AQNB’s Milan correspondent, Dario Moalli, spent last week’s MiArt, running March 30 to April 2, exploring the works, artists and galleries on show both at the main fair and on the peripheries, while uploading them to our Instagram account. Here is his brief summary of some of the highlights, including the ‘Emergent’ section at MiArt, The White Hunter group at FM Centre for Contemporary Art, Outer Space at FuturDome, and Antoine Renard + Libby Rothfeld’s 1999 at Marsèlleria Permanent Exhibition.
After changing artistic directors, from Vincenzo de Bellis to Alessandro Rabottini, MiArt has continued to build on its strengths as an art fair. In addition to the usual section of ‘Established’ galleries and artist, new sections have popped up, including ‘Generations,’ one where each booth is shared by two different galleries presenting a dialogue between works by two artists from different eras, including the most successful pairing of Giorgio de Chirico of Galleria Tega and John Stezaker of The Approach.
‘On Demand’ was a cross-section with a brand new concept, encouraging galleries to exhibit context-based art. In this case the artists with the most original project were Massimo Grimaldi of Galleria Zero… and Nathalie Du Pasquier of Apalazzo Gallery. However, the most interesting area, as well as the smallest was ‘Emergent.’ A section for young galleries with no more than five years experience at the moment of registration, whose programming focuses on the more recent generations. Here, Milan’s Clima, Paris’ Pact, Berlin’s House of Egorn, and London’s Emalin stood out with some of the more original and talented artists.
Meanwhile, outside of MiArt there were several openings, which were less mainstream but more dynamic:
Hosted in a building located just east of the center of Milan, Outer Space was composed of 10 mini-exhibitions curated by a number of Italian project spaces founded after 2013, including Turin and London’s Almanac, Milan’s TILE and Current, Turin’s Treti Galaxie, Pescara’s Ultrastudio, and more. Each was asked to interpret FuturDome’s experimental and dialogic dimensions, composing a different site-specific show expressing their individual statements. Presented by some of the most exciting young spaces, the various artists’ points of view arise and flow through unexpected relationships between each other’s exhibitions.
The White Hunter deconstructs African history as seen from a western point of view. The exhibition is divided into five sections, of two key thematic parts, before and after an African art emancipation. The first, presents the stereotype of African authenticity, Italian colonialism and African art as seen through the Imperialist lens throughout the 2oth century. The second, is an insights into its the complex contemporary climate in all its forms, facets and themes around ideas of identity, diaspora and war.
Produced by the second Siliqoon Lab, Antoine Renard and Libby Rothfeld’s 1999 presents works influenced by medieval spirit of Bologna, where the two artists were hosted by hosted by MAMbo at Sandra Natali Residence and Raum in September last year. It takes the characteristic architectures and artworks of the Italian city, composed of stained-glass windows with images of David Bowie, a sanctuary, some metal structures with human body moulds scattered across the space and a robot that writes texts for Middle Ages with a red liquid on a glass and infinite prayers and curses. **
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