Marco Tagliafierro

  • picks December 22, 2014

    Francesco Barocco

    In Francesco Barocco’s third solo exhibition at this gallery, three terracotta sculptures (all works untitled and 2014) evoke heads, and on each one the artist has added facial features, such as a nose and hair, in graphite. References to the history of art seem to be layered in these unstable compositions. Each piece is a “moment” and a comment on inexpressibility. Opposite these three sculptures are another four faces—collages on paper made with spray paint and pencil. Also on view are three etchings of more faces, and their high quality satisfies one’s expectations from Barocco.

    More than

  • picks December 19, 2014

    Marvin Gaye Chetwynd

    Marvin Gaye Chetwynd’s “Bat Opera 2” is a circuitous and fascinating exhibition of video, painting, and installation; it is dense and full of dramatic turns. A collection of small paintings and works on paper hung on the walls at various intervals is its most charming aspect and recalls seventeenth-century miniatures. A graduate in anthropology and history, Chetwynd also studied art in London and Florence. She painted these diminutive works as condensations of references, suggestions, and enchantments. All are six by eight inches, were produced in a horizontal format, and have a recurring

  • picks December 16, 2014

    Talia Chetrit

    The photographs in “Model,” Talia Chetrit’s latest solo exhibition, capture contrived, unnatural postures and seem to have given the portrayed subjects—a couple showing a touch of self-conscious romanticism—more time than necessary to get ready, to make themselves up. Moreover, they point to obvious clichés that intoxicate the onlooker in a stupor, to the point where they are inoculated with doubts regarding the veracity of romanticism underpinning the works. Here, Chetrit has portrayed her own parents, as she has done on numerous occasions in the past, inviting them to be spontaneous.

  • slant December 10, 2014

    Marco Tagliafierro

    IMPLICIT IN ADRIANO COSTA’S EXHIBITION “LA COMMEDIA DELL’ARTE” AT MILAN’S PEEP-HOLE (September 26 to November 8, 2014), was a well-timed consideration of the narrative potential we encounter through objects, actions, and environments that appear like epiphanies in everyday life. For the Brazilian artist, a thoughtful examination of these quotidian moments means a thorough look at their complexities, particularly as a totality of contradictions, which, if appropriately analyzed, break free from the visual preconceptions that hamper our interpretations. For instance, How to Be Invisible in High

  • 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