In her work, Maggie Cardelùs investigates photography and its relationship to memory. She has created many sculptures or installations made from large surfaces of cut-up photographs, in which the image becomes lost in the tangles of strips of paper. Her most recent exhibition was quite different. She has begun using video, which has radically transformed not so much the thinking behind her work as its effect on the viewer. The first work one saw, the installation Looking for time (all works 2007), includes an eighteen-minute video loop in which time is “made present,” almost physically perceptible.

Walking down the stairs and into Pierluigi Calignano’s solo show, “L-Ray,” was like being catapulted into another time, different from today’s reality—a time that has existed and might still exist, in part, but which cannot be sorted out in linear or chronological fashion. One could say the show seemed to take place in the imperfect tense—a tense for describing repeated actions or ongoing states in the past—and that the temporality of Calignano’s “constructions” is an ironic and sentimental mix of eras, both of history (especially art history) and of an individual life story. Thus, ingenious