Critics’ Picks


Delia Gonzalez

Via Chiaia 229
November 17–January 12

In her second solo show in this Neapolitan space, Delia Gonzalez firmly maintains the infrastructure of her artistic dynamic: the electronic music, the dance floor, the boundary between the personal and the universal, and a language that deliberately eludes categorization as it sows seeds of disquietude.

A postapocalyptic atmosphere pervades the gallery. The suffused pink, acidic light generated by the neon The Last Days of Pompeii (all works cited, 2017) and the hypnotic original sound track by Gonzalez, Vesuvius, converge to create a club-like setting bordering on ironic. In certain ways, this is a political show—by referencing the famously submerged city, the artist draws a comparison to the social situation of her native country, the United States, after the election of Donald Trump, an event which pushed Gonzalez to once again leave the US. Her two totem-like sculptures, The Osiris Gate I and II, create a reflection in relief of two of the gallery’s doorways. This intervention makes it seem as if the exhibition was impacted by a telluric movement, opening up a gap to a new dimension.

In the second room, the atmosphere is quieter, with six mesmerizing and magnetic drawings, including Jupiter and Don’t Exclude the Moon, referencing classical proportions, materials, and details through the use of gold leaf and trompe l’oeil marble surfaces. The circular forms of these works are also an homage to the moon, which is reinforced by author Matilde Cerruti Quara’s poetic closing to the text she wrote for the show: “A full moon . . . the power of the eternal, and of the ethereal.”

Translated from Italian by Marguerite Shore.