Haris Epaminonda, Untitled #06 t/g, 2019, mirrored and lacquered wooden panel, brass, wooden panel, temple model, 27 5⁄8 × 19 3⁄4 × 20 1⁄2".

Haris Epaminonda

Galleria Massimo Minini

In the last room of Haris Epaminonda’s exhibition “VOL. XXVI,” which opened this past April, a few weeks before the artist won a Silver Lion at the Venice Biennale, viewers found themselves facing the enigma of Untitled #15 t/g (all works 2019). A small vase and a slender metal structure were set atop a rectangular swath of gilded paper. A single palm leaf fluttered down from one of the metal bars. A few feet away, a white stucco panel leaned against the wall. Jutting from behind it was a snippet of an illustration from an old atlas, showing a young woman twirling on a swing on a red-figure Attic vase, dating from 450 to 400 BCE.

In its entirety, the original tableau shows a satyr on the verge of pushing the girl. Why the artist would include only this small, furtive excerpt is one of the myriad unanswered questions that Epaminonda’s work poses. Perhaps the image highlights the symbolic

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