Chiara Dynys, Giovanni Rizzoli

Ars Futura

This exhibition, entitled “La vie en rose,” was dominated by the color pink—such a syrupy pink that one immediately understood that Giovanni Rizzoli meant it ironically, and that Chiara Dynys used it as an alienating effect. Rizzoli exhibited sculptures with a kinship to Surrealist objects, works built around derisive juxtapositions of incongruous images and materials. An extremely beautiful, white dormeuse was shown next to an intravenous set-up, the needle driven into the fabric of the sofa. The purity of the period furniture was brutally stained by the blue ink contained in the IV, bringing the pictorial act back to a purely mechanical process with an irreverent basis. A desire for pure provocation was also evident in a display that held a Swiss banknote, like some sort of religious image. The third sculpture, Welt (World, all works 1992), was more subtle: on a footstool obtained from

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