Maria Giovanna Mancini

  • picks March 15, 2018

    “Mostra Inaugurale”

    For this gallery’s first exhibition in its new space in Naples, works by Bruce Conner, Steve McQueen, Catherine Opie, Caragh Thuring, and Kelley Walker are installed across five rooms of a Neoclassical apartment overlooking the Gulf of Naples. Opening a branch of the gallery here seems less tied to marketing and more like proof of the seductive pull that this city still exerts. An open-air loggia here provides a view of Vesuvius, a site also depicted in Thuring’s painting Day, 2017.

    Opie investigates identity, untethered from conventions of portrait photography, in Melisa, 1993, which depicts a

  • picks July 05, 2017

    Haim Steinbach

    Haim Steinbach’s complex exhibition “Lemon Yellow” radically transforms the spaces of this gallery. Using metal studs, the artist modifies the visitor’s path through the show. The entrance is destabilizing due to a structure that cuts the gallery hall in half, from which a reflective Plexiglas work hangs: lo specchio/the mirror (all works cited, 2017). After negotiating this initial disorientation, visitors can then progress through various spaces along a path articulated by metal structures on which monochrome paint-on-plasterboard works are anchored. The titles of these pieces refer to famous

  • picks May 07, 2017

    Thomas Hirschhorn

    Four years have passed since Thomas Hirschhorn’s last show at this gallery, which included a monumental group of sculptures hanging from the ceiling. For “Behind Facelessness,” the artist has returned to Naples with a work in progress, “Pixel-Collage,” 2016–, twenty-two photo-collages of varying dimensions that employ Dadaist collage techniques. Hirschhorn hybridizes images from heterogeneous contexts, from pictures extrapolated from fashion magazines to amateur photographs of bodies mutilated in war zones. But he inverts the pixelization process, covering fashion images with pixels and leaving

  • picks April 23, 2017

    Shadi Harouni

    “An Index of Undesirable Elements,” the title of Shadi Harouni’s latest exhibition, is an unequivocal declaration of the tension that connects all the works on display. The artist continually draws from an archive of historical images and personal memories to create sculptures, monoprints, videos, and photographs. The monoprints on view combine abstract and evocative forms with texts that recount life and death in Iran during periods of political repression. For example, oval forms printed with warm ochers and light greens evoke cozy shells. Yet silk-screened texts in gray boxes below these