16-22 July

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Galleries & Museums 16 Mon 17 Tue 18 Wed 19 Thu 20 Fri 21 Sat 22 Sun
Armada
Galleria Raffaella Cortese
Galleria Monica De Cardenas
kaufmann repetto
Gió Marconi
Marsèlleria
Francesca Minini
Pirelli HangarBicocca
Fondazione Prada
 
Federica Schiavo Gallery
La Triennale
   
Clima
Fondazione Marconi
VISTAMARESTUDIO
Galleria Federico​ ​Vavassori
Francesco Pantalone Arte Contemporanea
Armada

Via Privata Don Bartolomeo Grazioli 73, 20161

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Galleria Raffaella Cortese

Via A. Stradella 1, 4, 7, 20129

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Galleria Raffaella Cortese

Via A. Stradella 1, 4, 7, 20129

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Galleria Monica De Cardenas

Via F. Viganò 4, 20124

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kaufmann repetto

Via di Porta Tenaglia 7, 20121

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kaufmann repetto

Via di Porta Tenaglia 7, 20121

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Gió Marconi

Via A. Tadino 20, 20124

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Marsèlleria

Via Privata Rezia 2, 20135

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Francesca Minini

Via Massimiano 25, 20134

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Pirelli HangarBicocca

Via Chiese 2, 20126

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Pirelli HangarBicocca

Via Chiese 2, 20126

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Fondazione Prada

Fondazione Prada / Osservatorio Galleria Vittorio Emanuele II, 20121

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Fondazione Prada

Largo Isarco 2, 20139 / Osservatorio Fondazione Prada,

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Fondazione Prada

Fondazione Prada Largo Isarco, 2, 20139

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Federica Schiavo Gallery

Via Barozzi 6, 20122

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La Triennale

Viale E. Alemagna 6, 20121

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La Triennale

Viale E. Alemagna 6, 20121

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La Triennale

Viale E. Alemagna 6, 20121

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Clima

Via ​A. Stradella, 5​, 20129

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Fondazione Marconi

Via Tadino 15, 20124

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VISTAMARESTUDIO

Viale Vittorio Veneto 30​, 20124

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Galleria Federico​ ​Vavassori

Via G. Giulini 5, 20213

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Francesco Pantalone Arte Contemporanea

Via San Rocco, 11, 20135

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Gió Marconi

Via A. Tadino 20, 20124

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kaufmann repetto

Via di Porta Tenaglia 7, 20121

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Galleria Raffaella Cortese

Via A. Stradella 1, 4, 7, 20129

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Brand New Gallery

Via C. Farini 32, 20159

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Cardi Gallery

Corso di Porta Nuova 38, 20121

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Galleria Monica De Cardenas

Via F. Viganò 4, 20124

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Massimo De Carlo

Via G. Ventura 5 / Palazzo Belgioioso, Piazza Belgioioso 2,

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Pirelli HangarBicocca

Via Chiese 2, 20126

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Istituto Svizzero

Via del Vecchio Politecnico 3, 20121

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Francesca Minini

Via Massimiano 25, 20134

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Galleria Lia Rumma

Via Stilicone 19, 20154

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La Triennale

Viale E. Alemagna 6, 20121

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ZERO...

Viale Premuda 46, 20129

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Marsèlleria

Via privata Rezia 2, 20135

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Fondazione Prada

Largo Isarco 2, 20139 / Osservatorio Fondazione Prada,

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Fondazione Carriero

Via Cino del Duca, 4, 20122

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Fanta Spazio

Via Merano 21, 20127

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Tile Project Space

Via Garian 64, 20146

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Armada

Via Privata Don Bartolomeo Grazioli 73, 20161

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THE MEGA VIEW

Piazza Vetra 21, 20123

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Federica Schiavo Gallery

Via Barozzi 6, 20122

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Cortesi Gallery

Corso di Porta Nuova 46/B, 20121

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Clima

Via ​A. Stradella, 5​, 20129

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Fondazione Marconi

Via Tadino 15, 20124

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VISTAMARESTUDIO

Viale Vittorio Veneto 30​, 20124

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10 Corso Como

Corso Como 10 - 20154

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Bar Basso

Via Plinio 39 - 20129

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La Belle Aurore

Via Privata G. Abamonti 1 - 20129

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Fioraio Bianchi Caffè

Via Montebello 7 - 20121

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Charmant

Via G. Colombo 42 - 20133

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Grand Hotel et de Milan

Via A. Manzoni 29 - 20121

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Lile in cucina

Via F. Guicciardini 5 - 20129

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Panificio Davide Longoni

Via G. Tiraboschi 19 - 20135

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Pasticceria Marchesi

Via Santa Maria alla Porta 11a - 20123

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Trattoria Masuelli San Marco

Viale Umbria 80 - 20135

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La Nuova Arena

Piazza Lega Lombarda 5 - 20154

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Pavé

Via F. Casati 27 - 20124

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Antica Trattoria della Pesa

Viale Pasubio 10 - 20154

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Picchio

Via Melzo 11 - 20129

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Piero e Pia

Piazza D. Aspari 2 - 20129

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Polpetta DOC

Via B. Eustachi 8 - 20129

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Osteria del Treno

Via San Gregorio 46 - 20124

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Fonderia Artistica Battaglia

Via Stilicone 10 - 20154

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Pasticceria Cucchi

Corso Genova 1 - 20123

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Otto

Via Paolo Sarpi 10 - 20154

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DRY Cocktails & Pizza

Via Solferino 33 - 20121

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Capetown Café

Via Vigevano 3 - 20144

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Pisacco

Via Solferino 48 - 20121

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CONVERSO

CLS Architetti - San Paolo Converso Piazza S. Eufemia, Milano - 20122

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​LùBar

Via Palestro, 16 - 20121

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Marco Conoci “Undercover”

08 June – 31 July
Friday - Saturday
3-7 pm or by appointment

Opening 08 June from 6.30 pm to 10 pm

Via Privata Don Bartolomeo Grazioli 73, 20161

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William E. Jones “Holes in the historical record”

17 May – 28 July
Tuesday – Saturday
10 am-7.30 pm (closed 1-3 pm)

Opening 16 May from 7 pm

Via A. Stradella 1, 4, 7, 20129

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Michael Fliri “Animanimism”

17 May – 28 July
Tuesday – Saturday
10 am-7.30 pm (closed 1-3 pm)

Opening 16 May from 7 pm

Via A. Stradella 1, 4, 7, 20129

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“Jamais laisser les photos trainer”
Linda Fregni Nagler, Jochen Lempert, Johan Österholm, Barbara Probst, Leticia Ramos, Alessandra Spranzi, John Stezaker

17 May – 27 July
Tuesday – Saturday
10 am – 7 pm (closed 1 – 3 pm) / Sat. 12 – 7 pm

Opening 17 May from 6.30 pm

Via F. Viganò 4, 20124

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The exhibition suggests an idea of photography as a training of the gaze. It features artists who are experiencing epochal changes in the way of perceiving space and time, images and their multiplication and spread. It outlines a discourse on the potential of photography as a tool of knowledge that restores to the gaze something it is perhaps losing, due to

accumulation or cultural blindness: the ability to see and to sense the mutual relations among images.

The desire to return to the basic elements of photography – light and time – to reactivate obsolete techniques and procedures, to get back in touch with the miracle of analog photography and the darkroom, or to insist on always using the same camera, is intertwined with an attitude of reinterpretation of artifacts that belong to the dawn of photography, or research and gathering of images that already exist – by others, anonymous or humble images – found where no one was looking any longer. Images, these last ones, observed and re-observed, cut and rephotographed, magnified, enlarged, grouped, overlapped, reorganized, enabling them to still reveal their semantic potential.

In the photographs we can recognize that mixture of art and science, creative inspiration and technological invention of the pioneers, or a technological sophistication that moved forward with the discoveries of those inventors. Works that involve the viewer in an act of complicity, force him into a situation of intimacy.

 

“Never leave photos lying around” - as the title of the show quotes from the film Ascenseur pour l'échafaud (Elevator to the Gallows) by Louis Malle - because you never know what an artist might do with them.

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Anthea Hamilton “a is for... and, am, anxious, apple, adore...”

07 June – 07 September
Tuesday – Saturday
11 am – 7.30 pm

Opening 07 June from 7 pm

Via di Porta Tenaglia 7, 20121

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Project Room: Alice Mackler

07 June – 07 September
Tuesday – Saturday
11 am – 7.30 pm

Opening 07 June from 7 pm

Via di Porta Tenaglia 7, 20121

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Annette Kelm “Springs”

23 May – 14 September
Tuesday – Saturday
11 am – 7 pm

Opening 22 May from 7 pm

Via A. Tadino 20, 20124

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Cristian Chironi “Polychromy”

28 June – 14 September
Monday – Friday
10am-6pm (closed 1-2 pm)

Opening 27 June from 7 pm to 9 pm

Via Privata Rezia 2, 20135

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Marsèlleria presents Polychromy, a multidisciplinary project by Cristian Chironi, built through space, sound and visual dimensions.

On show a Fiat 127 Special, renamed Chameleon because of its ability to change its body colors depending on the contexts where it is brought. Inside its passengers compartment are playing audio-documents and sound compositions from the project My sound is a Le Corbusier, which was born from the collaboration with Francesco Brasini and different musicians, among which Radio France choir, Alessandro Bosetti, Massimo Carozzi, Dominique Vaccaro, Daniela Cattivelli and many others.These music compositions were recorded inside different Le Corbusier’s houses all over the world, and the ones on show are the unreleased pieces coming from the Indian step in Chandigarh, a city in the North of the country entirely designed by the Swiss architect in 1953. A ‘machine to live in’, customized following the typical color combinations of the houses where Chironi lives in the realm of the project My House is a Le Corbusier.

Beside the car is to be found, all along the wall, an “architectural keyboard”containing 43 colors associations, which one reproducing an atmospheric effect, together with the chromatic range of 288 color matches designed by Le Corbusier - the architectural polychromies created in 1931 consisting of bright and softer colors, which need to follow precise mixing rules - that should be combined intuitively and synchronously, as if they were sounds. The colors are applied to the different components of the car body, creating a recognizable and fantastic visual weave. The polychromy is a multifunction instrument, piano, window, wall, wardrobe, attire, screen, library, practical guide, garage.

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“Is it my Body?”
Curated by Antonio Grulli Roger Ballen, Venessa Beecroft, Jacopo Benassi, Dan Graham

29 May – 31 July
Tuesday – Saturday
11 am – 7.00 pm

Opening 29 May from 7 pm to 9 pm

Via Massimiano 25, 20134

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Eva Kot’átková “The Dream Machine is Asleep”
Curated by Roberta Tenconi

15 February – 22 July
Thursday – Sunday
10 am-10 pm

Opening 14 February from 7 pm

Via Chiese 2, 20126

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The work of Eva Kot’átková (born 1982 in Prague) investigates the internal and external forces that influence human behavior, in particular the institutional rules and educational systems that can manipulate and produce situations of control.
For “The Dream Machine is Asleep,” Kot’átková presents a compelling selection of her installations, sculptures, collages, and performative works, focusing on the idea of the human body as a machine and an organ that continues to function while sleeping, creating parallel inner worlds.
Drawing on personal experiences and a recent body of work—like the multimedia installation Stomach of the World (2017)—for this show in Milan, Kot’átková transforms the exhibition space into a labyrinthine organism in which to explore private thoughts, intimate visions, and dreams, as well as the anxieties and struggles of contemporary society.

L’opera di Eva Kot’átková (Praga, 1982) indaga le forze intrinseche ed estrinseche che influiscono sul comportamento umano, come le norme e i sistemi educativi che possono manipolare e generare situazioni di controllo.
Per “The Dream Machine is Asleep” Kot’átková presenta una coinvolgente selezione di nuove  installazioni, sculture, collage e opere performative, incentrate sulla concezione del corpo umano come macchina e organo che continua a svolgere le sue funzioni durante il sonno, creando mondi interiori paralleli.
Sulla base delle sue esperienze personali e del recente corpus di opere – come l’installazione video Stomach of the World (2017) – l’artista trasforma lo spazio espositivo in un organismo labirintico attraverso il quale esplorare pensieri privati, visioni intime e sogni ma anche le paure e le sfide della società contemporanea.

Matt Mullican “The Feeling of Things”
Curated by Roberta Tenconi

11 April – 16 September
Thursday – Sunday
10 am-10 pm

Opening 11 April from 7 pm

Via Chiese 2, 20126

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Torbjørn Rødland “The Touch That Made You”

05 April – 20 August
Mon-Fri 2 pm-8 pm
Sat-Sun 10 am-8 pm

Opening 05 April

Fondazione Prada / Osservatorio
Galleria Vittorio Emanuele II, 20121

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Slight Agitation 4/4: LAURA LIMA

15 June – 22 October
Mon / Wed / Thu, 10 am-8 pm
Fri / Sat / Sun, 10 am-9 pm

Opening 15 June from 10 am

Largo Isarco 2, 20139 / Osservatorio Fondazione Prada,

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Dal 15 giugno al 22 ottobre 2018 Fondazione Prada presenta “Slight Agitation 4/4: Laura Lima”, il quarto e ultimo capito del progetto espositivo concepito dal Thought Council di Fondazione Prada, attualmente composto da Shumon Basar, Elvira Dyangani Ose e Dieter Roelstraete.

“Slight Agitation” è un progetto in quattro capitoli che comprende opere site-specific commissionate per l’occasione ed esposte negli spazi della Cisterna all’interno della sede milanese di Fondazione Prada. I primi tre capitoli hanno visto come protagonisti Tobias Putrih (Slovenia, 1972), Pamela Rosenkranz (Svizzera, 1979) e il collettivo austriaco Gelitin, e ora proseguono con l’ultima installazione dell’artista brasiliana Laura Lima.

Il progetto presentato da Laura Lima segue rispettivamente l’installazione di Putrih, che si è confrontato con le idee di gioco, politica ed emancipazione; l’intervento di Rosenkranz che ha offerto ai visitatori un’immersione multisensoriale in una nuova percezione di fisicità e collettività; e il progetto di Gelitin, focalizzato sugli archetipi dell’architettura classica di cui ha sovvertito la retorica e le componenti monumentali. Con “Horse Takes King” (Cavallo mangia re) Laura Lima presenta un esperimento eccentrico nel quale cerca di alterare i sensi che determinano la nostra percezione, installando negli spazi della Cisterna tre grandi sculture che costituiscono altrettante espressioni di un sistema tassonomico all’apparenza assurdo.

John Bock “The Next Quasi-Complex”

18 July – 24 September
Mon / Wed / Thu, 10 am-8 pm
Fri / Sat / Sun, 10 am-9 pm

Opening 18 July

Fondazione Prada
Largo Isarco, 2, 20139

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Milano, 27 giugno 2018 – Fondazione Prada presenta “The Next Quasi-Complex”, una mostra di John Bock, aperta al pubblico dal 18 luglio al 24 settembre 2018 nella sede di Fondazione Prada a Milano.

Concepito dall’artista tedesco John Bock (Gribbohm, 1965) per gli spazi del Podium, il progetto riflette la particolare pratica dell’artista, che alla scultura e all’installazione site-specific combina liberamente elementi performativi. Le performance, che Bock chiama “lectures”, ovvero parodie di presentazioni accademiche, si svolgono in ambienti allestiti con oggetti di uso quotidiano, materiali trovati e di scarto, mobili e altri elementi, disposti a formare universi assurdi o illogici, in cui i visitatori sono invitati a partecipare.

Per questo progetto Bock trasforma il piano terra del Podium in un mondo eccentrico e surreale, un teatro dell’assurdo in cui intreccia umorismo nero e discipline quali filosofia, economia, musica, moda e frammenti di vita quotidiana.

“The Next Quasi-Complex” presenta due grandi installazioni provenienti dalla Collezione Prada: il palco mobile di When I’m Looking into the Goat Cheese Baiser (2001) e il salotto di Lütte mit Rucola (2006). Nuove architetture sperimentali, frammenti di pareti, strutture improvvisate e una selezione di opere esistenti sono incorporati nel progetto, che si snoda attorno a uno spazio centrale lungo un percorso circolare.

Gli oggetti in mostra si presentano sia come scenografie che come strumenti per le performance o provengono dai set dei film realizzati dall’artista. Assemblati in installazioni, danno luogo a quello che Bock definisce una “summutation” (sommutazione), ovvero la trasformazione di ciò che resta dopo una lezione o le riprese di un film. Se affiancata ai video girati durante ogni performance, la “sommutazione” diventa il risultato visuale dell’opera stessa, documentando il risultato creativo e visivo dell’installazione e il suo possibile utilizzo.

Lütte mit Rucola (2006) nasce dall’omonimo film in cui l’artista recita il ruolo di un pazzo omicida che fa a pezzi la sua vittima ancora viva. Nel contesto del Podium, il set del film diventa installazione, ricreando il salotto in cui si è svolta la tortura. Il pubblico ne diventa testimone osservando la ricostruzione da un balcone che si affaccia sulla scena. When I’m looking into the Goat Cheese Baiser (2001) è una scenografia mobile utilizzata da Bock durante una delle sue performance: un assemblaggio caleidoscopico di arredi scenici che aspettano solo di prendere vita nelle mani dell’artista, così come documentato nel video della “lecture” tenutasi a New York nel 2001.

Intorno alle installazioni centrali trovano posto altre costruzioni, tutte accessibili tramite scale, piccole porte, tende o tunnel. Una tenda fatta di calzini imbottiti ospita un assemblage di “attrezzi morti”. Un’altra stanza ospita un’installazione composta da due vetrine che mostrano e al tempo stesso nascondono il loro contenuto eterogeneo e surreale. Alcuni pannelli riportano frammenti di racconti e diagrammi, ulteriore testimonianza della comunicazione sperimentale e delle interazioni anti-accademiche con il pubblico, emblematiche della pratica dell’artista. Una tenda cilindrica racchiude una sedia sospesa a una catena, la cui presenza, associata ad alcuni attributi fisici, rimanda al tema del “LeibSein”, ovvero “CorpoEssere” secondo il linguaggio dell’artista.

La mostra ospiterà l’8 settembre 2018 una performance durante la quale John Bock e gli attori Lars Eidinger e Sonja Viegener attiveranno il palco di When I’m looking into the Goat Cheese Baiser, muovendosi all’interno del Podium “come una mosca intorno a una carcassa”.

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Karthik Pandian “Tamil Man”

23 May – 25 July
Tuesday – Saturday
12 – 7 pm

Opening 22 May from 6 pm

Via Barozzi 6, 20122

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When I walk slowly across the floor of the studio, I step with my ancestors. I step with outcastes, migrants and refugees. I step with artists, dancers and pilgrims. My foot trembles, unaccustomed to this labor. It is painted, made up in the guise of a sculpture. I step into Tamil Man, into the vision of Malvina Hoffman, who put her self-proclaimed capacity to see and identify true racial types to work in her monumental commission of the Hall of the Races of Mankind at the Field Museum of Chicago in the 1930s. I step out of the museum, out of the studio and into a pose as a living sculpture. On the banks of the river, I perform austerities. Trembling, I die and give birth to myself, every 29.97th of a second.

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Walter Swennen “La Pittura Farà da Sé”
Curated by Edoardo Bonaspetti

21 June – 26 August
Tuesday – Sunday
10.30 am - 8.30 pm

Opening 20 June from 7 pm

Viale E. Alemagna 6, 20121

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Rita Ackermann “Movimenti come Monumenti”
Curated by Gianni Jetzer. Artistic direction: Edoardo Bonaspetti

22 June – 29 September
Tuesday – Sunday
10.30 am - 8.30 pm

Opening 21 June

Viale E. Alemagna 6, 20121

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Diego Marcon “La miserabile”
Curated by Edoardo Bonaspetti

20 July – 26 August
Tuesday – Sunday
10.30 am - 8.30 pm

Opening 19 July from 7.30 pm

Viale E. Alemagna 6, 20121

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What I find pathetic is the human condition and the way it constantly drags itself along as its own burden. That’s why my characters are so exhausted. (Diego Marcon)

From 20 July to 26 August 2018, La Triennale di Milano presents the first solo museum exhibition by Diego Marcon (b. 1985, Busto Arsizio), curated by Edoardo Bonaspetti.
There is something profoundly distressing, but at the same time also comical, in Diego Marcon’s work. Life is wretched and spares no one. This may be why the artist has decided to turn the space of the Impluvium at La Triennale di Milano into a silent, disconcerting room.

La Miserabile is an existential condition, a state of mind, and a scene that takes shape from the central figurative group: a bedstead on which a sick female figure is resting. All around, dozens of people watch over her body, busily performing little enigmatic tasks. The image of the dying girl, which is a recurrent theme in sentimentalist art, is conveyed in the style of children’s illustrations and cartoons, in an atmosphere of numb torpor, from which other representations emerge.

The setting is unadorned, accentuating the emotional power of the work and carving out a space of neuroses and frenzied closure to the outside world. Those who inhabit Marcon’s world – the wretched, or miserabili – are indefinitely and inescapably trapped. Isolated in the half light, as though Marcon wished to protect them from prying eyes, these figures appear to the viewer in a place of contemplation, inviting us to dwell on the various actions frozen in place. On this occasion, the artist goes beyond the formats of moving images that he has used in his most recent projects, and experiments with the evocative power of what is not immediately visible, of what appears to be ambivalent, and probably pathetic, at the fringes of both image and existence.

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Jonah King “Leisure sports”

06 June – 28 July
Tuesday​ – Saturday from 11.30 am​-​7.30 pm or by appointment

Opening 05 June from 7 pm to 10 pm

Via ​A. Stradella, 5​, 20129

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Bruno Di Bello

23 May – 27 July
Tuesday – Saturday, 10 am-7 pm (closed 1-3 pm)
(aperto:15 aprile / chiuso: 31 marzo, 25 aprile e 1° maggio)

Opening 22 May from 6 pm

Via Tadino 15, 20124

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Polys Peslikas “The misunderstanding. The misinterpretation.”

07 June – 27 July
Tue - Sat 10 am - 7 pm

Opening 06 June from 7 pm to 9 pm

Viale Vittorio Veneto 30​, 20124

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Vistamarestudio is pleased to present an exhibition by Polys Peslikas. The show features a series of new paintings and marks the artist’s first collaboration with the gallery.

 

The misunderstanding.
The misinterpretation.

 

Two titles for an exhibition, the one can be used as an excuse for the other.

 

Polys Peslikas’ artistic practice explores the possibilities of non-representational painting, by means of richly textured surfaces in which figurative fragments are caught in a constant state of flux.

This play of materialization and disappearance was at the center of Peslikas’ Soft Stones-Documents paintings – which he presented at the 57th Venice Biennale – and returns in the current exhibition, conceived around a series of oil paintings on canvas mounted on wood, which are informally referred to as “mosaics” and “reliefs”. These new works point to Peslikas’s implicit observations regarding the practice of painting: layer after layer, the surface becomes the site of a ritualistic repetition of gestures and forms, almost an oxidized plane of transformation and coalescence.

The series originates in the artist’s misunderstanding of a photograph of the mosaics in the 5th Avenue Subway in New York, which Peslikas thought was a fragment of the Mussolini mosaics in the Stadio Olimpico in Rome. Starting from this misplacement of locations and times, the artists has created a mysterious narrative around the ambiguity of representation and vision as a form of wondering.

The terms “Variation”, “Study”, and “Doubt” are often used by Peslikas to refer to his series: they stand for the artist’s belief in representation as a transformative site of perception. “Misunderstanding” and “Misinterpretation” are added to the list to allow him the possibility of revisiting, re-questioning and keeping the potential of the paintings open.

Polys Peslikas (b.1973, Limassol CY) is a painter currently living and working between London and Nicosia. For the last fifteen years he has been regularly collaborating with independent choreographers on contemporary dance pieces. In 2015/16 he was an artist in residence at Künstlerhaus Bethanien in Berlin. Among other places, he has presented his work at Villa Medici (Rome), Shanaynay (Paris), NiMAC (Nicosia), Halle 14 (Leipzig), and at the Prague Biennial II. In 2017, he represented Cyprus at the 57th Venice Biennale.

 

 

Vistamarestudio è lieta di presentare la mostra personale di Polys Peslikas. Originario di Cipro, l’artista vive e lavora a Londra ed espone una serie di nuovi dipinti che segnano l’inizio della sua collaborazione con la galleria.

 

The misunderstanding.
The misinterpretation.

 

Due titoli per una mostra: l’uno giustifica l’altro.

 

Polys Peslikas indaga le potenzialità della pittura astratta attraverso superfici dense ed elaborate, in cui i frammenti figurativi sono colti in uno stato di flusso perpetuo.

È questa dinamica di apparizione e scomparsa che animava Soft Stones Documents, i quadri che Peslikas ha esposto alla 57esima Biennale di Venezia quando ha rappresentato il suo paese al padiglione nazionale; ed è una dialettica che ritroviamo in questa mostra, concepita intorno a una serie di dipinti ad olio su tela montata su legno – opere che l’artista descrive come “mosaici” e “rilievi”. Questi nuovi quadri suggeriscono una velata riflessione sulla pratica della pittura: strato su strato, la superficie si addensa e diventa lo spazio di una ripetizione ritualistica di gesti e forme, quasi una superficie ossidata di trasformazione.

Il ciclo nasce da un equivoco riguardante un’immagine dei mosaici nella stazione della metropolitana newyorkese sulla 5th Avenue – un’immagine che l’artista aveva creduto, erroneamente, rappresentasse i mosaici Mussoliniani allo Stadio Olimpico a Roma. A partire da questa confusione di luoghi e tempi, Peslikas ha costruito una misteriosa narrazione sull’ambiguità della rappresentazione e sullo sguardo come atto esplorativo.

Parlando dei suoi cicli pittorici, Peslikas ricorre spesso ai concetti di “variazione”, “studio” e “dubbio” per esprimere la sua fiducia nell’arte come spazio di continua trasformazione della percezione. A questo elenco di titoli si aggiungono ora “malinteso” e “fraintendimento”, termini che permettono lo sviluppo di ulteriori rivisitazioni e quesiti, lasciando aperte le possibiltà della pittura.

Polys Peslikas (1973, Limassol) vive e lavora tra Londra e Nicosia. Negli ultimi quindici anni ha collaborato in numerose occasioni con coreografi indipendenti, creando performance di danza contemporanea. È stato l’artista in residenza al Künstlerhaus Bethanien a Berlino nel 2015-2016. Il suo lavoro è stato presentato a Villa Medici (Roma), Shanaynay (Parigi), NiMAC (Nicosia), Halle 14 (Leipzig) e al Prague Biennial II. Nel 2017 ha rappresentato Cipro alla 57esima Biennale di Venezia.

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“Tra l'inquietudine e il martello”
Dario Guccio, Corrado Levi, Daniele Milvio, Charlemagne Palestine, Lisa Ponti, Giangiacomo Rossetti, Cinzia Ruggeri, Antonio Serrapica, Nanda Vigo

17 July – 11 August
Monday – Friday​, ​​11 am-6 pm

Opening 16 July from 6 pm to 9 pm

Via G. Giulini 5, 20213

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Concetta Modica “La partenza - Trilogia di Orlando”
Curated by Michela Eremita

05 June – 15 September
Tuesday - Saturday from 15.00 to 19.00 (and by appointment)

Opening 05 June from 6 pm to 9 pm

Via San Rocco, 11, 20135

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At the gallery Francesco Pantaleone Arte Contemporanea opens on 05 June 2018 # 1 | The departure of Concetta Modica, a personal exhibition that marks the first appointment of the Orlando Trilogy project, with the care and text by Michela Eremita. The cycle includes three stages - in three different places - with evocative titles: # 1 | The departure; # 2 | The sleep and fury; # 3 | The return. Through the emblematic figure of the Orlando paladin the search for the last year will be presented artist who has always focused on the relationship of the past with the present and on the and condition of fragility as a result of the epic afflicted man/hero. A group of French paladins represented as ceramic Puppets will step into the two rooms of the gallery, ready to go into imaginary and/or real battles. Their derivation from the Sicilian Opera of the Puppets and from Ludovico Ariosto's poem, Orlando Furioso, is pretty clear.

A group of French paladins represented as ceramic Puppets will step into the two rooms of the gallery, ready to go into imaginary and/or real battles. Their derivation from the Sicilian Opera of the Puppets and from Ludovico Ariosto's poem, Orlando Furioso, is pretty clear.
The multitude, the army of the fragile paladins, however, shall not be misleading: every sculpture, every paladin is an interpretation of one man, Orlando. In this case, Orlando becomes ego and alter ego, as a mirror of himself and of mankind, with constant comparisons between what the hero represents for history and for our cultural tradition – with the well-known course of events that have been so much recounted and brought onto the stage – and the man, intimately in conflict with himself, who broke down for a delicate reason, due to love. Hence a consideration on the infinite repetition of the heroic gesture, the (sometimes winning) conflict with the others – wars and battles for a common belief – and the conflagration of the ego provoked by a delicate issue, because of feelings.

Besides the many Orlandos, the exhibition will show other objects that are close to the hero's figure, devotional and functional objects like the cruet that will held the good senses of the paladin who went crazy because of love... Everything will help present the ancient man and modern man in conflict and in love, expanded by loneliness, in a constant comparison.

The works on show are all new.
The Puppets will leave for Nottilucente, a project curated by the Municipality of San Gimignano in collaboration with Culture Attive, the association managing the event for the Tuscan city. After the battle in Tuscany, the Puppets will come back, in their entirety or in part, at Spazio C.O.S.M.O. in Milan, a new exhibition space where visitors will be able to see the remnants of a heroic adventure through a reconstruction that will focus on devotional proxemics.
In the event taking place at Francesco Pantaleone Arts Gallery, the artist will host two travel companions: Giovanni Calvi, a young designer who was asked to create the cruet used to hide Orlando's good senses, and Anita Pepe, who collaborated with the artist in a four-hand work, a book for words and images.
A project spin-off will take place in Palermo next June at an exhibition curated by Adina Drinceanu, Ozio, as part of Manifesta 12.

Francesco Pantalone Arte Contemporanea

Tuesday - Saturday from 15.00 to 19.00 (and by appointment)

www.fpac.it
milano@fpac.it
02 87214884
Via San Rocco, 11, 20135 Milano

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