In the vast, cavernous space of HangarBicocca, Joan Jonas’s videos pop out of the dark like the bright facets of a kaleidoscope. They emerge not in chronological order, but according to a dynamic arrangement that highlights thematic relationships within her work. Time and space, memory and the present converge in an installation with a strong visual impact, emphasizing the process-oriented and narrative character of Jonas’s oeuvre. The show is grand yet intimate.

The pivotal work at the center of the exhibition is Mirage, 1976/1994/2005, an installation comprising multiple forms of media: photos

Three bronze branches, each suspended horizontally from the ceiling by a brass rod, slowly rotated in the main gallery of Francesca Minini for the duration of Becky Beasley’s recent exhibition. Powered by small motors, the sculptures spun at one and a half rotations per minute—like disco balls in a dance hall. For this series, “Bearing” (all works 2014), the artist cast broken fragments of twigs in bronze, then recombined and fused them together to create longer forms. The branches incorporated into the sculptures here were collected by the artist’s father in her hometown of Portsmouth,