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