Marco Tagliafierro

  • Giosetta Fioroni, Paesaggio Picasso (Picasso Landscape), 1965, pencil, white enamels and aluminum on canvas 45 x 45".
    picks May 08, 2018

    Giosetta Fioroni

    Giosetta Fioroni studies the ebb and flow of eras, a practice on full display in this retrospective. The exhibition begins with works that express the artistic climate in which she grew up, shaped by Giuseppe Capogrossi, Tano Festa, and Mario Schifano—fellow Roman artists with Pop sensibilities associated with the School of Piazza del Popolo. The curators have skillfully juxtaposed these artists’ works with Fioroni’s. All’Alba (At Dawn), 1957, reveals an interest in material and expressionist abstraction; Lampadina (Light Bulb), 1960, shows how she grew progressively closer to figuration, which

  • Donemico Gnoli, As You Like It (Banished Duke), 1955, ballpoint pen, India ink, and watercolor on paper, 13 3/4 x 10".
    picks August 21, 2017

    Domenico Gnoli

    Constructed as an all-encompassing archive of his drawings for the theater, the installation features anthracite-gray walls hung with sketches in museum-style passe-partouts. The exhibition (the design of which was produced by Giovanni di Natale with Giorgio Gentili) and its catalogue (by di Natale) have an interdependent relationship and

  • View of “Prospettiva di una matrioska” (Perspective of a Matryoshka), 2017.
    picks July 26, 2017

    Valerio Nicolai

    Prospettiva di una matrioska” (Perspective of a Matryoshka) showcases Valerio Nicolai’s propensity for producing multimedia works that cohere as if they were a single piece. Offering a blend of installations, sculptures, and paintings, the show was inspired by a system: the Chinese nesting box. It is an approach that verges on narration, almost turning the entire exhibition into a large work.

    Upon entering, visitors encounter Matrioska con spacca finestra (Matryoshka with Broken Window) (all works 2017), a faded brick-red mattress covered in canvas and surmounted by a ceramic object that, while

  • Nathalie Du Pasquier, BRR 10, 2016, oil on canvas, acrylic on wall, 93 3/4 × 39 3/8".

    Nathalie Du Pasquier

    There is no doubt that the expressive freedom of painting extends far beyond the techniques with which it has historically been associated. Yet oil painting—a relatively traditional method—continues to define the medium. This fundamental continuity lies at the heart of Nathalie Du Pasquier’s fascination with painting, and is the reason she continues to breathe fresh life into the finite space of the two-dimensional painted image. The two works that opened the show contained both paintings and three-dimensional wooden elements—a plinth and a shelf—that seemed to evoke

  • Mario Milizia, Onde sulle spalle_, 2016, mixed techniques on printed and canvased paper, 12 3/4 x 10 3/4".
    picks February 27, 2017

    Mario Milizia

    For some years, visual artist Mario Milizia wrote poetry using a cut-up technique. Wanting to unearth his poems’ imaginative potential, he had some of them translated into Latin and then translated back into Italian. During this period, he also submitted a saliva sample for DNA testing (using a kit advertised in a National Geographic insert) in order to reconstruct his ancestors’ movements and migrations. In Milizia’s case, his forbears had Portuguese, Spanish, Greek, and, obviously, Italian roots. He had his poetry translated into these languages and then published, as well as immortalized on

  • Riccardo Beretta, Paravento (First Victims Playground), 2017, inlaid wood and terrasanta relief on natural veneers and natural dyed veneers, dimensions variable.
    picks February 14, 2017

    Riccardo Beretta

    A large sculpture of inlaid wood, Paravento (First Victims Playground), 2015–17, is the cornerstone of Riccardo Beretta’s current solo show. This work, two years in the making, required the tremendous patience of a Renaissance cabinetmaker or lute maker. It consists of fifteen separate panels joined together to form a sort of mobile wall doubling as a door—its sinuous form simultaneously dividing and connecting. The sections are connected by various types of rounded and pointed flat archways. Built from MDF, many of the panels feature three layers of veneer on both sides, inlaid with an incredible

  • View of “Michele Zaza. Opere / Works 1970–2016,” 2016.
    picks December 08, 2016

    Michele Zaza

    This retrospective is a journey into the personal motivations behind the work of Michele Zaza. The show begins with Simulazione d’incendio (Simulation of Fire), 1970, which Zaza shot to document an action he created in Molfetta (in southern Italy): exploding smoke bombs close to a town park, in an unexpected and incomprehensible event. People scattered about, unaware and in disbelief of what was taking place. Here, Zaza brings the social tensions of that period into the rural world of his native Puglia.

    In Naufragio euforico (Euphoric Shipwreck), 1974, and Dissoluzione e mimesi (Dissolution and

  • View of “Paolo Gioli,” 2016. From left: Grande sviluppo rosso (Big Red Progression), 1966; Grande proiezione orizzontale (Big Horizontal Projection), 1969. Photo: Andrea Rossetti.

    Paolo Gioli

    Paolo Gioli’s extraordinary survey at Peep-Hole demonstrated that the artist has progressed far beyond photography during the span of his four-decade career, consistently producing work that expands and extends the limits of the medium by incorporating drawing, painting, and filmmaking. The exhibition, distributed over eight rooms, included works dating from 1962 to 2010, and reconstructed the artist’s major themes and recurring concerns. The first room presented work mining classical art-historical tropes, from still life to landscape, often developed in an idiosyncratic personal manner and

  • Kerstin Brätsch, Unstable Talismanic Rendering [Poliʻahu’s Cure], 2016, ink and solvents on paper, 
neon tubing, dimensions variable.
    picks July 01, 2016

    Kerstin Brätsch

    This exhibition winds through the gallery along an unmarked path, yet visitors intuitively pick up on an intended route, as if by a sort of tropism. Indeed, the rhythms and rituals of nature are the premise for Kerstin Brätsch’s current exhibition, which draws inspiration from Full-Fall, a sequence of art rituals that take place in rural settings in conjunction with the solstices. Full-Fall was conceived and organized by the artist Davide Stucchi and the theoretician Mattia Ruffolo, who together invited Brätsch to contribute a work based on the notion that an animist energy underlies all matter.

  • Lorenzo Vitturi, Untitled - Fractal MDF #0 2015, photograph mounted on aluminum, 16 x 24".
    picks May 05, 2016

    Lorenzo Vitturi

    In this staging of Lorenzo Vitturi’s photographs, environments are constructed as extensions of the images’ content, reflecting how the artist utilizes his chosen medium for its inherent ambiguity between representation and reality. This solo show, curated by Fantom, is thematically built around the Droste effect, a term coined by the journalist and poet Nico Scheepmaker in the late 1970s to describe so-called recursive images, or pictures that repeat the image within themselves. His idea was inspired by a box of the eponymous Dutch chocolate featuring an image of a nurse holding a tray with a

  • View of “Judith Hopf,” 2016. Photo: Andrea Rossetti.

    Judith Hopf

    A strange sight greeted visitors to Judith Hopf’s third exhibition at Kaufmann Repetto: two large feet, each made from bricks held together by mortar. Ambiguous objects, the works (both titled Brick-Foot, 2016) have a humorous charge, but situated as they were just outside the gallery doors, they constituted an obstruction.

    The show was distributed throughout three spaces and a courtyard. In the first room on the left there were three small concrete serpents, from of the series “Untitled (Serpent),” 2015–. A fourth, smaller snake, Untitled (Serpent), 2016, traversed the wall and peered into the

  • View of “Francesco Vezzoli: Museo Museion,” 2016.
    picks February 26, 2016

    Francesco Vezzoli

    There are two related exhibitions that have taken over this institution: the first retrospective of Francesco Vezzoli’s sculptures, which are on view through May 16, and a show the artist has curated of historical works from the museum’s collection, which runs through November 6. Collectively titled “Museo Museion,” the double exhibition begins with a large wallpaper installation that blows up a painted Roman vista by Giovanni Paolo Pannini (Gallery of Views of Modern Rome, 1759). Sandwiched between two burgundy velvet curtains, the work seems to exist in a state of continual unveiling, and it