Urs Fischer
Massimo De Carlo | Milan/Belgioioso
Massimo De Carlo’s original industrial space could not be more different from the gallery’s new location in an eighteenth-century palazzo. Yet opposites are known to attract. Like a couple that must live under separate roofs to stay together, the venues offer artists the chance to select the preferred context for presenting themselves: periphery or center, studio or palazzo, iron or plaster, high or low? All this, however, is violently called into question by an artist who, like Jonathan Swift in Gulliver’s Travels, has us journey toward Lilliput or Brobdingnag, turns us into dwarves or giants,