“I would lay a black glittering turd on the white landscape of conformity,” Rick Owens wrote in the late 1990s. However bombastic this sounds, the next twenty years of the fashion and furniture designer’s career have broadly confirmed his intention. And now that the Triennale di Milano has celebrated him with a retrospective—no less sensationally titled “Subhuman Inhuman Superhuman,” presented by Eleonora Fiorani, the curator of its fashion department—the turd cited in Owens’s manifesto has found material form. In a gigantic sculpture/stage set, a black blob of sand, cement, and organic

It is not easy to face the questions posed by Carlo Gabriele Tribbioli’s latest documentary film, which he created in collaboration with director and philosophy researcher Federico Lodoli. Frammento 53 (Fragment 53) (2015) is uncomfortable not because it confronts the subject of war, but because of the interpretation and method Tribbioli has chosen. The filmwas the core of the exhibition “Intorno l’altare di un dio sconosciuto” (Toward the Altar of a God Unknown), which consisted of three other parts, developed from research materials the artist collected with Lodoli for the film: eight portraits