‘Shape of time’
Poldi Pezzoli Museum
May 13–September 27
After 18 months when time seems to have been stretched and distorted by the COVID-19 pandemic, Museo Poldi Pezzoli’s wunderkammer-like exhibition reminds us that the passing of hours, days and years has been the source of our obsession with math, philosophy and art since the dawn of time. of human consciousness We represent what we experience but do not see. And what does to all things – live and not? A set of 17th-century Italian night clocks made by the Campani brothers for Pope Alexander VII, with a dial embedded in a miniature baroque.ue The painting combines numerical and allegorical answers to this question, while the ornately illuminated Book of Hours demarcates the different ritual rhythms. Elsewhere, inscribes Titian, bizarre, illusory. parable of prudence (1565–70) – on loan from the National Gallery in London – reminds us to learn from yesterday and act prudently today so as not to waste tomorrow. wise words forever
contemporary art pavilion
16 February–17 September
‘Autorittrato’ (Self-Portrait), Luisa Lambri’s first large-scale solo performance in Italy, pays homage to art critic Carla Lonzi, best known for her experimental text of the same name. Published in 1969, Lonzi’s portrait It is a montage of interviews with leading Italian artists of the 1960s, which captures outstanding narratives about art creation, criticism and the role of women in both. Likewise, Lambri is best known for her architectural photography. Transform or transform the artwork and structures she photographs. Her images, which are often confined and have hard edges, such as sculptures by Donald. Judd and Lykia Clark, or striking modern buildings. less representative than reminiscent By capturing details that indicate light, volume, air movement: how? feel To be in the area, besides Lonzi, another form of homage is immediately visible: visible outside Ignazio Gardella’s rational pavilion, a series of photographs displayed in a glass “stand”. and concrete designed by Lina Bo Bardi for the Museu de arte de Sao Paulo in 1968.
14 September–31 October
This new commercial gallery opens in the heart of Milan (founded by the fourth-generation family of art dealer Massimiliano Lorenzelli with Pier Francesco Petracchi), Francesco Snote’s solo show ‘Sulle colazioni e sulle imboscate’ (On Breakfasts and Ambushes) is haunted by the body of Lazarus. Rise from the dead in the early miracles of Christ, beside one wall. A small series of paintings reminiscent of historical reference art from Edvard Munch’s. scream (1893) From Giorgio de Chirico’s metaphysical plaza to Piero della Francesca’s frescoes in a series of surreal dreamlike scenes that seem to take place in the dark, remote suburbs between waking and sleeping. The life-size ceramic figurines occupying the space are even more terrifying. But equally witty, like a visitor who stays too long (maybe half drunk) after the launch. Are they ambushing us or are we ambushing them? I don’t know, but they seem bored. Someone asked Lazarus if he wanted to rise from the dead. They look awkward have a real body But still not all of them are there.
Armando Andrade Tudela and Daniel Steegmann Mangrané
14 September–6 November
‘Voler leggere la schiuma’ (To Want to Read Foam), two exhibitions titled poems by longtime friends. Try to capture patterns that are often close to us. Divide the space with two aluminum mesh-like curtains (Steegmann Mangrané’s the and the, All 2021 works, which are punched in cutout patterns that can be frozen and immobile like an island drawn on a map or fleeting like a puddle after rain on a warm day. Between them hang Tudela’s. Skin of Thin Nut #1–3 – Stainless steel ribbons refer to the most fragile layers. It is between the layer between the seed and the shell. Like many of the works on this list They trace the pattern while being abstract: something (by design) is lost in the process. which makes the exhibition a little gloomy Mangane’s Geometry / Biology Nature (2021) in which the nest is scattered with three black bungee cords hanging Anchors nature and man-made with literal tension. now they are balanced But how long?
7 September–10 October
The assembly of Danh Vo’s sculptures was formed from scattered fragments. It looks quirky at home in a limited but substantially luxurious Piero Portaluppi-designed space. (Apartment built in the 1930s with no less than 15 types of marble) in the artist’s first solo show in Italy. unnamed stone sculpture Sitting on a simple wooden plinth, it seems – despite its apparent weight and durability – gracefully and improbably permanent: just rest for a moment. (Perhaps there is a light nod to arte povera here too.) New for the exhibition is a series of photographs of the yet-to-be-titled flowers from the artist’s studio complex Güldenhof and Smallhold in the countryside outside of Berlin, where Vo has. involved In a long-term project of re-engaging with nature With their simple, clear and almost uninteresting beauties – in keeping with the great traditions of botanical documents stretching back centuries – they felt like they had left the austere sculpture. Perhaps that’s why I find it so intriguing: it reminds me of Voltaire’s deeply obscure last line. Candid (1759), where political critiques seem to retreat momentarily to the bourgeoisie self-interest: ‘We must cultivate our gardens’.
Head of Image: Francesco Snote, ‘Sulle colazioni e sulle imboscate (On Breakfasts and Ambushes)’, 2021, exhibition view. Courtesy: Artist and LUPO, Milan.