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, the observers and the observed, producers and consumers of a unique ecosystem constructed of individual discomforts and collective catharses, allegories and enigmas, absurdities and tragedies, horrors and pleasures.
In Milan, our Gulliver is Urs Fischer, the first artist to exhibit simultaneously
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