones. Sánchez documented the violent Taliban campaign against education, which focused in particular on the suppression of girls’ schooling and culminated in the attack on the young activist Malala

  • Betty Woodman, Outside and In, 2017, glazed earthenware, epoxy resin, lacquer, acrylic paint, canvas, wood, 75 1/2 x 119 x 10 1/2"
    picks November 03, 2017

    Betty Woodman

    In recent works claiming both the territory of painting and sculpture, Betty Woodman pushes the boundaries of her chosen medium, ceramics, and her work seems here fresher and freer than ever. The artist challenges notions of likeness, mixing real objects and their representations, always maintaining her sense of humor on high frequencies. Her signature vases, plates, and pitchers dialogue with painted trompe l’oeil interiors: Sitting in the round on shelves, the vases appear again on the canvas as two-dimensional shapes, or even as their own incongruously painted shadows. In one of her most

  • Pat Steir, Morning Moon, 2016–17, oil on canvas, 108 x 108".

    Pat Steir

    The ancient Greeks had two words to indicate time: kronos and kairos. While the former refers to sequential time, the latter signifies “a time in between,” a moment when something special occurs. “Kairos,” then, was an appropriate title for this show of twelve new paintings by Pat Steir. In each of them, something momentous occurs at the center of the picture—a vertical caesura that centrally divides the canvas. When I look at this liminal line, I think of the irreconcilable dichotomy of existence, encompassing the separation between spirit and body, essence and appearance. The fissure

  • Luigi Ontani, David d’après Michelangelo, 1970, seven color photographs, overall 6' 1“ x 25' 3”.

    Luigi Ontani

    A self-curated retrospective often risks being bombastic or over the top, but not in the case of Luigi Ontani, who represented his emblematic path from the 1970s to the present with eighty-five works—photographs, watercolors, sculptures in ceramic and bronze, and one mosaic—in which he is the main subject, turning the show into a sort of ironic and phantasmagoric über-self-portrait.

    Since the beginning of his career, Ontani’s reflections on art history have been both observant and irreverent. Using disguises and disrobings, Ontani reinterprets not only iconic figures from Italian art,

  • Alex Sewell, Street Fightin’ Man, 2017, oil on canvas, 76 x 64".
    picks September 22, 2017

    Alex Sewell

    Painting teenage spleen with a Photorealist’s skill, Alex Sewell creates trompe l’oeil works on canvas and wood that interrogate the bulimic visual culture that bombards today’s youth with toxic and violent images. A steadfast irony, however, keeps his critique from becoming preachy, as symbols of beloved pop culture (video-game heroes, rock stars) are conflated with those of high art (Jean-Michel Basquiat, Philip Guston) and peppered with references to religion, sex, and resistance movements.

    Though the artist’s oils are in your face and over the top, his messages are subtle, intelligent. His

  • Nan Goldin, Graveyard at Rathmullen, Ireland, 2002, ink-jet print mounted on Dibond, 24 x 36".
    picks August 23, 2017

    Nan Goldin

    For Nan Goldin’s first solo exhibition in Ireland, “Weekend Plans,” curated by Rachel Thomas, the artist’s iconic slideshow, The Ballad of Sexual Dependency, 1985, inevitably sets the tone. It’s impossible to avoid the impact of her most famous work, a record of Goldin’s harrowing life from 1970 to 1985, featuring an assortment of family, friends, and lovers. The slideshow is intimate, built around a narrative arc and accompanied by an upbeat sound track, from Maria Callas to the Velvet Underground. This closeness is palpable and heightened by the intensity of the artist’s subjects: sex, drug

  • Giorgio Griffa, Canone aureo 203 (Golden Ratio 203), 2016, acrylic on canvas, 54 3/4 × 37 3/8".

    Giorgio Griffa

    Through a radical formal reduction, Giorgio Griffa unites rule and poetry. Since his early days, working within the context of Arte Povera and Minimalist painting, he has maintained with his concise vocabulary an exemplary consistency and freshness. His painting, always focused on the rhythm and sequence of marks, is simultaneously rational and lyrical. And this show, which revisits his work from the late 1960s to the present, creates a dialogue through assonances among works from different decades.

    Griffa works on raw, unstretched canvas hung on the wall with small nails; he applies diluted

  • View of “Giuseppe Penone,” 2017. Foreground: Equivalenze (Equivalences), 2016. On wall, from left: Equivalenze-2 luglio 2016 (Equivalences, July 2, 2016); Equivalenze-7 luglio 2016 (Equivalences, July 7, 2016); Equivalenze-14 luglio 2016 (Equivalences, July 14, 2016). Photo: Matteo D’Eletto.

    Giuseppe Penone

    Since the 1960s, Giuseppe Penone’s work has been based on an osmosis between the vegetal and human worlds; his forms are marked by time and are always dependent on the relationship between nature and the artist’s body, and above all on a certain spiritual quality that allows him to perceive the secret rhythm of natural flows. And yet with this exhibition, “Equivalenze” (Equivalences), I was unable to avoid an off-putting feeling of chilling formalism. The show features some materials familiar from Penone’s work, such as terra-cotta, and some that are new, such as micro-drilled oxidized brass,