reviews

  • View of “Goshka Macuga,” 2016. Foreground: Goshka Macuga, To the Son of Man Who Ate the Scroll, 2016. Background: Ettore Colla, Giocoliere, nr. 3 (Juggler, nr. 3), 1967–68. Photo: Delfino Sisto Legnani Sudio.

    Goshka Macuga

    Fondazione Prada | Milan

    In Goshka Macuga’s cosmological exhibition “To the Son of Man Who Ate the Scroll,” the artist stages a creation myth of her own invention, presenting her work alongside a wide-ranging selection of that of her artistic predecessors. Yet this story is ambiguous at first. Visible from the windows of the Fondazione Prada’s ground-floor exhibition space is a man carrying out small, mechanical gestures. He is seated on a large, low pedestal at the site where Virgilio Sieni’s Atlante del gesto (Atlas of Gesture), 2015, was recently performed, and where examples of classical sculpture and their copies

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  • Marzia Migliora, L’ideazione di un sistema resistente è atto creativo (The Design of a Resistant System Is a Creative Act), 2016, charcoal briquettes. Installation view. Photo: PEPEfotografia.

    Marzia Migliora

    Lia Rumma | Milan

    In this highly political show, “Forza lavoro” (Work Force), Marzia Migliora examined the transitional moment of a dying architectural structure, the Palazzo del Lavoro in Turin, designed by Pier Luigi Nervi in 1959 for the Esposizione Internazionale del Lavoro (International Labor Exhibition) organized by Giò Ponti for Expo ’61. A majestic environment and a masterpiece of engineering, it is now in a state of total ruin following years of neglect that culminated in a devastating fire in August 2015. The building’s decay is rendered even more excruciating by its imminent conversion into a luxury

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