Marta Silvi

  • Giuseppe De Mattia, Espositore di frutta e verdura vera e finta, Roma (Display of real and fake fruit and vegetables, Rome), 2019, iron, wood, polypropylene cells, fresh fruit and vegetables, ceramic, pigment, 112 1/4 x 98 1/2 x 47 1/4".
    picks December 17, 2019

    Giuseppe De Mattia

    This exhibition welcomes viewers with Frutta e verdura (all works 2019), a neon-green sign that names Giuseppe De Mattia’s ostensible subject, “fruit and vegetables.” The text’s font, created from the artist’s handwriting, “signs” the intervention as his own, while a strong odor of plants fills the surrounding green void. The next room, accessed by walking under the neon, contains Espositore di frutta e verdura vera e finta, Roma (Display of real and fake fruit and vegetables, Rome), an exaggeratedly vertical, stainless-steel display of an array of produce. Colored tissue paper printed with a

  • Stano Filko, Transcendency—Genie, ca. 1985, acrylic and photo-printing on canvas, dimensions variable. Photo: Giorgio Benni.
    picks October 23, 2019

    Stano Filko

    Scattered throughout Stano Filko’s artistic production—pneumatic sculptures, utopian architectures, cosmograms, and more—are the same well-articulated conceits that defined his life. In a 2006 interview, Hans Ulrich Obrist called Filko’s house “a universe of fluctuation and instability.” It was there that the artist gave material existence to his ideas, using a transcendent, complex system that subdivided his home into five different areas designated by colors— red indicating the space of biology, green the area of social activity, white the sphere of existence, blue the dimension of the cosmos,

  • Claire Fontaine, Untitled (:(), 2019, painted canvas, wood, magnet, coins, 39 x 29 1/2”.
    picks April 19, 2019

    Claire Fontaine

    La borsa o la vita (“your money or your life”) is a typical old-school demand used by bandits in Italy. Wordplay is nothing new for Claire Fontaine, the Palermo-based conceptual collective, and it is evident in the title of this retrospective exhibition, “La borsa e la vita” (Your Money and Your Life): o (“or”) becomes e (“and”), reminding us that borsa in Italian means both handbag and stock exchange. As if the gallery were still undergoing installation, the floor is covered with pages of newspaper—selections from the financial broadsheet Il Sole 24 Ore (Newsfloor, Il Sole 24 Ore, 2019), evoking

  • picks May 21, 2018

    Ian Tweedy

    “My Wall,” the title of this exhibition, feels like a statement. After an absence of many years, American artist Ian Tweedy has returned to Rome, the city where he took decisive steps in his art after a prolific career as a street and graffiti artist who went by the name Dephect. His return affirms an unavoidable need: to reclaim possession of the pictorial surface. Thus there is a perceptible swerve in his research. He abandons the small format he employed a decade or so ago with well-known compositions characterized by meticulous brushstrokes on old linen book jackets—works that formed the “

  • picks November 20, 2017

    Mircea Cantor

    A charged olfactory environment meets visitors to Mircea Cantor’s latest show. The perfume of Aleppo soap fills one’s nostrils: a unique smell, indelible for those who have walked at least once through Syrian souks.

    In addition to the soap, water and peace lilies, which are known to purify the air, (in Disrupted Air (Still Life), 2017) fill Cantor’s exhibition. The artist seems to create a hymn to rebirth, framing it as an indispensable contemporary condition. But for Cantor, that restoration is also a consequence of ruin and loss—of heritage, traditions, sociopolitical equanimity, freedom, and

  • View of “Domenico Mangano and Marieke van Rooy,” 2017.
    picks June 22, 2017

    Domenico Mangano and Marieke van Rooy

    In the 1970s, the Dutch town of Den Dolder embarked on an experimental attempt at communal living known as “dilation,” whereby psychiatric patients find healing and freedom by residing side by side with healthier people. In this show, organized by Niekolaas Johannes Lekkerkerk, Domenico Mangano’s film Homestead of Dilution, 2016—halfway between documentary and dream—portrays the legacy of the practice in a cross section of Den Dolder’s current community.

    Issues of mental health are already familiar to the Italian-born, Netherlands-based Mangano, who is collaborating with architectural historian

  • View of “Krištof Kintera,” 2017.
    picks May 25, 2017

    Krištof Kintera

    Exhibitions of such a high caliber are rare. Marking the decade that’s passed since the Collezione Maramotti opened its spaces to the public, Czech artist Krištof Kintera has created a hymn of sorts to humanity’s abilities, the “systematic treatment of art” offered by technology (when considered for its etymological roots, technē and logia), and the detritus and waste that are now an unavoidable part of life on earth. Kintera’s show extends beyond the exhibition space into the city of Reggio Emilia. He has, for instance, replaced plants in the Musei Civici’s Wunderkammer, created by eighteenth-century

  • View of “Athena Papadopoulos: Belladona’s Muse,” 2017.
    picks April 21, 2017

    Athena Papadopoulos

    Crossing the threshold of the space, viewers are wooed by an enveloping atmosphere of red and pink. Part of the show’s title, the term “Belladonna” has connotations as numerous as the properties that characterize the homonymous plant: It can be therapeutic or sedative if taken in small quantities; cosmetic if applied in the form of eye drops, which, by expanding the pupil, can make the eyes seem shinier; or noxious and even lethal if ingested in higher doses. Athena Papadopoulos has constructed an exhibition of contrasting ideas to parallel this flora’s connotations, with beauty and disgust

  • View of “I want you to live in my city,” 2017.
    picks March 26, 2017

    Gina Folly

    Gina Folly’s latest, uncanny exhibition, “I want you to live in my city,” is a simple but evocative show that suits this gallery’s new space, a former stable in the courtyard of a prestigious building. Here, Folly produces an intimate environment: Five small projections (Basic Needs I, II, III, IV, and V, all 2017) are each placed in a cardboard shipping carton on the ground. Like houses, the boxes have walls and floors, permeated by air and equipped with a lock that offers protection from the outside world. Strewn about the space, stray keys are embellished with found objects, such as a bone,

  • Duncan Campbell, It for Others, 2013, single channel video, 54 minutes.
    picks March 12, 2017

    Duncan Campbell

    Irish by birth but Scottish by choice, Duncan Campbell investigates reality with the help of popular contemporary strategies, using found footage, archival material, and original video. In 2014, he won the prestigious Turner Prize, when Dirk Snauwaert, curator of this show—Campbell’s first major solo presentation in Belgium—was a member of the jury. The current exhibition at Wiels, straightforward and well balanced, features three film pieces.

    It for Others, 2013—originally created for the Scottish Pavilion at the Venice Biennale—sits at the heart of the show. Inspired by the film Les statues

  • Elisabetta Benassi, Mimetica, 2016, artificial palm tree, steel, resin, natural fiber, polypropelene, 10' 2“ x 9' 10” x 22' 7 1/2".
    picks February 07, 2017

    Elisabetta Benassi

    “In the back of the car, the bronze shells of two tortoises emerge from a uniform layer of fresh earth.”

    A blue Ford station wagon, a typical 1970s model, appears clumsily parked in the courtyard near the gallery’s entrance. In the back of the car, the bronze shells of two tortoises emerge from a uniform layer of fresh earth. The objects that Elisabetta Benassi has chosen for her third solo show at this gallery are not what they seem. A life-size palm tree literally bursts through the dividing wall of one of the two gallery spaces, as if seeking to reveal its true essence. Made out of steel,

  • View of “Joan Jonas: Minds of Their Own,” 2017.
    picks January 29, 2017

    Joan Jonas

    The dramatic feel of the 2015 Venice Biennale US pavilion, featuring work by Joan Jonas and titled “They Come to Us Without a Word,” is woven through the artist’s third solo exhibition at this gallery. Viewers find themselves placed within a theatrical dimension, where their surroundings are subjected to the performative aspect that has always characterized her output.

    In the first room is Minds of Their Own, 2016, an immersive video installation projected onto three separate screens. The performers in the video transform into diaphanous shadows. Here, Jonas seems to imagine a modern Platonic