Mathilde Rosier, Blind Swim 14, 2017, oil on canvas, 78 3/4 x 43 3/8".

Mathilde Rosier

Galleria Raffaella Cortese | Via Stradella 1

Mathilde Rosier, Blind Swim 14, 2017, oil on canvas, 78 3/4 x 43 3/8".

In a site-specific intervention at the Fondazione Guido Lodovico Luzzatto in Milan this past spring, titled“Figures of Climax of the Impersonal Empire,” French artist Mathilde Rosier established a dialogue with the house in which the great Italian intellectual and art critic spent his life, inserting her surreally inflected pictorial depictions among household furnishings and archival materials. In her concurrent gallery show, “Impersonal Empire, the Buds,” she modified the actual space, adding a wall, positioned diagonally to the entry corridor, that functioned as a screen for a video projection while separating the space into two different areas. The video showed a performance that the artist had created in the space behind it, but without an audience: Thus, the viewer could only observe the action after the fact, via the video recording. Moreover, there was a sole, frontal

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