Critics’ Picks

Kerstin Brätsch, Unstable Talismanic Rendering [Poliʻahu’s Cure], 2016, ink and solvents on paper, 
neon tubing, dimensions variable.

Milan

Kerstin Brätsch

Giò Marconi
via Tadino 20
May 31 - July 29

This exhibition winds through the gallery along an unmarked path, yet visitors intuitively pick up on an intended route, as if by a sort of tropism. Indeed, the rhythms and rituals of nature are the premise for Kerstin Brätsch’s current exhibition, which draws inspiration from Full-Fall, a sequence of art rituals that take place in rural settings in conjunction with the solstices. Full-Fall was conceived and organized by the artist Davide Stucchi and the theoretician Mattia Ruffolo, who together invited Brätsch to contribute a work based on the notion that an animist energy underlies all matter. This exhibition is the spontaneous evolution of a continuing dialogue among Stucchi, Ruffolo, and Brätsch.

The gallery’s spaces have been stripped bare and repopulated with object-signs charged with just such an animist essence. In works like Unstable Talismanic Rendering [Poliʻahu’s Cure], 2016, large surfaces have been created using a marbling technique on paper, and a series of self-supporting structures, partially illuminated by neon, incorporate antique glass made in Switzerland by the same master glassmaker who long collaborated with Sigmar Polke. The entire show, it turns out, represents a ritual to bring about a reconciliation between the Hawaiian deities Poli‘ahu and Pele, wherein various spherical sculptures, each created from a different stone, are meant to allay their mythical rivalry and bring about rapprochement.

Translated from Italian by Marguerite Shore.