View of “Patrizio Di Massimo,” 2014.

View of “Patrizio Di Massimo,” 2014.

Patrizio Di Massimo


View of “Patrizio Di Massimo,” 2014.

Patrizio Di Massimo’s solo show “Are Ere Ire”—which included paintings, sculptures, installations, and performances, all from 2014—offered ample evidence of the multiplicity of languages he draws upon and of the vast iconographic and iconological repertory that drives his work. The exhibition’s title also suggested a literal orientation toward language, referring to the principal verb conjugations in Italian, which end in “-are,” “-ere” and “-ire.” The artist adopts these same infinitive endings to symbolically clarify the leitmotifs he explored in the exhibition: The Are piece is intended as an altar; the Ere piece presents a metaphor for time; and the Ire piece depicts mythological agents, specifically the Furies, also known in Greco-Roman religion as Erinyes or Eumenides. Beyond this, the eighteen works in the exhibition had subjects pertaining to an everyday reality

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