Ida Panicelli

  • Fabio Mauri, Intellettuale (Intellectual), 1975, mixed media. Installation view. Photo: Amedeo Benestante.

    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

  • View of “You Say You Want a Revolution? Records and Rebels 1966–1970,” 2016–17.
    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

  • View of “Anish Kapoor,” 2016. From left: First Milk, 2015; Today You Will Be in Paradise, 2016. Photo: David Regen.

    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, L’ideazione di un sistema resistente è atto creativo (The Design of a Resistant System Is a Creative Act), 2016, charcoal briquettes. Installation view. Photo: PEPEfotografia.

    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

  • Janine Antoni and Anna Halprin, Paper Dance, 2013. Performance view, The Fabric Workshop and Museum, Philadelphia, April 20, 2016. Janine Antoni. Photo: Carlos Avendaño.
    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

  • View of William Kentridge's Triumphs and Laments: A Project for Rome, 2016, along the embankment of the Tiber River. Photo: Luciano Sebastiano
    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, Mend Piece, 1966/2015, mixed media, dimensions variable. Galerie Lelong.

    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

  • View of “Jimmie Durham: Sound and Silliness,” 2016.
    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

  • View of “Robert Ryman,” 2015–16.
    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

  • Mario Rizzi, Al Intithar (The Waiting), 2013, color, sound, 30 minutes.
    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

  • View of “Lara Favaretto: Good Luck,” 2015. From left: Homage to Ambrose Bierce, 2015; Homage to Thomas Pynchon, 2015; Homage to Amelia Earhart, 2015; Homage to Nikola Tesla, 2015.

    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, to channel, 2015, polyurethane resin, 27 × 15 × 15".

    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