Massimo Carboni

  • Adam Chodzko

    Salò, or The 120 Days of Sodom, the last film by Pier Paolo Pasolini, was released shortly before the writer-director was murdered in 1975. Violent, at times unbearable, sorrowfully poetic, the film explores the psychopathology of Fascism. Salò is no longer widely (if ever) shown, but those who saw it at the time cannot have forgotten it. This writer, for example, is left with an indelible memory of the scene in which sixteen adolescents, subjected to torture by Fascists, sat at a long, elegantly set table, where they were forced to eat steaming human excrement served on splendid porcelain

  • Dugu Choegyal Rimpoche

    The difficulty of understanding another, distinct culture without simply assimilating it to one’s own has been a topic of intense interest for years now. And it is perhaps the central problem faced by visitors to this exhibition of watercolors on paper by Dugu Choegyal Rimpoche. The artist is a Tibetan lama, recognized as the eighth reincarnation of the abbot of the ancient monastery of Dugu, who was also a painter. Choegyal is using the proceeds from the exhibition for numerous initiatives intended to fight the disappearance of Tibetan culture, which is threatened by the Chinese occupation of

  • Paolo Monti

    The work of Roman artist Paolo Monti can be divided into two distinct but closely interconnected conceptual and methodological categories. On the one hand, the artist has created a body of work about money (both its symbolic and material aspects) in which he explores the fetishism of value. Then there are his investigations into scientific epistemological processes, carried out through hypertechnological arrangements that isolate problems of perception and relationships between subject and object, identity and otherness. Some works have even incorporated elements from both approaches, as in

  • Garry Fabian Miller

    When he took the Cibachrome photographs in the series “Sections of England: The Sea Horizon,” 1976–77, Garry Fabian Miller used the same type of lens, film, and format for each image. What is more significant, however, is that he shot all the photographs from the same position—the roof of his home, which is located on an estuary of the Severn River. The dramatic variations in these vistas are thus determined by changes in weather and time of day, rather than vantage point—an approach that reflects a Cartesian emphasis on a fixed, panoramic eye.

    Fabian Miller’s technical finesse, as well as his

  • Nunzio/Martin Puryear

    What unified the works in this “duet” between the sculptors Martin Puryear and Nunzio was that the pieces on display were almost all made of wood. The different types that were deployed demonstrate varying degrees of resistance to handling, and particular formal qualities. Taking this into consideration, and retaining a certain amount of perceptual ambiguity, both sculptors took care to construct clear and expressive forms.

    Nunzio presented three new pieces under the title “Passagi” (Passage). In the room dedicated to his work he arranged a pair of oak tables that he had blackened by burning.

  • Marco Tirelli

    At first glance it seems Marco Tirelli’s work would fit within a number of familiar art-historical categories; the work could be simultaneously described as formalist, realist, minimalist, conceptual, and abstract. But, of course, this is only at first glance. For if the artist, and the painter in particular, sets in motion a “second sight”— to use a phrase coined by Franz Marc—then the viewer also needs a “second sight” in order to interpret the work of art in question.

    In Tirelli’s case, those art-historical categories, while remaining important elements in the artist’s formative background,

  • Pizzi Cannella

    As if to illustrate the cliché that painters are always creating the same canvas, the Roman artist Pizzi Cannella works in cycles that never seem to be quite completed. Cannella’s recent exhibition was not installed chronologically, but rather in a circular layout reflective of the cyclical aspect of his project. While not a complete retrospective, the show did bring together approximately sixty paintings and thirty works on paper ranging from 1978 to the present.

    Motifs such as clothing, jewels, wrought-iron pieces, and vases reappear intermittently in the canvases. Emerging out of a dialectic

  • Roberto Barni

    This Roberto Barni retrospective, which included paintings, drawings, and sculptures from 1960 to the present, was splendidly organized by Alberto Boatto, a critic and writer who has followed Barni’s work for a number of years. The show’s tone was set by a selection of photographs from the early ’60s—many of which were shown for the first time—portraying Barni as a young man in playful and ironic poses: dressed as a knight with an open umbrella for a shield and a funnel for a helmet, or standing next to a poster that announces his untimely death.

    Early in his career Barni began creating works

  • Alan Charlton

    Maintaining a remarkable degree of consistency in his twenty-year career, the English painter Alan Charlton has dedicated himself to creating an autonomous visual language derived from a rigorous structural grid. His recent installation, which dominated this gallery’s sizable space with six sets of abstract paintings on four walls, was again based on systems of combination and variation.

    Charlton often paints square canvases dark gray in a completely anonymous fashion. Here, four of these paintings—arranged vertically on a wall, one above the other—served as a basic set from which emerged the

  • Vittorio Messina

    Vittorio Messina’s work—site-specific sculpture and installations that engage various questions about architecture and scale—is rooted, both formally and conceptually, in the intersection between the languages of Minimalism and arte povera. Rather than merely synthesizing these vocabularies, however, Messina achieves a highly inventive stance, one that is extremely personal and poetic.

    In his recent exhibition, each space of the gallery contained one work that was made specifically for the show. A stylized human silhouette, constructed from blocks of a prefab material called “ytong,” welcomed

  • Enrico Castellani

    Enrico Castellani’s recent show, a survey of works dating from 1958 to the ’90s, demonstrated that he has produced one of the most significant bodies of work in Italy since the war. It was with a small-scale canvas Superficie nera (Black surface, 1959) that Castellani found the path he has followed up to the present: using a precise system, he drives nails into the underlying frames of his canvases at varying depths. With this method he turns monochrome canvases into pulsating membranes or labyrinths made dynamic and flexible by the varying angles of light striking the surface. This process is

  • Ange Leccia

    An artist of Corsican descent, Ange Leccia is perhaps best known for creating works in which identical objects, including cars, airplanes, motorcycles, projectors, and ships, are placed directly in front of each other in a kind of tête-à-tête. These at times colossally proportioned sculptures invoke many facets of transportation and communication. In his recent exhibition in Rome, however, Leccia presented a very different kind of “arrangement,” as he calls his pieces—one that examined such themes as the essence of light, art history, and memory, as well as architecture inflected by transitions