Maria Chiara Valacchi

  • View of “Alessandro Pessoli,” 2015.
    picks September 11, 2015

    Alessandro Pessoli

    Curator Eva Fabbris has selected fifteen works by Alessandro Pessoli for the project room of the Nouveau Musée National de Monaco, triggering a dialogue with Fausto Melotti’s retrospective also on view. These exhibitions are tributes to the Italian ceramics tradition and investigate and reveal regional and cultural affinities that are not connected to any predefined historical reference point. Pessoli shares Melotti’s poetic sentimentality, an uncertainty of open forms, sometimes made of colored fabrics, and the placement of various materials in symbolic theatrical spaces.

    Pessoli’s works here

  • View of “Nicolas Party: Panorama,” 2015.
    picks July 06, 2015

    Nicolas Party

    “Panorama,” Nicolas Party’s debut solo exhibition in a nonprofit institutional setting in Switzerland, is inspired by the nineteenth-century pictorial phenomenon, a precursor to cinematography. Here, Party transforms the gallery space by constructing a wooden cube superstructure, sixteen feet high on each side, which is the support for wall paintings. He has shifted the exhibition space from inside to outside, covering the exterior surface of the cube with acrylic paint, in hues ranging from white to blue. Vertical bands in a two-tone pattern act as a background to twenty-nine unique works

  • View of “Tracey Emin: Waiting to Love,” 2015.
    picks June 29, 2015

    Tracey Emin

    “Waiting to Love,” Tracey Emin’s first solo exhibition at Lorcan O’Neill’s new Rome gallery, is an homage to real love. The show presents twenty-four works—all making their debut—including sculpture, neon installations, embroideries, gouaches, and three large acrylic paintings on canvas. The paintings reactivate a relationship with the medium that the artist had consciously suspended in 2007, after her exhibition in the British pavilion at the Venice Biennale. These new pieces particularly bear witness to Emin’s long history with the reappropriation of a visual language, which, as in her other

  • View of “Katharina Fengler: SUPERFOOD,” 2015.
    picks June 11, 2015

    Katharina Fengler

    “SUPERFOOD,” Katharina Fengler’s debut solo exhibition in Italy and the second show at this newly created annex of the Museo Apparente, is titled with a term coined in 1998 by writer Aaron Moss to identify a category of foods with strongly beneficial nutritional qualities. Fengler came up with the idea for this new body of work after a long trip to Ubud, Bali—a quintessential destination for those in search of wellness where one’s mind and body can be satiated by a luxuriant emerald-green landscape and by foods of the same tone. Fengler transposes this personal immersion into five large-scale

  • Daniel Buren, Comme un jeu d’enfant (Like Child’s Play), 2014–15, mixed media, dimensions variable.
    picks June 04, 2015

    Daniel Buren

    Comme un jeu d’enfant (Like Child’s Play), 2014–15, in a presentation curated by Andrea Viliani and Eugenio Viola in partnership with the Musée d’Art Moderne et Contemporain in Strasbourg, is the first of three site-specific interventions Daniel Buren will create for this museum. Buren’s association with Naples dates back to 1972, when he had his first exhibition at Lucio Amelio’s Modern Art Agency. He then had a solo show in 1989, at the Museo di Capodimonte, and in 2004, he created a large-scale project for the redevelopment of the former Arin site (Arin is the city’s agency for water resources)