Avanguardia russa allo Stedelijk Museum

 Foto Gert Jan van Rooij 

Molto bella la mostra, ora in corso allo Stedelijk Museum di Amsterdam, sulle avanguardie russe, con una particolare attenzione a Malevich.

 Foto Gert Jan van Rooij 

Press Realise

The Stedelijk Museum Amsterdam holds the largest collection of Malevich’s work outside of Russia, which was the subject of a large-scale exhibition at the museum in 1989. Kazimir Malevich and the Russian Avant-Garde is a tribute to the artist and his contemporaries, as well as the culmination of 2013 as the year celebrating Dutch–Russian relations in the Netherlands.

Foto Gert Jan van Rooij 

The exhibition is co-produced with Tate Modern, London, and the Art and Exhibition Hall of the Federal Republic of Germany (Bundeskunsthalle), Bonn, where it will travel in 2014. Each venue explores Malevich’s rich career from distinctive vantage points, focusing on different aspects of the artist’s remarkable career, including the context in which he formed his unique language, the radicality of his artistic trajectory, and his later return to landscapes and figures. Seen in their totality, these exhibitions thus provide the unprecedented opportunity to reassess one of the defining figures of twentieth-century modernism.

Organized by Stedelijk Museum curators Geurt Imanse and Bart Rutten, the Stedelijk’s presentation of more than 500 works places Malevich within the context of his contemporaries.

Not only an artist, he was an influential teacher and a passionate advocate of the “new” art. The show is a tribute to the Russian avant- garde of the early 20th century, with Malevich as its focal point. Although best known for his purely abstract work, he was inspired by diverse art movements of his day, including Impressionism, Symbolism, Fauvism, and Cubism; his own visual language was also influenced by Russian icon painting and folk art. Through oil paintings, gouaches, drawings, and sculptures, the exhibition traces the rich variety of his oeuvre. All the phases in Malevich’s career will be on view, from his Impressionist period to his iconic Suprematist phase—his Black Square was its most radical consequence—to the lesser-known figurative works that followed.
Foto Gert Jan van Rooij 

Kazimir Malevich and the Russian Avant-Garde will unite the exceptional collections of Nikolai Khardzhiev (via the Khardzhiev Foundation under the stewardship of the Stedelijk) and Georges Costakis (housed by the State Museum of Contemporary Art, Thessaloniki) for the first time. Pioneering Russian collectors of the Russian avant-garde, Khardzhiev and Costakis assembled considerable holdings of works during a time when abstract art was forbidden in the Soviet Union.
Works on paper offer vital insights into Malevich’s artistic development. Recent research—in which the Stedelijk Museum played an important role—reveals that it is in his drawings that we can follow his artistic quest in the best possible way. Never before have so many Malevich works on paper— mostly from the Khardzhiev Collection—been on public display together.

Foto Gert Jan van Rooij 

The exhibition celebrates a number of milestones. It was precisely one hundred years ago that the experimental Cubo-Futurist opera Victory over the Sun (1913) was performed, for which Malevich designed radical, non-realistic sets and costumes. The opera was a turning point in the artist’s career, marking his first experiments with total abstraction. Moreover, it has been ninety years since the first major exhibition of Russian nineteenth- and twentieth- century art—the first Russian Art Show, including work by Malevich—was on view at the Stedelijk Museum; the Stedelijk was the first museum to present Malevich’s Suprematism outside of Russia. In addition, Kazimir Malevich and the Russian Avant-Garde is the artistic culmination of 2013, a year celebrating Dutch– Russian relations.

Foto Gert Jan van Rooij 

Marc Chagall, Ilia Chashnik, Boris Ender, Ksenia Ender, Maria Ender, Yurii Ender, Natalia Goncharova, Wassily Kandinsky, Ivan Kyun, Mikhail Larionov, El Lissitzky, Kazimir Malevich, Mikhail Matyushin, Mikhail Menkov, Vera Pestel, Lyubov Popova, Ivan Puni, Alexander Rodchenko, Olga Rozanova, Nikolai Suetin, Vladimir Tatlin and Nadezhda Udaltsova.
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Urs Fischer da Sadie Coles a Londra

Ultimi giorni per la particolare installazione di Urs Fisher alla Sadie Coles, al 62 di Kingly Street a Londra

Photography: Mats Nordman‏

Press Release: 
Urs Fischer’s new exhibition at Sadie Coles HQ centres on an installation of 3,000 plaster raindrops suspended throughout the gallery. Titled Melodrama, the raindrops encompass a spectrum of shades from green to lilac, massing together into a gently psychedelic storm cloud which weaves in a swirling movement through the space. Yet their forms are incongruously physical – each droplet is a bulbous pendant cast from a hand-modelled prototype, and hangs from the ceiling by lengths of near-invisible monofilament. The installation’s romantic overtones collide with a bluntly cartoonish quality, bordering on the slapstick, that resonates with the double-edged register of much of Fischer’s art.

The heaviness and irregularity of the objects compound their lurking air of oddness. The arrayed drops begin to resemble other free-floating bodies – tangible or virtual, magical or mundane – from a swarm of gloopy commas to squirts of icing. They are emblematic of a strain of fairytale-style surrealism that pervades Fischer’s work, manifested variously by his wryly anthropomorphic furniture (including a lilac-hued grand piano collapsing droopingly like one of Dalí’s melting watches) or by the wax effigies which slowly implode into formlessness as wicks burn within them. Myriads of coloured droplets have featured explicitly in Fischer’s earlier work. This is the third in a series of expansive installations of raindrops including Vintage Violence (2004–05) and Horses Dream of Horses (2004), which respectively present blood-red and turquoise explosions of droplets. In more recent works such Secret (2012–13), globular raindrops are printed in dense clusters across the large, sultry headshots of 1950s Hollywood idols.

Mirroring the hand-sculpted forms of the raindrops are new sculptures in clay. Much of Fischer’s recent work has employed this medium: in 2011, he began an on-going public art project in which members of the public are invited to make objects out of freely supplied clay. Here, a single figurative sculpture is repeated in clay throughout the gallery, teasing out a dualism between originals and copies that has underpinned much of his art. In 2011, in the latest (and perhaps most literal) in a string of references to the working space of the artist’s studio, he collaborated with German artist Georg Herold in modelling clay figures from nude models; the objects were then exhibited alongside the same nude figures. Here, the sculptures appear metamorphic and unstable, redolent not only of tragic Pompeian casts but also the melting figures of Medardo Rosso (themselves often only preserved in the mediated form of photographs). Collectively, these sculptures describe an earthbound world of disorderly, golem-like forms in contrast with the symphony of suspended shapes above. The floor-based works and the raindrops constitute a ‘heaven and earth’ tableau that is at once pointedly familiar and otherworldly.

Urs Fischer (b. Switzerland, 1973) traverses the fields of painting, sculpture and installation, as well as photography and drawing, in a multifaceted body of work that eludes formal or generic categorisation, coaxing comparisons with the multifarious practices of Martin Kippenberger, Franz West, Fischl i & Weiss, and others. His work simultaneously echoes the shifting moods of Dada, Pop Art and conceptualism; and he deploys a dizzying range of materials from food to mirrors to dirt. Urs Fischer lives in New York. Recent major exhibitions include those at MOCA, Los Angeles, 2013; Madame Fisscher, Palazzo Grassi, Venice, Italy, 2012; and Skinny Sunrise, Kunsthalle Wien, Vienna, 2012. He has had solo shows throughout Europe and the USA, including Oscar the Grouch, The Brant Foundation, Greenwich (CT) (2010) and Marguerite de Ponty, New Museum, New York (2009). In 2004, Not My House Not My Fire took place at Espace 315, Centre Pompidou, Paris, and the retrospective Kir Royal was held at Kunsthaus Zürich, Switzerland. Urs Fischer’s work has been included in numerous group exhibitions including the Venice Biennale in 2003, 2007, and 2011.

For f urther inf ormation please contact the gallery at +44 (0)20 7493 8611 or

Sesso, oro e ...

In questa fine anno il British Museum gioca una serie di mostre sui temi della grandi passioni umane. Il grande fascino dell’oro e le avvincenti pulsioni del corpo umano con due esposizione di grande seduzione.
La prima è realizzata in un rapido percorso, una decina di sale, dove sono proposte una selezione degli ori meso-americani di gran pregio e fantastico cesello, provenienti dal lago di Guatavita, dove sono stati trovati pochi anni fa

La visita inizia in una serie di spazi dalla luce rarefatta, quasi piccole caverne.
Le colonne paiono eleganti caveau con una serie di vetrine trasparenti, perfettamente illuminate, dove sono presentano i tanti manufatti di una cultura che vedeva nell’oro un magico fascino mistico.

Questo materiale era plasmato con grande ingegno e creatività, declinato per le tante funzioni sia quotidiane sia nei grandi momenti di cultura religiosa/reale. Ritualità che richiedevano diversi oggetti di corredo, dagli amuleti agli oggetti decorativi.

Incute un certo orrore, pensare all’uso di certi oggetti presentati, ma affascina la grande manualità che li ha saputi realizzare.

Molto utile la guida che dettaglia gli aspetti antropologici di una cultura complessa e molto distante dalla nostra, che ci affascina per questo suo universo di forti passioni a noi così distanti. La mostra durerà fino al 23 Marzo 2014.

La seconda mostra è dedicata alla pittura erotica giapponese, una stupenda serie di opere nello stile Shunga, quando l’immagine amorosa era legata alla narrativa, si sviluppa su un filone che arriva fino alla fine dell’ottocento conquistando anche molti artisti europei come Vincent Van Gogh e Picasso.

Centoquaranta selezionate opere che per la prima volta analizzano in Europa questo stupendo filone della creatività artistica orientale.

In cui immagini di passione fisica e oggetti di vita reale sono declinate nelle tante versioni della fantasia umana, che attraversano attimi di dolcezza o di forte passione, situazioni ambigue, nudità, omosessualità e sensazioni più ancestrali e fantasiose.

La mostra, che dura fino al 4 Gennaio, è molto ben allestita e con un ottimo apparato informativo, stupendo il catalogo.


Call for artist / Sharjah Art Foundation

Sharjah Art Foundation announces the 2014 Production Programme Open Call for grants to artists working in a range of media. Up to $200,000 is available in this application cycle.
The Sharjah Art Foundation (SAF) Production Programme broadens the possibilities for the production of art in the MENASA region through a commitment to support innovation and excellence in artistic practice by encouraging risk and experimentation. This commitment places artists at the core of the Foundation’s mission by offering grants and professional support for the realisation of projects selected from an open call for proposals.
The past decade has seen an extraordinary rise in artistic activity throughout the Middle East, resulting in an increased visibility for artists both regionally and internationally. Within this context, the Foundation hopes to promote and encourage an environment of public and private patronage for the highest level of artistic endeavour. This programme focuses on supporting artists in their individual attempts to create work on a scale they have perhaps never imagined possible.
Arts practitioners are invited to propose imaginative, ambitious and inspirational projects that will transform our understanding of what art is and how it can be experienced. With this initiative we hope to engage and challenge the artists, our audiences and ourselves aesthetically, intellectually, emotionally, socially, politically or in ways new and unexpected.
In 2014 we are offering production grants to artists working in a range of media including sculpture, installation, time-based media, artist’s books and performance. Up to a total of $200,000 is available in this application cycle. The success of a proposal will be determined by merit rather than budget. To this end, projects with budgets that range from modest to ambitious scales will be considered. The submission deadline is 31 January 2014 and selections will be announced in March. The selected projects will be developed and produced by the artist and the Sharjah Art Foundation, with presentation of the completed project as agreed between the artist(s) and SAF.
The Production Programme was launched in 2008. Over 500 submissions have been received, 230 applications considered and 31 projects selected for production.
This document should give you all the information you need to know to apply for the 2014 Production Programme. Please read it carefully before you complete the attached application form. If you have any further questions, please direct them

Open Call
The Open Call will guide through the Production Programme application process

Application Form
Please use the Application Form to tell us about yourself and your proposal

Collaborator Form
If your project is a collective effort, please use this form to tell us about other members of your group

Captions Form
Please use the Captions Form to provide details about your project materials

Pausa caffè

NMNM 2014

Ecco il programma per il 2014 del NMNM del Principato di Monaco. 

- Richard Artschwager  - 20 Febbraio-11 Maggio , 2014 -NMNM - Villa Paloma

Richard Artschwager  saranno proposte oltre 135 opere che ripercorrono sei decenni , tra sculture , dipinti, disegni , fotografie e stampe. Spesso associato col pop, il minimalismo e arte concettuale , il suo lavoro non si vincola perfettamente a queste categorie. La sua pratica artistica costantemente esplora proprio essere visivo e fisico col mondo, con i suoi lavori a cavallo della linea tra illusione e realtà . La mostra rivela anticipazioni del suo fare creativo, sia col percorso fotografico che con l'uso della tecnologia. 
La mostra è organizzata dal Whitney Museum of Art in collaborazione con la Yale University Art Gallery , e curata da Jennifer Gross , H. Seymour Knox , Jr. Curatore , Arte Moderna e Contemporanea , Yale University Art Gallery.

- Gilbert & George - 14 Giugno - 2 Novembre , 2014 - NMNM - Villa Paloma

" 2 persone e 1 artista. " Gilbert e George  nate come " scultura vivente " sono ora oggetto di una retrospettiva costruita all'interno di una singola collezione privata di incredibile valore e qualità.

- Ritratti d' Intérieurs - 10 luglio - 19 ottobre , 2014 - NMNM - Villa Sauber

Ritratti d' intérieurs offrirà un'immersione in sei installazioni tridimensionali che suggeriscono luoghi reali o immaginari , realizzate negli spazi espositivi di Villa Sauber .

( Immaginaria) camera da letto di Jean Cocteau creazione per Marc- Camille Chaimowicz, il primo istituto di bellezza di Guerlain anticamera - decorata da Christian Bérard nel 1939 e ripetuto da Nick Mauss - sono riattivati ​​dagli artisti attraverso interventi site-specific , integrando una selezione di opere provenienti da collezione del NMNM .

Strutturato intorno alle nozioni di replica , citazione e proiezione , la mostra mette in discussione anche la nostra percezione del paesaggio e della scenografia . Tra gli interventi una video installazioni di Danika Dakic e Brice Dellsperger che mostrano altri spazi chiusi , mentre seminano dubbi sul rapporto tra lo spettatore e opera/ambiente.


28 Dicembre. una notte al museo

La VI edizione di "Una notte al museo", aperture straordinarie serali dalle 20:00 alle 24:00 nei luoghi d'eccellenza del patrimonio, sarà eccezionalmente gratuita.

Using Walls, Floors, and Ceilings: Claire Fontaine

Fino al 20 Aprile 2014 è in allestimento un’opera del collettivo Claire Fontaine presso il Museo Ebraico di New York.


Claire Fontaine’s art work addresses the ethical crises affecting society. It explores ideas and representations of power, freedom, and identity, often undermining or destabilizing these concepts. She uses found materials, borrowed text, images appropriated from other artists, and commercial or industrial media to probe such issues and subvert their original contexts, offering a way to imagine change. Yet despite deep intellectual roots, she is at heart a romantic, even a bit sentimental.

Fontaine’s practice is rooted in political activism, especially the collaborative protest movements of the late 1960s. Contemporary political theory provides the armature for her investigations; she especially values postcolonial perspectives, feminism, and neo-Marxism, with their focus on the politically and socially marginalized.

The installation Tears comprises nine neon signs suspended from the lobby ceiling at The Jewish Museum. In each, the phrase “isle of tears” is written in a different language: French, Polish, Russian, Yiddish, Greek, Italian, German, Spanish, and English. These were the languages most commonly spoken at the Ellis Island immigration station by the people who came to America through its doors—nearly sixteen million between 1892 and 1914. 

The neon lights, in lambent blue and green hues, create a wavelike color field above the spectator. Located in the lobby—the liminal space between the outside world and the realm of art—they mark a point of transition for the visitor. With their multilingual voices they serve as surrogates for the millions of poor immigrants who landed at Ellis Island filled with hope and trepidation. 

Claire Fontaine lives and works in Paris. A Readymade collective artist, she was founded in 2004. Her work has been shown at Tate London; the Museo Tamayo, Mexico City; the Museum of Contemporary Art, North Miami; and CCA Wattis Institute for Contemporary Arts, San Francisco, among other venues. - See more at:



Vi scrivo i miei Auguri con le immagini del bell'albero natalizio realizzato da Helen e Colin David, di  English Eccentrics, posto nell'ingresso del Victorian and Albert Museum di Londra.


Monumenta 2014

Per il prossimo anno il Grand Palais ospiterà Ilya e Emilia Kabakow per la nuova edizione di Monumenta, due artisti russi che hanno conquistato con un lungo percorso artistico la notorietà internazionale. 

L'evento si svolgerà dal 10 Maggio al 22 Giugno. 


Pausa caffè

Tamoanchan di M.C.Deball alla Pinksummer

Molto bello l'intervento di Mariano Castillo Deball alla Galleria Pinksummer di Genova.

Foto di Francesco Cardarelli

Tamoanchan - Mariano Castillo Deball 

Press release as interview

pinksummer: Pierre Hadot asserted that it is stupid to judge as if we were the masters of history and cited Augustine, claiming that the one who judges men, he is not just the one who knows them, but also expects that they are something different from what they actually are. Cézanne said that our egoism is mirrored by what we perceive and Bergson elevated the veritas aesthetica to model of philosophy, teaching to perceive beyond the enslavement of the habit, just as Roger Caillois suggested it in his essay Estetique generalisée. Tamoanchan, by re-presenting, or better actualizing, a myth and a symbol, looks like an acknowledgment of belongings, no longer limited to a specific civilization, but universal, as it recognizes nature as first creator.

Tamoanchan is a representation of the cosmological tree, the axis mundi of the Mesoamerican tradition, but also the primary image of the creational phytomorphism common to all religions. The tree that connects the sky to the underground world contains the metaphor of the fall and the nostalgia of the ascent, deeply rooted in the symbolic imagery of the whole humankind. What is your relationship with such archetype of tradition?

Mariana Castillo Deball: Tamoachan is the great cosmic tree, its roots are deep in the infraworld, and its foliage extends into the sky. The fog covers its base. The flowers crown its branches. The two trunks twisted on each other like a spiral, are the two opposite forces that fight to produce time.
Tamoanchan is one in the centre of the cosmos. It is four as an assembly of poles dividing the Sky from the Infraworld. It is five as a whole.
Tamoanchan is the half of the cosmic tree. Its deep roots conform the world of the death, from where the regeneration force arises. It is also one of the twisted trunks: the cold, dark and humid.
The other half of the tree forms the branches of light and fire where the birds are posed, the souls of the celestial deities. From the foliage spread and slip the flowers of the diverse destinies. This is also the warm trunk.

Tamoanchan, in assembly, is war, sex and time.

The explorations of Pedro Aramillas y José R. Perez in the limits of the old city of Teotihuacan, brought into light a series of murals dated between 550 and 650 ac.

The Tamoanchan/Tlalocan mural is one of the finest examples. On the upper part of the mural, raises, monumental, a tree with a double trunk twisted on itself. It is a tree loaded with different kinds of flowers. Maybe they are drunken flowers. Flowers that disturb and transform human hearts. From the flowers slips the nectar. The branches are covered with insects, spiders and birds. It is with no doubt, The Tree.

An enigmatic figure sits on the foot of the tree. It is anthropomorphic, but its features have originated diverse interpretations. Caso considered that it was Tlaloc the rain god wearing a mask; Kubler spoke about a feminine cult image, not necessary a deity; Miller proposed that the figure is backwards; Sejourné considered that the character combines elements from the fire and rain gods, and Pasztory in the most extensive study until now, said that it is bisexual, that the scene is Tamoachan, that the character is placed on top of a mountain and that the figure contains the rain elements that Sejourné mentioned.

But here is more. The two halves of the tree have opposite elements. On one half there are shells, snails, fish, all water and cold elements. The other half depicts flowers, minerals and warm elements.

Through the cold branches we can see insects ascending, they are butterflies flying to the top. On the warm branches there are spiders weaving their net, and one of them is obviously descending hanging from a thread to the centre of the image. The spider descends; but it counts not just because it is going down. Pasztory gives us another intelligent association: the spider is related to dust and drought. The forces that ascend and descend in the tree are related to the agricultural cycle.

Again we find in this image, both in the character and in the tree, the fight of opposite forces.
The mural of Tamoanchan is still in location nowadays in Tepantitla, as an archaeological site open to visitors. Some parts of the mural are damaged, so the image is not completely visible, but there have been several reconstructions in other locations and documents. For pinksummer. the floor of the exhibition space shows the reconstructed image, which doesn’t exist as a whole, and on the walls, we present a series of paper works printed directly from the floor, depicting the areas that are still visible at the original site.

p: Mexico City rose up on the ashes of Tenochtitlan, the ancient capital of Nahuatl or Aztec empire, in fact the term Aztec is a much later term, coined from the geographer Alexander von Humboldt, in order to distinguish pre-Columbian population from modern Mexicans.

They say that Tenochtitlan was founded on an island in the middle of Texcoco Lake and that was considered a sacred city such as Jerusalem.

We think at Distanza and Menzogna in which your hand casted in porcelain acts as a doorknocker on a mirror, alluding to the gestural impossibility to knock on History, informed by the mirror that can only reflect the present or get broken. Is the map of Tenochtitlan, handed on by Cortés and presented again for the exhibition in Berlin, a secular repercussion of Tamoanchan, the place where pictographic mythopoiesis locates the beginning of time cycle?

M. C .D.: On a previous work exhibited at the Hamburger Bahnhof in Berlin this year, I did the first wooden floor piece based on what is known as the Nürnberg Tenochtitlan map.

In 1521, a letter and two maps arrived in Spain for the Spanish king. This was the second of three letters, which the conquistador Hernán Cortés had sent, describing the Aztec capital Tenochtitlan, which he and his crew had discovered and were close to conquering. The main map was a detailed illustration of this city, and the other map was a sketch of the nearby Mexican gulf coast. The main map seems to reflect the conquistador’s characterization of Tenochtitlan as an enchanted metropolis, a jewel rising up from the centre of an azure lake – an ordered, wealthy civilization, but also a misled society centred upon heathen ritual sacrifice instead of enlightened Christianity.

This depiction of Tenochtitlan served to justify the expensive Spanish colonial efforts not only to King Charles V; the 1524 publication of the map and Latin-translated letter in Nuremburg also sparked the imaginations and support of a large European audience. This map was the first and most widespread image which Europeans had of Tenochtitlan and remains one of the few maps we have of the pre-colonial Aztec empire.

Some archaeologists now believe that this map was the result of many copies on the way from Mexico through Spain to Nuremberg, and they also believe that the original map was drawn by an indigenous artist, after all. The portrayal of rows of houses and the island capital in the center of a circular lake is not only to be found in the European mapping tradition, but also in the Aztec one. The map also shows details that were not mentioned in Cortés letters and which draw Aztec historical and religious references which were not understood by Europeans during that time.

p: You have always had a curious relationship, tainted with the ironic twist of the paradox, with the episteme and the rigorous dogma that tends to qualify the judgment and to confirm its validity through the method. Now you take us into the luxurious and mythopoeic topography of Tamoanchan by showing us the cosmetic ordering potential of the sacred, opposed by nature to the chaos and the circumstances of becoming. Here the opaque machinery of linear progression is replaced by the spinning dynamic of the cycle. In the cosmogony of Tamoanchan, the art of the divination appears nearly possible, as if the outburst of nature and its forms was permeated by intelligibility, like if the absurd could had a law. The Florentine code conserved at Laurentian library recalls the symbolic etimology of Tamoanchan and the meaning “to get home”. Is it inappropriate to understand this attitude of getting home as a scatological perspective immanent in Mother Nature? What is your relationship with the sacred and the magical?

M. C .D.: Tamoanchan is the axis of the cosmos and the assembly of cosmic trees. It is where the sin happened. The gods put together opposite substances, originated sex, and with it the creation of another space, other beings, another time: the human time. By their sinful action, the gods where punished: exiled into the world of the death and to the surface of the earth. The gods started a new way of existence: transformed, originated the beings of this world; but they were already infected with death, a consequence of sex. Their existence would be limited in time, limited in space, limited in their perceptions. They would have in exchange the possibility to reproduce themselves.

p: All your work is traversed by the need to actualize the abstraction, to give a physical presence to the thought. Your work refers to the concept of translation, which involves the idea of passing, leading beyond and implies the idea of the route, of travelling. When you embark on a journey, we leave something behind and find something new, something else. Translate, in its original meaning of taking beyond, also refers to the verb betray even understood as to deliver, to transmit. Why did you give us these transmitted/betrayed maps to walk on?

M. C .D.: Sometimes I use the term ‘possession’, referring to the way I deal with appropriation, embedding myself into diverse working methods and trying to follow them. Sometimes it can be a formal experiment, like when I try to replicate the Scagliola technique. Sometimes it’s a more intellectual or narrative approach, where I try to catch a certain way of describing things, or the way they study them or look at them. I try to catch the different points of view and the different ways of relating to the world. This always starts with a very specific question, in the case of the exhibition at pinksummer, it’s a question about how an object survives beyond itself; it’s not just the thing in itself, but it’s also the ghosts and the replicas that this object creates. So then I concentrate on this question and I see how different people have approached this object from their different points of view. Maybe it’s an exercise in concentration. I think it’s also about retrieving myself from what I think is right, or real, or correct. I adopt the position of the object and follow its path.

This question makes me think again about the historian Carlo Ginzburg. One of his working methods is called estrangement – he uses estrangement as a tool. He tries to retrieve himself, to imagine he’s a horse or a rabbit, in order to understand something more clearly. If I think about that in relation to my approach to Mexico it could also apply, because when you’re dealing with your own cultural identity you can be tagged so easily; you could say ‘I’m a Mexican woman artist’, or ‘I’m a Mexican woman artist who doesn’t live in Mexico but is making work about Mexico’. There are so many things that I could be trapped by, so I always try to be careful to escape from these preconceptions. The cultural identity of Mexico is so strong and has so many layers, so I think that I’m like a chess player: I’m always trying to change my position.

Pinksummer Palazzo Ducale-Cortile Maggiore Piazza Matteotti 28r 16123 Genova Italy

Andrea Lissoni alla Tate Modern

Andrea Lissoni, attualmente curatore all'Hangar Bicocca della Pirelli,  è stato scelto per il ruolo di curatore del settore cinema internazionale alla Tate Modern di Londra, una bella notizia per la realtà culturale italiana. 

Armory Show e Frieze NY

L'anno sta per finire e le due più note fiere newyorchesi hanno già avviato la fase di promozione, primo step la lista delle gallerie partecipanti, 

Armory Show, che si svolgerà dal 6 al 9 Marzo con la preview il 5, al Piers 92 e 94


1301PE, Los Angeles
ACME., Los Angeles
Andersen’s Contemporary, Copenhagen
Andréhn?Schiptjenko, Stockholm
Baró Galeria, Sao Paulo
Galleri Bo Bjerggaard, Copenhagen
Blain | Southern, London, Berlin
Peter Blum Gallery, New York
Marianne Boesky Gallery, New York
Galleri Brandstrup, Oslo
Luciana Brito Galeria, Sao Paulo
Cardi Black Box, Milan
Silvia Cintra + Box 4, Rio de Janeiro
James Cohan Gallery, New York, Shanghai
GALLERIA CONTINUA, San Gimignano, Beijing, Le Moulin
Pilar Corrias, London
CRG Gallery, New York
Galerie Crone, Berlin
Crown Point Press, San Francisco
Galleria Monica De Cardenas, Milan, Zuoz
Massimo De Carlo, Milan, London
Dirimart, Istanbul
Eleven Rivington, New York
Ronald Feldman Fine Arts, New York
Zach Feuer Gallery, New York
Galerie Forsblom, Helsinki
Honor Fraser, Los Angeles
Fredericks & Freiser, New York
Gavlak Gallery, Palm Beach
Galerie Laurent Godin, Paris
Galería Elvira González, Madrid
Howard Greenberg Gallery, New York
Christopher Grimes Gallery, Santa Monica
Grimm Gallery, Amsterdam
Kavi Gupta CHICAGO | BERLIN, Chicago, Berlin
Hales Gallery, London
Häusler Contemporary Munich | Zurich, Munich, Zurich
Leila Heller Gallery, New York
Edwynn Houk Gallery, New York, Zurich
i8 Gallery, Reykjavik
Ibid, London
Ingleby Gallery, Edinburgh
Alison Jacques Gallery, London
Galerie Rodolphe Janssen, Brussels
JGM. Galerie, Paris
Kalfayan Galleries, Athens, Thessaloniki
Sean Kelly, New York
Kerlin Gallery, Dublin
Galerie Peter Kilchmann, Zurich
Tina Kim Gallery, New York
Christine Koenig Galerie, Vienna
Koenig & Clinton, New York
Michael Kohn Gallery, Los Angeles
Kukje Gallery, Seoul
Galerie Gebr. Lehmann, Dresden, Berlin
Lehmann Maupin, New York, Hong Kong
Josh Lilley Gallery, London
Lisson Gallery, London, New York, Milan
Loock Galerie, Berlin
Mai 36 Galerie, Zurich
Galerie Ron Mandos, Amsterdam
Yossi Milo Gallery, New York
Victoria Miro, London
moniquemeloche, Chicago
mother’s tankstation, Dublin
Galerie nächst St. Stephan Rosemarie Schwarzwälder, Vienna
Carolina Nitsch, New York
Galerie Nathalie Obadia, Paris, Brussels
October Gallery, London
ONE AND J. Gallery, Seoul
Parkett Editions, New York
PI ARTWORKS Istanbul?London, Istanbul, London
Pierogi, Brooklyn
Postmasters Gallery, New York
P.P.O.W., New York
Galerie Eva Presenhuber, Zurich
Produzentengalerie Hamburg, Hamburg
Ratio 3, San Francisco
Almine Rech Gallery, Paris, Brussels
Galerie Michel Rein, Paris, Brussels
Yancey Richardson Gallery, New York
Roberts & Tilton, Culver City
Galeria Nara Roesler, Sao Paulo
Galerie Thaddaeus Ropac, Paris, Salzburg
Galleria Lia Rumma, Milan, Naples
Aurel Scheibler, Berlin
Galerie Thomas Schulte, Berlin
Jack Shainman Gallery, New York
Sicardi Gallery, Houston
Sies + Höke, Dusseldorf
Sikkema Jenkins & Co., New York
Bruce Silverstein, New York
SKOPIA / P.?H. Jaccaud, Geneva
Fredric Snitzer Gallery, Miami
Galeria Filomena Soares, Lisbon
Sprüth Magers Berlin London, Berlin, London
Galerie Daniel Templon, Paris, Brussels
Tilton Gallery, New York
Two Palms, New York
Upstream Gallery, Amsterdam
Vadehra Art Gallery, New Delhi
Valentin, Paris
Tim Van Laere Gallery, Antwerp
Galerie Bob van Orsouw, Zurich
Susanne Vielmetter Los Angeles Projects, Culver City
Max Wigram Gallery, London
Bryce Wolkowitz Gallery, New York
David Zwirner, New York, London
AMBACH & RICE, Los Angeles: Grant Barnhart and Jeffry Mitchell
Ancient & Modern, London: Jan Pleitner
Edel Assanti, London: Alex Hoda and Andrew Sutherland
Athr Gallery, Jeddah: Ahmed Mater and Nasser Al Salem
BolteLang, Zurich: Thomas Raat
C L E A R I N G, Brooklyn: Harald Ankart
James Fuentes, New York: Jessica Dickinson
Higher Pictures, New York: Travess Smalley
Galerie Andreas Huber, Vienna: Rita Sobral Campos
INVISIBLE?EXPORTS, New York: Scott Treleaven
M+B, Los Angeles: Dwyer Kilcollin
Galerie Max Mayer, Dusseldorf: Klaus Merkel and Nicolás Guagnini
Ani Molnár Gallery, Budapest: Dénes Farkas
mor.charpentier, Paris: Maria Jose Arjona and Teresa Margolles
ROTWAND, Zurich: Klodin Erb
Jessica Silverman Gallery, San Francisco: Hayal Pozanti
Figge von Rosen Galerie, Dusseldorf, Berlin: Jose Dávila and Ignacio Uriarte
10 Chancery Lane Gallery, Hong Kong: Huang Rui and Wang Keping
Aike Dellarco, Shanghai: Li Shurui and Chen Jie
Aye Gallery, Beijing: Ji Dachun, and Chen Yufan
Beijing Commune, Beijing: Zhao Yao
Chambers Fine Art, Beijing, New York: Zhao Zhao
Gallery EXIT, Hong Kong: Nadim Abbas
Ink Studio, Beijing: Chen Haiyan
Krinzinger, Vienna / ShanghART, Shanghai, Beijing, Singapore: Zhang Ding
Madein, Shanghai: Lu Pingyuan
Pékin Fine Arts, Beijing: Chen Shaoxiong, Wang Luyan, and Zhao Liang
Platform China Contemporary Art Institute, Beijing, Hong Kong: “Dongbei Salon” (Bi Jianye, Jia Aili, Ma Ke, Qin Qi, Song Yuanyuan, and Zhang Yexing)
Space Station, Beijing: Double Fly Art Center
Tang Contemporary Art, Beijing: Xu Qu and Wang Yuyang
Tianrenheyi Art Center, Hangzhou: Jin Feng, Qiu Zhijie, Xu Zhen, and Yuan Gong
White Space, Beijing: He Xiangyu
Gallery Yang, Beijing: Liang Shuo


Aicon Gallery, New York
Galeria Raquel Arnaud, Sao Paulo
Galleria d’Arte Maggiore G.A.M., Bologna
James Barron Art, LLC, Rome
Armand Bartos Fine Art, New York
Galerie Bergamin, Sao Paulo
Jonathan Boos, LLC, New York, Bloomfield Village
Simon Capstick-Dale Fine Art, New York
Valerie Carberry Gallery, Chicago
Alan Cristea Gallery, London
Danese, New York
Maxwell Davidson Gallery, New York
Cecilia de Torres, Ltd., New York
DIE GALERIE, Frankfurt/ Main
Galeria Marc Domenech, Barcelona
Andrew Edlin Gallery, New York
Elrick-Manley Fine Art, New York 
Fleisher/Ollman, Philadelphia
Forum Gallery, New York
James Goodman Gallery, New York
HackelBury Fine Art, London
Hackett | Mill, San Francisco
Carl Hammer Gallery, Chicago
Hackett | Mill, San Francisco
Carl Hammer Gallery, Chicago
Hill Gallery, Birmingham
Hirschl & Adler Modern, New York
Hollis Taggart Galleries, New York
Vivian Horan Fine Art, New York
Crane Kalman Gallery, London
David Klein Gallery, Birmingham
Robert Klein Gallery, Boston
Alan Koppel Gallery, Chicago
Kunsthandel Joerg Maass, Berlin
Marlborough Gallery, New York
Mayoral Galeria d’Art, Barcelona
Mazzoleni Galleria d’Arte, Turin
McCormick Gallery, Chicago
Jerald Melberg Gallery, Charlotte
Moeller Fine Art New York, New York, Berlin
DC Moore Gallery, New York
Pace Prints, New York
Gerald Peters Gallery, New York, Santa Fe
REPETTO, Acqui Terme 
Ricco/Maresca Gallery, New York
Michael Rosenfeld Gallery, New York
Marc Selwyn Fine Art, Los Angeles
Senior & Shopmaker Gallery, New York
Susan Sheehan Gallery, New York
Sims Reed Gallery, London
Louis Stern Fine Arts, West Hollywood
Allan Stone Projects, New York
John Szoke, New York
Galerie Thomas Modern, Munich
Leon Tovar Gallery, New York
Vincent Vallarino Fine Art, New York
Meredith Ward Fine Art, New York
Wetterling Gallery, Stockholm
Whitestone Gallery, Tokyo
Amy Wolf Fine Art, New York


Frieze NY, che si svolgerà sempre sull’isolotto Randall dal 9 al 12 Maggio


303 Gallery, New York
Miguel Abreu Gallery, New York
Air de Paris, Paris
Altman Siegel, San Francisco
The Approach, London
Arratia Beer, Berlin
Art : Concept, Paris
Alfonso Artiaco, Naples
Laura Bartlett Gallery, London
Galeria Elba Benitez, Madrid
Peter Blum Gallery, New York
Boers-Li Gallery, Beijing
Marianne Boesky Gallery, New York
Tanya Bonakdar Gallery, New York
Bortolami, New York
The Box, Los Angeles
The Breeder, Athens
Broadway 1602, New York
Gavin Brown’s enterprise, New York
Galerie Buchholz, Cologne
Shane Campbell Gallery, Chicago
Canada, New York
Galerie Gisela Capitain, Cologne
carlier | gebauer, Berlin
Casa Tria?ngulo, Sa?o Paulo
Cheim & Read, New York
James Cohan Gallery, New York
Sadie Coles HQ, London
Galleria Continua, San Gimignano
Pilar Corrias, London
CRG Gallery, New York
Galerie Chantal Crousel, Paris
Massimo De Carlo, Milan
Elizabeth Dee, New York
de?pendance, Brussels
Dvir Gallery, Tel Aviv
Galerie Eigen + Art, Berlin
Galerie Frank Elbaz, Paris
Derek Eller Gallery, New York
Foksal Gallery Foundation, Warsaw
Galeria Fortes Vilac?a, Sa?o Paulo
Marc Foxx Gallery, Los Angeles
Fredericks & Freiser, New York
Carl Freedman Gallery, London
Stephen Friedman Gallery, London
Frith Street Gallery, London
Gagosian Gallery, New York
gb agency, Paris
A Gentil Carioca, Rio de Janeiro
Gladstone Gallery, New York
Goodman Gallery, Johannesburg
Marian Goodman Gallery, New York
Alexander Gray Associates, New York
Greene Naftali, New York
greengrassi, London
Galerie Karin Guenther, Hamburg
Jack Hanley Gallery, New York
Hauser & Wirth, New York
Herald St, London
Xavier Huf kens, Brussels
Gallery Hyundai, Seoul
In Situ – Fabienne Leclerc, Paris
Taka Ishii Gallery, Tokyo
Alison Jacques Gallery, London
Galerie Martin Janda, Vienna
Rodolphe Janssen, Brussels
Catriona Jeffries, Vancouver
Kadel Willborn, Du?sseldorf
Casey Kaplan, New York
Galleri Magnus Karlsson, Stockholm
Karma International, Zurich
Paul Kasmin Gallery, New York
Sean Kelly Gallery, New York
Anton Kern Gallery, New York
Tina Kim Gallery, New York
Johann Ko?nig, Berlin
David Kordansky Gallery, Los Angeles
Andrew Kreps Gallery, New York
Galerie Krinzinger, Vienna
Kukje Gallery, Seoul
kurimanzutto, Mexico City
Yvon Lambert, Paris
Lehmann Maupin, New York
Galerie Lelong, New York
Lisson Gallery, London
Long March Space, Beijing
Luhring Augustine, New York
McCaffrey Fine Art, New York
Galerie Greta Meert, Brussels
Mendes Wood DM, Sa?o Paulo
galerie kamel mennour, Paris
Massimo Minini, Brescia
Victoria Miro, London
Mitchell-Innes & Nash, New York
Stuart Shave/Modern Art, London
The Modern Institute, Glasgow
Taro Nasu, Tokyo
Galleria Lorcan O’Neill, Rome
Overduin & Co., Los Angeles
P.P.O.W, New York
Maureen Paley, London
Galerie Perrotin, New York
Galerie Francesca Pia, Zurich
Galeria Plan B, Berlin
Galerija Gregor Podnar, Berlin
Galerie Praz-Delavallade, Paris
Simon Preston Gallery, New York
Project 88, Mumbai
ProjecteSD, Barcelona
Rampa, Istanbul
Almine Rech Gallery, Brussels
Regen Projects, Los Angeles
Galerie Thaddaeus Ropac, Paris
Andrea Rosen Gallery, New York
Salon 94, New York
Esther Schipper, Berlin
Galerie Thomas Schulte, Berlin
Sfeir-Semler, Beirut
Jack Shainman Gallery, New York
Sies + Ho?ke, Du?sseldorf
Sikkema Jenkins & Co., New York
Sommer Contemporary Art, Tel Aviv
Spru?th Magers Berlin London, Berlin
Standard (Oslo), Oslo
Stevenson, Cape Town
T293, Rome
Timothy Taylor Gallery, London
team (gallery, inc.), New York
Richard Telles, Los Angeles
The Third Line, Dubai
Vermelho, Sa?o Paulo
Susanne Vielmetter Los Angeles Projects, Los Angeles
Galleri Nicolai Wallner, Copenhagen
Wallspace, New York
Galerie Barbara Weiss, Berlin
White Cube, London
Wien Lukatsch, Berlin
Wilkinson, London
Galerie Jocelyn Wolff, Paris
Zeno X Gallery, Antwerp
David Zwirner, New York


47 Canal, New York
Ancient & Modern, London
Johan Berggren Gallery, Malmo?
Jessica Bradley Gallery, Toronto
Brennan & Griffin, New York
Galeria Casas Riegner, Bogota?
Lisa Cooley, New York
Croy Nielsen, Berlin
espaivisor, Valencia
Freymond-Guth Fine Arts, Zurich
Galerie Cinzia Friedlaender, Berlin
James Fuentes, New York
Franc?ois Ghebaly Gallery, Los Angeles
Grimm Gallery, Amsterdam
Galerie Andreas Huber, Vienna
Ivan Gallery, Bucharest
Le Guern Gallery, Warsaw
Tanya Leighton, Berlin
Kate MacGarry, London
Mor Charpentier, Paris
MOT International, London
Night Gallery, Los Angeles
NoguerasBlanchard, Barcelona
Ramiken Crucible, New York
Raster, Warsaw
Ratio 3, San Francisco
Jessica Silverman Gallery, San Francisco
Socie?te?, Berlin
Take Ninagawa, Tokyo
Untitled, New York
Vistamare, Pescara


Christian Andersen, Copenhagen: Lina Viste Grønli
Bureau, New York: Lionel Maunz
Carlos/Ishikawa, London: Richard Sides
Clages, Cologne: Claus Richter
Laurel Gitlen, New York: Allyson Vieira
Dan Gunn, Berlin: Adria? Julia?
Kendall Koppe, Glasgow: Ella Kruglyanskaya
Kraupa-Tuskany Zeidler, Berlin: Avery Singer
Galeria Jaqueline Martins, Sa?o Paulo: Regina Vater
Misako & Rosen, Tokyo: Kazuyuki Takezaki
NON, Istanbul: Meric? Algu?n Ringborg
Proyectos Monclova, Mexico City: Jose? Leo?n Cerrillo
PSM, Berlin: Ariel Reichman
Real Fine Arts, New York: Lena Henke
Barbara Seiler, Zurich: Shana Lutker
Gregor Staiger, Zurich: Vittorio Brodmann
Simone Subal Gallery, New York: Florian Meisenberg
Sultana, Paris: Bettina Samson
Tempo Rubato, Tel Aviv: Joav BarEl
Leo Xu Projects, Shanghai: Guo Hongwei