Then at one point? I thought about her.

Yesterday i saw Massimo Bartolini’s “Revolutionary Monk”. His works often sensual, induce in the viewer a meditative state that is still highly experiential, making us reflect on the relativity of what is stable and unchangeable (courtesy Massimo De Carlo, Frith Street). And then i couldn’t stop thinking about “Then at one point?” of a young photographer, Martina Alemani, based in Milan, that recently asked me to pose for her. Can’t you see the similarities?

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What I saw today: Fondazione Pomodoro

I’m in Milan and this morning i saw an exhibition about the last trends in Italian sculpture, 80 artists, among them Beecroft – courtesy Massimo Minini, Cattaneo – courtesy Suzy Shammah, Cattelan – courtesy Massimo De Carlo, Cecchini – courtesy galleria Continua, Galtarossa – courtesy Studio La Città, Paci – courtesy Francesca Kaufmann, Perrone – courtesy Massimo De Carlo, but also Previdi – courtesy Francesca Minini, Sissi – courtesy Collegio Venturoli, and many others.

Wonderful display, light and building. Vibrant dialogue among the artworks.

La scultura italiana del XXI secolo

20-10-2010 / 14-02-2011

http://www.fondazionearnaldopomodoro.it/

Lutz Mommartz – KW Berlin

It was only 2008 when KW Berlin produced the exhibition MOMMARTZFILM DREHARBEIT. In 1967 Lutz Mommartz submitted his first four 16 mm movies at the legendary festival of experimental film in Knokke-le-Zoute, where his works attracted a great deal of attention. All four were accepted, three were screened in the competition, and his filmSelbstschüsse (Self Shots) was awarded the internationally recognized festival prize. Mommartz was a pioneer of the German cinema of his day, which came to be known as “the other cinema”. From 1978 to 1999 he was professor for film at the Münster Academy of Fine Arts. The poet, writer, and moviemaker today lives and works in Düsseldorf and Berlin.

But the movie i prefer is without doubt Fokus, not exhibited at KW.

Lutz Mommartz makes films that above all draw on an experimental initial situation. When filming he always enters into a certain constellation, sets himself a task, or concentrates on a specific idea. Despite the striking simplicity of his settings and his playful handling of the camera, his movies are complex, funny, and deeply moving.

http://www.kw-berlin.de/

Selected by Ingrid Melano

The butterfly Abigail Reynolds

If i could only own one artwork, now i would probably buy something from Abigail Reynolds. But let’s start the tale from the beginning..Once upon a time in London a smart student was attending Goldsmiths College, she was creating beautiful carved pictures taken from England and Finland and, while she was studying, some English galleries were already exhibiting her works. Than talent scouts from powerful galleries came: Serpentine gallery made the exhibition Neveroddoreven, Seventeen gallery made the exhibitions Hollywood Wonderland and Strange Attractor, and Guggenheim gallery at Chapman University made the exhibition Altered Appropriations and rien ne va plus! She was already famous.

But look carefully, her works are just too appealing! You cannot avoid to stop in front of them! And i personally experienced that when i was working in Artissima, collectors and curators were asking and asking about her, crazy for her precious research work. Now some of her works are at Kunstagenten gallery, Berlin, in the exhibition Creative Destruction, so try to catch her if you can..she’s flying so high!

Selected by Ingrid Melano

The artist: Mario Merz

Talking again about Turin, Fondazione Merz presents the works that Mario Merz created for the 1999 exhibition “Che cos’è una casa?- What is a house?”, which was originally held at the Porto’s Fundação de Serralves under the curatorship of Vicente Todolí. The current exhibition delves into the Italian artist’s ability to vary his work and shape a show that constantly relates to the architecture of the place hosting it. As Mariano Boggia — president of the Fondazione — recalls, Mario Merz used to study the exhibition venues to understand the spatial relationships within the architecture of a particular site, so that he could anticipate the extent of his artistic act and then select the works to be exhibited accordingly. The show at the Serralves became an exemplary demonstration of his particular “work method”.

From December 2, 2010 to March 6, 2011

fondazionemerz.org

Selected by Ingrid Melano