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View of “John Armleder,” 2015. Photo: Roberto Marossi.

John Armleder

Massimo De Carlo | Via Giovanni Ventura

View of “John Armleder,” 2015. Photo: Roberto Marossi.

The first of the three rooms in which John Armleder’s motley exhibition unfolded was the most evocative. A series of illuminated road signs composed of LED lights blinked amid a fog that enveloped visitors’ feet, as fog does in B-horror-movie cemeteries, or on certain winter evenings in the lowlands of Europe. The Blue Danube, performed by pianist Josef Lhévinne, played in the background. Nine large black-and-gold abstract paintings from 2015, each featuring a variation of the same geometric shape, hung on the walls in such a way that they constructed a visual horizon that might have reminded viewers that they had wandered into a gallery, not onto a film set. The next two rooms contained works more typical of the artist’s oeuvre. Take, for example, de M & G H, 2015—a pair of tubas (one gold, one silver) installed beside a raw canvas, the left edge of which hosts a slim passage

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