Marta Silvi

  • picks March 18, 2016

    Cinque Mostre” (Five Shows)

    For the final exhibition of Rome Prize winners and invited artists, curator Ilaria Gianni, with the assistance of Saverio Verini, conceived and curated a group using the idea of memory and the past as resource and inspiration. The implicit protagonist is Rome, with its thousands of contradictions that continually emerge and recede, like groundwater from an aquifer.

    In the atrium, Bryony Roberts has temporarily modified the configuration of the floor’s patterning with Primo Piano (First Floor), 2016, using adhesive vinyl to evoke the Cosmatesque decorative stonework floors of Roman basilicas. The

  • picks March 07, 2016

    Teoria ingenua degli insiemi” (Naïve Set Theory)

    Inaugurating the gallery’s space, “Teoria ingenua degli insiemi” (Naive Set Theory) was curated by Cecilia Canziani and Davide Ferri and comprises two overlapping exhibitions, with a total of twenty-three works, some from the long career of Paolo Icaro, in dialogue with others by three younger artists: Bettina Buck, Marie Lund, and David Schutter.

    Icaro’s Cardo e Decumano, 2010, made of modular elements in tarnished steel, seems to sew the space together, extending the viewer’s glance from the first to the second room. The piece’s geometric forms highlight the compelling presence of all the works,

  • picks February 04, 2016

    Chiara Camoni

    Chiara Camoni’s solo exhibition, curated by Cecilia Canziani and Ilaria Gianni, offers a space of meditation. Creating a sort of extended self-portrait, the show gathers together works from different times in the artist’s life, as well as newer installations, ranging from video to sculpture to painting and drawing. Like a paleontologist, the artist excavates the origins and nature of creativity and of her many media.

    La neve gialla (Yellow Snow), (all works cited 2015), a performance staged at the show’s opening for a limited audience, told a story inspired by the artist’s childhood. A magic

  • picks January 11, 2016

    Paul Etienne Lincoln

    Archival research is often the engine behind Paul Etienne Lincoln’s projects. He customarily works with allegorical devices inspired by a wide range of circumstances usually linked to historical or literary figures. His mechanical installations and sculptures almost always require many years of work to reach their definitive forms. The results of something between anthropological research, physically motivated experimentation, and an exploration of formal concerns, they delineate universal themes, inflected by the contingencies of exemplary figures’ lives.

    On the occasion of his fourth solo

  • picks November 23, 2015

    Sarah Ancelle Schönfeld

    In Sarah Ancelle Schönfeld’s latest exhibition, “Excuse Me, May I Have Some Gravel Tea?,” organic and chemical elements collide with the digital, creating an inevitable short circuit. For example, in several photographic works from her “Universal Cleaner” series (all works 2015), Schönfeld exorcises a human fear of extinction. These ink-jet prints stem from images that dissolved on an iPad after she poured liquid detergent on its screen—a most feared technological threat—and photographed the results, as in Universal Cleaner (Blue Marble), Universal Cleaner (Tiles), and Universal Cleaner (Gravity

  • picks October 28, 2015


    In an experiment in curating, Jay Heikes brought together his closest friends for a dialogue that moved across the Atlantic, resulting in works created specifically for this exhibition. This participatory proposal recalls structuralist criticism of the 1960s, but with a contemporary spin. At the entrance to the space, Heikes’s The Family Tree, 2003, heralds the exhibition’s distinctively collaborative nature. Frog Prints, 2014, by Heikes and Michael Stickrod, entrusts the execution of the work to the unpredictable movement of an actual frog sprinkled with paint. Elsewhere, Jessica Jackson

  • picks August 26, 2015


    “Proportio,” curated by Axel Vervoordt and Daniela Ferretti, brings the concept of proportion into an architectural and broadly artistic context. Measure, geometry, and numerical relationships are distinctive, substantial features of the exhibited works. An ascending path leads from the building’s spare, severe substructure to the diaphanous presence of works on its upper floors. Tatsuro Miki and Vervoordt’s five pavilions—architectural artworks made of hemp and quicklime—pay homage to the golden ratio while embracing the organic nature of their materials. Markus Brunetti’s enormous photographs

  • picks August 13, 2015

    Andrea Salvino

    Andrea Salvino, a Roman artist who has lived in Berlin for years, practices what might be a new kind of history painting. Inspired by events that have actually occurred, he collects materials and cultural artifacts that, once cleansed of ideologies and attachment, are repositioned within a collective memory that is also strongly personal. For his first exhibition at this gallery, Salvino deploys different subjects that appear to have no point of contact with one another. From drawings on paper to oil on canvas, the artist expresses himself with a delicate but extremely incisive hand.

    Honing in

  • picks July 27, 2015

    Hilla Ben Ari and Alice Cattaneo

    The exhibition at Galleria Marie-Laure Fleisch sets up a comparison between two languages that seem very different but share a functional and aesthetic viewpoint. While Hilla Ben Ari employs the expressiveness of the body and tells stories through images, Alice Cattaneo constructs abstract forms through materials and their reciprocal combinations.

    Ben Ari shows Na’amah: A Tribute to Nachum Benari (all works 2015), an homage to her great-uncle who was an essayist and playwright. Issues of gender and other dynamics intrinsic to human relationships are described in the video without ever becoming

  • picks June 11, 2015

    Adam Avikainen

    A lively dialectic between apparently dissimilar elements typifies Adam Avikainen’s work. The American artist confronts the pictorial through predominantly abstract themes but maintains an implicit need for narrative, which is often expressed through texts and photographs. His latest solo exhibition, “CSI: DNR,” short for Crime Scene Investigation: Department of Natural Resources, alludes to “bodies”—real or painted—presented as if involved in a violent, unresolved event.

    The show is installed like a split screen. In the room to one side of the entrance, ten large-scale canvases are suspended in

  • picks June 04, 2015

    Tauba Auerbach and Charlotte Posenenske

    Entering into a dialogue both personal and creative, works by Tauba Auerbach and Charlotte Posenenske together investigate the notion of the threshold. Posenenske was recognized as an artist who sought out collaborative situations, and the actual configurations of the models that make up her “Series D Vierkantrohre” and “Series DW Vierkantrohre” (both 1967/2015) are sometimes entrusted to curators, collectors, or, as in the current case, to another artist choosing to interact with them. Embracing the alliance with Posenenske, Auerbach here reinstalled the industrial cardboard and aluminum

  • picks May 11, 2015

    Astrid Nippoldt

    Astrid Nippoldt’s art investigates, documents, reworks as if it is a sociological experiment. Her third solo show at this gallery offers thirteen pieces that were previously shown at the Museum Kurhaus Kleve in Germany. In this body of work, a residential community in Beijing named Oakwood Residence, which accommodates hundreds of people temporarily, becomes a social incubator for relationships and behaviors that are covertly suffocating.

    The photographs Kokon, 2012, and Blue Velvet, 2013, fleetingly capture nocturnal glimpses of skyscrapers in Oakwood and its surroundings. Beijing Bedroom, 2012,