Pier Paolo Pancotto

  • View of “Jacopo Miliani, Fay Nicolson, Jackson Sprague,” 2015.
    picks July 19, 2015

    Jacopo Miliani, Fay Nicolson, Jackson Sprague

    In this group show, Jacopo Miliani, Fay Nicolson, and Jackson Sprague reflect on the body and its expressive capacities through various connected means. The works benefit from an installation that emphasizes their dialectical character. See Miliani’s three sculptures—Cupid, Devil, and Adolescent (all 2015)—made [of knotted ropes cast in bronze, which represent a concrete translation of a muscular gesture. This is also underscored by the wooden bases that support the works, whose lumber’s striations echo those of the twisted rope. There are four 2015 canvases by Nicolson—Dream Job, Less Work,

  • View of “Peter Linde Busk,” 2015. From left: Life’s barely long enough to get good at one thing. So be careful what you get good at, 2014; No light, but rather darkness visible, 2015; Fear the Goat from the Front, the Horse from the Rear and Man from All Sides, 2014.

    Peter Linde Busk

    The titles of the works in “Gentlemen,” Peter Linde Busk’s second solo exhibition at Monitor, cast a gothic shadow. The artist snipped adages and fragments of prose from sources ranging from Mary Shelley’s Frankenstein to the script of True Detective; these (often prolix) lines together wove a narrative of desire and shame that augmented the grisly figuration in the paintings, ceramics, lithographs, and etchings that were on view. The works themselves conjure the visual vocabularies of a slew of art-historical movements well versed in extremity—from Die Brücke and Surrealism to art brut&#

  • View of “Italo Zuffi,” 2015
    picks April 22, 2015

    Italo Zuffi

    Italo Zuffi’s reflections on the intellectual and social dynamics of art are on full display in his first institutional solo show, organized by Cecilia Canziani and Ilaria Gianni. In a video titled The Reminder, 1997, Zuffi is seen carrying out physical exercises to explore the space around him; Territorio (Territory), 1997, mines similar themes, as a photocopy, folded into eight parts, that alludes to the geometric scansion of the room captured in the video. Similar spatial investigations occur in Go away, 2003, in which two aluminum sawhorses appear in various arrangements, causing variations

  • View of “Eddie Peake,” 2015.

    Eddie Peake

    At the heart of Eddie Peake’s exhibition “A Historical Masturbators” is the city of Rome—where the British artist lived from the summer of 2014 until early 2015 (and now lives part-time), integrating himself into the local social and cultural life, becoming a bit romano in the process. Twenty-one works conceived and produced during this stint are on display at Lorcan O’Neill through April 4. While they vary in medium and technique, these efforts share traces of the ironic nonchalance with which the artist constructs his associative system of ideas and images. Peake’s methodology draws from

  • Francesca Grilli, Kepler 62h, 2015, intaglio printing on paper, 11 1/2 x 1'.
    picks March 26, 2015

    Francesca Grilli

    In Francesca Grilli’s first solo show at the Umberto Di Marino Gallery in Naples the artist presents five pieces she conceived during her residency at the American Academy in Rome, all focusing on the theme of anger. Gliese 581i, Gliese 581p, and Gliese 581m (all works 2015) are intaglio plates covered in ink and bile, the fluid produced by the liver, which here becomes a metaphor for fury. When the original chemical admixture is applied to the copper plates, it corrodes their surfaces (an allusion to the caustic effects of anger) into landscapes. The fantastical vista becomes heightened in

  • View of “Seb Patane,” 2014–15.

    Seb Patane

    Anxiety was the theme of Seb Patane’s recent exhibition at Galleria Fonti. The show was aptly titled “Abdomen,” in reference to the part of the body generally struck by illnesses of emotional and psychological origin, and particularly those traditionally associated with the pathology of hypochondria. Patane’s project, inspired by the binaries found at the root of theater (reality and fiction, honesty and dissimulation), was as dense and well-structured on a semantic level as it was radical in formal terms. The presentation was simple: Two installations—one consisting of video and sound,

  • View of “Milk Revolution,” 2015.
    picks February 28, 2015

    “Milk Revolution”

    The exhibition “Milk Revolution” at the American Academy in Rome, curated by Andrea Baccin and Ilaria Marotta, renews the dialogue between art and alchemy. The title is inspired by an iconic 1985 photograph Allen Ginsberg took of archivist and artist Harry Smith, in which Smith is seen pouring milk from a carton. Smith playfully called his act “transforming milk into milk.” Notions of the alchemical emerge in Gabriele De Santis’s Francesco Totti sei grande (Francesco Totti You are Great), 2015, in which oil and acrylic combine to create a trompe-l’oeil, marbleized effect. Alessandro Piangiamore,

  • View of “Patrizio Di Massimo,” 2014.

    Patrizio Di Massimo

    Patrizio Di Massimo’s solo show “Are Ere Ire”—which included paintings, sculptures, installations, and performances, all from 2014—offered ample evidence of the multiplicity of languages he draws upon and of the vast iconographic and iconological repertory that drives his work. The exhibition’s title also suggested a literal orientation toward language, referring to the principal verb conjugations in Italian, which end in “-are,” “-ere” and “-ire.” The artist adopts these same infinitive endings to symbolically clarify the leitmotifs he explored in the exhibition: The Are piece is

  • Olga Chernysheva, Sogno festivo (Festive Dream), 2005, video, color, sound, 7 minutes 7 seconds.
    picks January 13, 2015

    “The Coordinates of Sound”

    This exhibition, “Le coordinate del suono” (The Coordinates of Sound), curated by Vitaly Patsyukov, focuses on the relationship between sound and image with nine works taking a meaningful look at contemporary art in Russia. The first work visitors encounter is Il viaggio della luna privata (The Journey of the Private Moon), 2003–2015, a video about Leonid Tishkov’s light installation Luna privata (Private Moon). This is followed by three videos carrying a strong emotional punch: Vladimir Tarasov’s heartrending Kyklos, 2010, documenting the life of a tree through the passage of time; Vladimir

  • “View of Luana Perilli: Solitary Shelters, 2014.”
    picks November 07, 2014

    Luana Perilli

    Nature has always been central to Luana Perilli’s artistic research. In her latest solo exhibition, the artist focuses on a particular aspect of this analysis: nature’s relationship to visual and intellectual manmade works. In short, she unpacks science/culture and ideology/ecology binary oppositions. This exhibition documents the result of these investigations, with nine pieces from 2014. Eight are executed in ceramics—a medium that Perilli has recently begun to exhibit—along with semiprecious stones such as agate and marble. These works play a dual role. On the one hand, they are sculptures

  • View of “Alek O.,” 2014. Foreground: Banane, 2014. Background, from left: Tangram, 2014; Fino Mornasco, 2014; Tangram, 2014.

    Alek O.

    For her solo debut in Rome, “If There is a Last Summer Morning,” Argentinean-born, Como, Italy–based artist Alek O. presented works focused above all on the concept of time—particularly on the various semantic nuances through which it is manifested in daily life. While the individual pieces in the show have their own expressive autonomy, taken together they formed a cohesive and imaginative installation capable of completely engaging the viewer’s senses. Six of them, “curtain works,” in the artist’s informal description, are made from old curtains that she has salvaged from their original,

  • Bruna Esposito, Restituire al mittente (Return to Sender), 2014, rescue blanket, box, shoes, fan, dimensions variable.
    picks October 23, 2014

    Bruna Esposito

    For many years, Bruna Esposito’s art has generally reflected on the social, yet more recently, her research has concentrated on receptivity—namely, the ways individuals manifest an interest in other living beings. Her latest solo exhibition is striking in how it addresses this challenging subject with grace and poetry. Twenty-eight works from 2014 made with simple materials and everyday objects are endowed with an unexpected aesthetic quality that contrasts with their conventional utilities. For instance, in the sculptures All’aria aperta (Outdoors), Orizzonte (Horizon), and Cielo (Sky), the