Marco Tagliafierro

  • Annette Kelm

    Most of the photographs in Annette Kelm’s show “In the Realm of” depict displays or exhibits of one kind or another, some already existing, others constructed by the artist in her studio. She gives in to the pleasure of letting herself be seduced by the epiphanies that daily life presents, allowing herself to be transported by the phenomenology of the everyday. Consider, for example, Soles, LOL!, C U SOON, XO, STUFF 2 DO, 2013: It began when, walking down the street in New York, she noticed a small sampling of shoe soles of various colors, arranged in a framed rectangle in the window of a repair

  • picks November 24, 2014


    Forty thousand real one-dollar bills are composed as a sort of wallpaper at the entrance to this show, which is curated by Maurizio Cattelan, Myriam Ben Salah, and Marta Papini. Titled THE HUG (all works 2014), this piece by Eric Doeringer is a symbol of one of the identities of kaleidoscopic Turin—an industrial city, a city of growth, and also the historical hub of Arte Povera. Turin is moreover a city imbued with mysticism and occultism. Yuri Ancarani’s film Séance, which documents a dinner with the disembodied spirit of the architect Carlo Mollino in the Casa Mollino, appropriately expresses

  • picks November 06, 2014


    The artistic duo Invernomuto (Simone Bertuzzi and Simone Trabucchi) has subverted the typical way in which exhibitions at Marselleria begin. Visitors do not access the gallery through the main entrance, but via an out-of-the-way door. The walls of the room they first encounter are covered in a reflective, silvery pattern of diamonds. Four blinding grow lights and a hexagonal ceiling lamp continue to dazzle the viewer, while a pile of crates emits a continuous sound, and a video hanging above shows scenes shot in Wondo Genet and Shashamane, Ethiopia—towns sacred to Rastafarians. For instance,

  • picks October 27, 2014

    Paola Angelini

    The work in Paola Angelini’s current solo show seems to signify a profound shift in perspective, perhaps relating to the three-month period she spent as artist in residence earlier this year at the Nordic Artists’ Center in Dale, a picturesque rural town in Norway. While in her new paintings, Angelini clearly demonstrates a propensity for figuration, she has long been influenced by notions of landscape articulated throughout art history. There are, for instance, obvious references to Alberto Savinio in paintings such as Still Life with Landscape (all works 2014), which, like Savinio’s La battaglia

  • picks October 01, 2014

    Paolo Gonzato

    Coinciding with Milan Fashion Week, this exhibition is at a project space–cum–fashion showroom curated by Gloria Maria Cappelletti and Fabrizio Meris, and it features what seems to be a multitude of paintings, or stratified and layered signs, by Paolo Gonzato from over nearly a decade. Gonzato began working on this series in 2004, when he decided to wear out several felt-tip pens, drawing inside a composition based on a diamond-shaped module (one that recalls a suit of rags worn by Harlequin, a commedia dell’arte character). It is a shape that, over time, the artist has truncated, cut in half,

  • Shannon Ebner

    Shannon Ebner’s “Black Box Collision A,” 2013–, is a series of large-scale photographs, all depicting the letter A. Seventeen of these images dominated her solo show “Black Box Collision A: Gasoline & Auto Electric.” The many reiterations of the same letter constituted a clear invitation to reflect on the language of photography and on the legibility, even authenticity, of its subjects. The framed Epson ink-jet prints, all approximately sixty-four by forty-three inches, seem to find their subject in a wide range of situations, often advertising. They oscillate in their presentation of the letter

  • Jeanette Mundt and Ned Vena

    THEY WERE BOTH ABUSIVE TO THEMSELVES, AND HE HAD SPENT SO MUCH TIME TALKING ABOUT ACCESSIBLE WORK. AND THERE WAS THE ISSUE OF FAMILY, AS ARTISTS AND IF IT WAS POSSIBLE. These words appeared above the gallery window during the recent show in Milan by the New York–based artists Jeanette Mundt and Ned Vena. Although they share a life as a couple, the two do not normally work together and have significant and separate careers of their own, so there was undoubtedly some risk involved in this collaborative endeavor. Yet this exhibition seems to have been cathartic, an indelible experience that could

  • Robert Overby

    “Robert Overby: Works 1969–1987” provided an extraordinary opportunity to retrace the investigations into the usually unexpressed potentials of material in the work of this too-little-known artist. For Overby, who was born in 1935 and died in 1993, material was the site of all transformations; a partner to the artist, responding to his actions with its own; and—in the final analysis—a mystery, a harbinger of beauty. The exhibition, curated by Alessandro Rabottini in cooperation with the Centre d’Art Contemporain in Geneva (where the show opened), the Bergen Kunsthall in Norway (where

  • picks July 21, 2014

    Alessandro Di Pietro

    For Alessandro Di Pietro’s first solo exhibition at the gallery, the artist presents “La Table Basse,” or the Coffee Table, where upon first entering the show, visitors are confronted with a curved wooden runway meant to indicate their path westward through the space. Resting on the end of the walkway is The Guidebook / Das Begleitbuch - Katalog / Catalog 4/3 (2012–13), a found copy of Documenta 13’s catalogue. Together, these works address the artist’s interest in the violation of limits by adopting and considering the form and devices of exhibition making as an innervating idea.

    The exhibition

  • picks June 25, 2014

    Alberto Garutti

    Alberto Garutti’s latest solo exhibition includes the work Untitled, 2014—a sequence of colors printed on nearly thirty-three feet of fabric, which is folded in a serpentine fashion over a series of five brass-colored metal rollers. The fabric scrolls over the mechanized bars slowly and inexorably every day of the exhibition. It is possible to first encounter an entire yellow monochrome square and then a portion of another square, perhaps blue, only for it to change into a light green as one exits the gallery, due to the work’s evolving structure.

    The entire chromatic cycle takes twenty-four

  • picks May 02, 2014

    Patrick Tuttofuoco

    The five large, brightly colored masks in Patrick Tuttofuoco’s latest exhibition look like props from a science-fiction film. Made of cloth and resin, these ghostly sculptures quickly impose their presence. Consider, for instance, Adiabene (Blue), 2014, which is installed near the entrance to the show, frightening or welcoming visitors. Two more masks are installed off-site, in a McDonald’s in the Piazza del Duomo and in the studio of the collector Ermanno Previdi. The spatial transfer has resulted in the presence of two apparently incongruous objects in the rooms of Galleria Guenzani: a

  • picks April 28, 2014

    Luca Trevisani

    Luca Trevisani’s spectacular five-channel video installation, Glaucomelo, 2014, is installed in the lower galleries of the Museo Marino Marini, rooms the Florentine institution has set aside for work by young artists. Trevisani’s previous output has examined matter moving through various states. In this particular piece, water traverses different stages of rarefaction and condensation. The work seems to be a pretext the artist uses to more generally address the rhythm of a material that wheezes like a breath, opening up and then compressing.

    The film was presented at the 2013 Rome International

  • Chiara Fumai

    Shut Up, Actually Talk, 2013, the video installation at the gallery entrance in Chiara Fumai’s exhibition “With Love from $inister,” depicts a female figure with her contours in a state of disintegration, the hair arranged in something resembling an Afro, the body squeezed into a tight dress, the facial features taut, and the eyes wild: a phantasmagorical apparition, an ectoplasm, a coagulation of vibrations. This dramatic specter recalled the complex system of works that Fumai presented at Documenta 13, where she played P. T. Barnum’s fake “Circassian beauty” Zalumma Agra, but with the

  • picks March 24, 2014

    Alejandro Cesarco

    Alejandro Cesarco’s investigative path and his poetically stark Conceptual works often depend a great deal on an imaginative encounter between a word and an image. His current solo exhibition in Milan occupies both of Raffaella Cortese’s adjacent galleries. The series “A Portrait of the Artist Approaching 40,” 2013, offers three small black-and-white photographs that immortalize details of the floor in his New York studio and that from afar appear as random punctuation marks arranged by chance, perhaps in expectation of finding a place within a yet to be written text.

    The show contains other

  • Helen Mirra

    Some rectangles of raw linen hanging on the walls made up one part of this solo show by American artist Helen Mirra. Creases in the canvases revealed that they had been folded numerous times, like maps. And maybe they are something like that. They belong to a series called “Hourly Directional Field Notations,” begun in 2011; the ones on view were created in Arizona in January 2012, during one of the many nature expeditions the artist has organized since 2010. Of course, you could never find your way through the desert with these works, and what appears on the fabric surfaces are not precise

  • picks December 08, 2013

    Luigi Presicce

    Near the entrance to Luigi Presicce’s latest exhibition, “Privata Vanitas,” visitors encounter five variously sized photographic prints on aluminum that show performances he created between 2010 and 2012. These images do not merely document the performances but are works in their own right that in a sense summarize the history of European painting. One image, for instance, refers to a performance Presicce produced on March 18, 2012, which is titled Atto unico sulla morte in cinque compianti (One Act Play on Death in Five Laments). The work pictures five tableaux vivants inspired by fourteenth-

  • picks November 12, 2013

    Serena Vestrucci

    In a stirring blue vault, a breathtaking, star-studded sky floats above a dark bog. This magical artifice, resembling a painted chamber in the style of Giotto, forms the central element in Serena Vestrucci’s astonishing solo show. The sky in question is made up of numerous blue flags with yellow stars—banners of the European Union—that Vestrucci cut to pieces and stitched back together to produce her splendid illusion. Removed from their usual circular formations, the stars appear freely scattered, at times densely concentrated, at other times thinned out to delineate constellations. The artist

  • picks November 06, 2013

    Matthias Bitzer

    Matthias Bitzer’s latest solo exhibition, “Amherst/Ether/Fields,” includes a complex system that refers to the many inflections of the avant-garde: Figurative yet simultaneously geometric paintings and Arte Povera sculptures are here installed in perfect harmony. As in the postmodernist tradition, however, the show as a whole does not seem to stabilize; rather, everything seems to evolve. When one moves throughout the narrow room of the gallery, Bitzer’s interventions overlap into different pairings, forcing the work and the viewer to enter alternating dialogues with one another. Nymph/Noir/Nothingness

  • Max Hooper Schneider

    Melding the terrestrial and the surreal, the scientific and the phantasmagoric, the works of American artist Max Hooper Schneider borrow language from the fields of biology and quantum mechanics as much as they do from art history. In this show, drawings, paintings, and living organisms (humans among them) constituted a landscape of mutual modification. Some visitors to Federico Vavassori this past summer might have already been aware of the artist’s proposal (which, in August he would seek to fund via Kickstarter) to produce the “first ever, life-sized, glowing Beluga whale skeleton,” in the

  • picks October 23, 2013

    Gianni Caravaggio

    To experience Gianni Caravaggio’s work is to take up a challenge. In the artist’s latest solo exhibition, “Cinque proposizioni per un mondo nuovo” (Five Propositions for a New World), the work Sotto la superficie, la verità della concretezza (Trentino) (Under the Surface, the Truth of Concreteness [Trentino]), 2013, stands out as one of the most puzzling. On printed blue-back paper, a view of the sky filled with clouds is depicted as if seen from an airplane window at high altitude. Installed on the floor of the gallery, this window becomes more of a gateway into another spatial-temporal dimension,