Marta Silvi

  • Paul Etienne Lincoln, The Glover’s Repository, 2007–2015, mixed media, 78 x 145 x 20"
    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

  • View of “Sarah Ancelle Schönfeld: Excuse Me, May I Have Some Gravel Tea?,” 2015–16.
    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

  • Jay Heikes, Our Frankenstein (Bottom), 2015, cement, steel, plastic, fabric, paint, 43 x 13 x 9".
    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

  • View of “Proportio,” 2015
    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

  • Andrea Salvino, Too Soon, Too Late, 2015, oil on canvas, 90 1/2 x 118".
    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

  • Hilla Ben Ari, Na’amah: A Tribute to Nachum Benari, 2015, video, color, sound, 14 minutes 17 seconds.
    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

  • View of “Adam Avikainen: CSI: DNR,” 2015.
    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

  • View of “Tauba Auerbach and Charlotte Posenenske,” 2015.
    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

  • Astrid Nippoldt, My Day, 2012, HD video, color, sound, 4 minutes 33 seconds.
    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,