Simone Menegoi

  • View of “ Jannis Kounellis: Dodecafonia,” 2016.
    picks October 31, 2016

    Jannis Kounellis

    The building that stands at Via dei Vascellari 69 was originally a church (consecrated in the ninth century, deconsecrated in 1942), then a woodworking shop. For the past two years it has been the splendidly run-down site of Gavin Brown’s gallery in Rome. Jannis Kounellis has reacted to this history-laden context, which bears the signs of both religious worship and manual labor, with a show that is dark (literally, as the light is dim), solemn, and so dense with works that it verges on horror vacui.

    Iron coffers on the floor and walls enclose old pieces of furniture or fabric wrappings that, in

  • Christoph Meier, Nicola Pecoraro, Untitled, 2014–2015, bronze, reed, dimensions variable.
    picks January 22, 2016

    Christoph Meier and Nicola Pecoraro

    Presented by the itinerant Ermes-Ermes gallery, “Lost Form” is a show that consists of a single piece by Christoph Meier and Nicola Pecoraro: a modular installation occupying an entire wing of the historic Fonderia Battaglia. The basic unit of the work is a five-way joint in bronze, which the artists molded by hand and then manufactured at a foundry. The joints connect horizontal bamboo reeds that form a grid of large squares. Vertical reeds are positioned at the intersections of the lattice, supporting it above viewers’ heads and creating an aerial structure that occupies a territory midway

  • View of “Martino Gamper,” 2015
    picks September 03, 2015

    Martino Gamper

    Industrial designer Martino Gamper is known for a nonconformist approach that often seems more befitting an artist. Some of his most renowned furniture is made from recycled parts of other pieces, whether chairs abandoned on the street or rare creations by Giò Ponti and Carlo Mollino.

    “Design is a State of Mind,” which also traveled to the Serpentine Sackler Gallery in London and the Pinacoteca Agnelli in Turin, has now arrived at its third and final venue. It reveals Gamper in his triple role as designer, curator, and connector of a vast group of friends and collaborators. The exhibition’s

  • Jean-Luc Moulène, Les Trois Grâces (The Three Graces), 2012, HD video, color, silent, ten minute loop.
    picks July 09, 2015

    Jean-Luc Moulène

    Il était une fois” (Once upon a Time): Judging from its (slightly ironic) title, this solo exhibition by Jean-Luc Moulène alludes to the artist’s use of context, which is outstanding and laden with history. Numerous references connect the works on view, both preexisting and new, to the French Academy in Rome and to the splendid Renaissance villa that has housed it since 1803. Monocromi (Monochromes), 2015, sheets of bronze affixed to a wall, are the same size as certain standard sizes for historical European oil paintings; Les Trois Grâces (The Three Graces), 2012, a video based on the title’s

  • Manon de Boer, Maud Capturing the Light ‘On a Clear Day,’ 2015, 16-mm film, color, silent, 2 minutes 20 seconds.
    picks June 29, 2015

    Manon de Boer, Joachim Koester, and Ian Wilson

    More than one thread links the works in this sophisticated group show, which considers revisitation as a form of creation and reflection on art as an art form. Seven sheets of paper from Ian Wilson attest to six discussions he had with Daniel Buren in Paris between 1970 and 1980, and include a title page signed by both artists. Joachim Koester revisits Hans Haacke’s most famous (and controversial) work thirty-five years later for Histories. Hans Haacke, Shapolsky et al. Manhattan Real Estate Holdings, a Real-Time Social System, as of May 1, 1971. 312 East 3rd Street, Manhattan, New York, 1971,

  • Anna Maria Maiolino, inATTO, 2015. Performance View, Galleria Raffaella Cortese, 2015.
    picks June 18, 2015

    Anna Maria Maiolino

    Two things about Anna Maria Maiolino’s show are particularly striking: The first is the quality of her recent production. Her latest works (this show, with a few small exceptions, consists of pieces from 2014 and ’15) are among her freshest and most inspired yet. The sculptures, in raku ceramic or cement, vie with her drawings to define a profoundly personal, biomorphic language that combines the artist’s manual gestures, the nature of her materials, and chance elements. The exhibition’s second striking feature is more general: its evidence of Maiolino’s capacity to communicate on an intuitive

  • View of “Elmgreen & Dragset,” 2015
    picks June 16, 2015

    Elmgreen & Dragset

    “Stigma,” a solo show by Elmgreen & Dragset at Massimo De Carlo, opened the same day as an exhibition of Ettore Spalletti’s work in Milan, emphasizing even more the curious formal similarity between aspects of this latest series by the two Scandinavians and work by the Italian artist. At De Carlo, some thirty large, urn-shaped glass vases (Side Effects, 2015) are arranged in the space on steel pedestals, variously standing alone, in pairs, or in groups of three. The vases are filled with what at first glance appears to be nothing more than powdered pigment in luminous pastel colors, particularly

  • View of “Oliver Laric,” 2014–15. Foreground: The Hunter and His Dog, 2014. Background: Untitled, 2014.
    picks December 19, 2014

    Oliver Laric

    Appropriation, copy, variation, dissemination: Oliver Laric’s work hinges on these fashionable concepts. What distinguishes his output from other “post-Internet” artists is the way in which he also investigates similar notions beyond the present, establishing fascinating conceptual parallels between, for example, the reprocessing an image undergoes when it is put out on the Web and the evolution of Greek and Roman sculpture, where both, to different extents, are the result of collective and anonymous processes.

    The two works exhibited in this show confirm this approach and cover a broad chronological

  • Marion Baruch, Sculpture Ambiente, 2014, cotton, silk, gabardine, dimensions variable.
    picks November 08, 2014

    Marion Baruch

    Marion Baruch has a long history: Born in Romania eighty-five years ago, this cosmopolitan woman has passed through and experienced many countries, languages, and artistic phases. Her most well-known chapter coincides with Name Diffusion, a company (duly incorporated) that the artist used to develop participatory and relational projects. Since 2009, Baruch has again been using her own name, and the works she creates are disarming in their simplicity: She collects rejects from textile companies (monochrome cloth remnants that remain when shapes used for making clothing have been cut out). She

  • Franco Guerzoni, Frescoes, 1973, chalk, photographic fragment, 27 x 20".
    picks October 23, 2014

    Franco Guerzoni

    In the early 1970s, Franco Guerzoni began using photographic prints as supports, to which he applied fragments of painted or silk-screened plaster, saltpeter crystals, charcoal fragments, and other photographs. The result was a body of refined and unclassifiable works that exist at an intermediary point between painting, conceptual photography, sculpture, and collage. He had commissioned a “rookie” photographer and close friend—Luigi Ghirri—to take the photographs that served as the starting point for these pieces.

    The exhibition “Franco Guerzoni. Nessun luogo. Da nessuna parte. ‘Viaggi randagi

  • View of “Soleil Politique,” 2014–15.
    picks October 13, 2014

    “Soleil Politique”

    Soleil Politique” features a heterogeneous mix of works and documents that include two wooden Christ figures from the fifteenth century, studies by architect Carlo Scarpa for the renovation of the Museo del Castelvecchio, and a 1972 collage by Marcel Broodthaers that also gives the show its title. The conceptual core for these diverse works—patiently selected by curator Pierre Bal-Blanc over a three-year period—is a Foucauldian idea of architecture as both a reflection and a tool of political power and social hierarchies. Bal-Blanc investigates this idea, using as a case study Südtirol’s capital

  • Superstudio, La Moglie di Lot (Lot's Wife), 1978/2014, zinc coated steel, wood, salt, refractory material, Plexiglas, 10 x 2 x 4'.
    picks May 20, 2014


    Superstudio was a sui generis architectural studio. Like other major players in the international movement that Germano Celant called “radical architecture,” its members were interested not in constructing buildings to add to those that already existed, but rather in debating the very idea of architecture through theoretical writings and deliberately unbuildable projects, ambiguously suspended between utopia and dystopia, dream and nightmare. Superstudio’s production consists of collages, films, and more or less paradoxical design objects, a small selection of which are presented here. Then