Critics’ Picks

View of “Spacioux,” 2009.

View of “Spacioux,” 2009.

Milan

“Spacioux”

Lambretto Art Project
via Cletto Arrighi 19
September 18–October 21, 2009

The eighteen artists in this exhibition are from various generations and countries, yet they share a propensity for viewing space in anthropological, sociological, and political ways. Of the most compelling works on view, Troels Sandegard’s Extended Mirror (Ghost), 2008, comprises oak, medium-density fiberboard, and aluminum and features a mirror that appears to be constantly steamy because of a cooling unit that is installed behind the glass. Further along the exhibition path, viewers might have a similarly perplexing experience with Gerwald Rockenschaub’s Sculpture, 2001, wherein an inflated rectangle extends from a wall painted in a vibrant shade of pink.

The work that best expresses the curatorial theme––of space and time in private and social dimensions––is an untitled silk-screen-on-aluminum sculpture from 1989 by the influential American artist Cady Noland. At the upper right of the silk screen, Noland depicts Patty Hearst as a young girl, presumably the day of her First Communion; then, on the lower left, Hearst appears to be walking with a man, most likely a militant from the Symbionese Liberation Army, the group she became involved with after being kidnapped. Her involvement led to terrorist activities, which are depicted in the third iconic image, at the lower right, wherein Hearst holds a rifle. Noland’s work, in the context of the exhibition, contributes a meaningful look at space as a moment ripe for experimentation and transformation.

Translated from Italian by Marguerite Shore.