Critic's Guide: Milan

A round-up of the best shows and events on in the city this week

Performances and Events

albergo_diurno_milan._photograph_c_francesco_arena

Albergo Diurno, Milan. Photograph: © Francesco Arena

Albergo Diurno, Milan. Photograph: © Francesco Arena

Sarah Lucas, 'INNAMEMORABILIAMUMBUM'
Albergo Diurno, Piazza Oberdan
8, 9, 10 April

With a dozen new sculptures, a concert and the screening of a group of films, Sarah Lucas takes over the finally reopened Albergo Diurno, a stunning and neglected underground public bath designed by Piero Portaluppi in the early 1920s. Curated by Vincenzo de Bellis and Massimiliano Gioni, the show is a joint venture between miart and Fondazione Trussardi. (Booking essential.)

teatro_continuo_burri_sempione_park_milan

Teatro Continuo Burri, Sempione Park, Milan

Teatro Continuo Burri, Sempione Park, Milan

'Stage as a social platform'
Teatro Continuo Burri, Parco Sempione
9 – 10 April

For two days (at 3pm and 4.30pm), a series of participatory performances by Jérôme Bel, Alexis Blake, Luigi Coppola and Christian Nyampeta will occupy the open-air stage of Teatro Continuo – a 1973 architectural project by artist Alberto Burri which was rebuilt last year in Milan’s central park. Curated by Simone Frangi, Tommaso Sacchi and Gabi Scardi. 

anna_franceschini_discolite_2016_documentation_of_performance_by_laura_pante._photograph_alessandro_di_giampietro

Anna Franceschini, DISCOLITE, 2016, documentation of performance by Laura Pante. Photograph: Alessandro Di Giampietro

Anna Franceschini, DISCOLITE, 2016, documentation of performance by Laura Pante. Photograph: Alessandro Di Giampietro

'People in a building without the building'
ex Guarmet, via Col Moschin no. 8
8 – 9 April

Starting on Friday at 8pm, this former jewellery factory in the Navigli area will play host to a 24-hours programme of performances and interventions by around 30 artists (among others, Alterazioni Video, Giorgio Andreotta Calò, Lupo Borgonovo, Beatrice Catanzaro, Anna Franceschini, Marcos Lutyens, Jacopo Miliani and Davide Savorani). Bound to be fun, loud and crowded.

Exhibitions

carsten_holler_doubt_2016_exhibition_view

Carsten Höller, 'Doubt', 2016, exhibition view

Carsten Höller, 'Doubt', 2016, exhibition view

Carsten Höller, 'Doubt'
Pirelli HangarBicocca
7 April – 31 July

Curated by Vicente Todolí, the cavernous spaces of HangarBicocca host more than 20 works, both old and new, installed along two twin paths. Visitors have the choice of which to follow, along Decision Corridors (2015). Expect flying mushrooms, optical hallucinations, and revolving carousels.

goshka_macuga_to_the_son_of_man_who_ate_the_scroll_2016_android_plastic_coat_handmade_shoes_shoe_one_expandable_foam_shoe_two_cardboard_linen._courtesy_fondazione_prada_photograph_delfino_sisto_legnani_studio

Goshka Macuga, To the Son of Man Who Ate the Scroll, 2016, android, plastic coat, handmade shoes (shoe one: expandable foam; shoe two: cardboard, linen). Courtesy Fondazione Prada; photograph: Delfino Sisto Legnani Studio

Goshka Macuga, To the Son of Man Who Ate the Scroll, 2016, android, plastic coat, handmade shoes (shoe one: expandable foam; shoe two: cardboard, linen). Courtesy Fondazione Prada; photograph: Delfino Sisto Legnani Studio

Goshka Macuga, To the Son of Man Who Ate The Scroll', and ‘L’Image Volée’
Fondazione Prada
4 February – 19 June; 18 March – 28 August

The new Fondazione Prada (which staged another memorable Höller solo, back in 2000), boasts two conceptually refined artist-curated exhibitions: Goshka Macuga’s ‘To the Son of Man Who Ate The Scroll’, scans our notion of history and future with the help of handsome androids and sketching robots, and Thomas Demand’s ‘L’Image Volée’ (with architecture design by Manfred Pernice) is a vast survey on artistic ‘appropriation’ and ‘stolen images’, from 1820 to today – via Sturtevant’s Duchamp Man Ray Portrait (1966) and Trevor Paglen’s photographs of undersea internet cables.

studio_azzuro_coro_choir_1995_sensitive_environment._courtesy_palazzo_reale_milan_c_studio_azzurro

Studio Azzuro, Coro (Choir), 1995, sensitive environment. Courtesy Palazzo Reale, Milan © Studio Azzurro

Studio Azzuro, Coro (Choir), 1995, sensitive environment. Courtesy Palazzo Reale, Milan © Studio Azzurro

Studio Azzurro
Palazzo Reale
6 April – 4 September

Most visitors of Palazzo Reale will head to ‘Boccioni. Genius and Memory’, the expansive exhibition which celebrates the centennial of the death of this father of Futurism – a movement born in Paris, but undisputedly raised in Milan. At the same location, ‘Immagini Sensibili’ (Sensible Images) is the retrospective of Milan-based Studio Azzurro, one of the few Italian artist collectives to have operated consistently with video, cinema, new media, hi-tech and immersive installations – touch screens and liquid video walls – since its founding in 1982.

luciano_fabro_2016_exhibition_view_at_christian_stein_gallery._courtesy_archivio_luciano_and_carla_fabro_and_galleria_christian_stein_milan_photograph_agostino_osio

'Luciano Fabro', 2016, exhibition view at Christian Stein Gallery. Courtesy Archivio Luciano and Carla Fabro and Galleria Christian Stein, Milan; photograph: Agostino Osio

'Luciano Fabro', 2016, exhibition view at Christian Stein Gallery. Courtesy Archivio Luciano and Carla Fabro and Galleria Christian Stein, Milan; photograph: Agostino Osio

Luciano Fabro
Galleria Christian Stein
28 October 2015 – 10 April 2016

Luciano Fabro (1936–2007) was the only Arte Povera founder who lived in Milan, where he taught at Brera academy and animated the off-space Casa degli Artisti. For those who missed his retrospective at Reina Sofía last year, this exhibition (organized in collaboration with the Luciano e Carla Fabro Archive) is an excellent alternative. The gallery’s historical venue in the city centre hosts a reconstruction of Fabro’s first solo show at Galleria Vismara in 1965, featuring minimal mirror sculptures, while the ex-storage space in Pero, near the Expo site, presents a selection of monumental works, including Fabro’s famous series of overturned Italie (‘Italys’) and Piedi (Feet).

_linarchiviabile_the_unarchivable_italia_anni_70_2016_exhibition_view

​'L’Inarchiviabile / The Unarchivable: Italia anni ‘70', 2016, exhibition view

'L’Inarchiviabile / The Unarchivable: Italia anni ‘70', 2016, exhibition view

L’Inarchiviabile / The Unarchivable. Italia anni ‘70
FM Centro per l’Arte Contemporanea
8 April – 15 June

Frigoriferi Milanesi is a post-industrial compound next to the old ice rink, home to publishers, design studios and a philosophy school. A new art centre now adds to the lineup, with exhibitions that will focus on private collections, artist residencies and archives. 'The Unarchivable', its opening group show, curated by Marco Scotini and Lorenzo Paini, brings together a selection of works from the crowded Italian art scene of the ’70s, from Alighiero Boetti’s and Luigi Ghirri’s attempts to create personal, nonlinear archives, to the ephemeral gestures of Ketty La Rocca and Gianfranco Baruchello’s ‘leftovers’.

 

paolo_giolo_autoanatomie_self-anatomies_1987_polaroid_on_silk_screen_printing_and_pencil_acrylic_primer_27_x_40_cm._courtesy_the_artist

Paolo Giolo, Autoanatomie (Self-Anatomies), 1987, Polaroid on silk screen printing and pencil acrylic primer, 27 x 40 cm. Courtesy the artist

Paolo Giolo, Autoanatomie (Self-Anatomies), 1987, Polaroid on silk screen printing and pencil acrylic primer, 27 x 40 cm. Courtesy the artist

Paolo Gioli
Peephole
10 April – 28 May

One of Italy’s most interesting, and still largely unknown, artists working with experimental cinema and photography, this show presents a large selection of Paolo Gioli’s works from the '60s to the '90s. Born in 1942 in Rovigo, near Venice, and active since the late ’60s – after a defining trip to New York, where he met Stan Brakhage – Gioli mixed old, new and often DIY image reproduction techniques. Of his pinhole Polaroid prints on paper, silk, or wood, he wrote: ‘I love transferring a material, which is the triumph of immediate consumption […] onto materials which are so noble, so ancient’.

wynne_greenwood_fanta_2016_exhibition_view

Wynne Greenwood, 'Fanta', 2016, exhibition view

Wynne Greenwood, 'Fanta', 2016, exhibition view

Wynne Greenwood
Fanta
2 April – 29 May

Run by young curators Gloria De Risi, Alessio Baldissera and Alberto Zenere, Fanta Spazio opened just a few months ago under one of the railway arches along Viale Monza. Following shows by Lisa Dalfino and Beatrice Marchi, US artist Wynne Greenwood, presents her entire archive of Tracy + the Plastics, the band whose three members were all played by Greenwood using video projectors in the '90s. Re-interpreting and re-filming her performances between 2014 and 2015, the show is fascinating for its retro-dating / upgrading of our current obsession for being in dialogue with ourselves (or ‘myself – and myself – and myself’, as Greenwood writes) through technology.

Barbara Casavecchia is a contributing editor of frieze and a freelance writer and curator living in Milan, Italy.

Most Read

The punk artists’s invasion of the pitch during the Croatia vs. France match reminded us what Russia’s new ‘normality’...
In further news: Brexit voters avoid arts; New York libraries’s culture pass unlocks museums; Grayson Perry-backed...
If artificial intelligence were ever to achieve sentience, could it feasibly produce art? (And would it be good?)
The punk activist-artists have been charged with disruption after they charged the field during the France vs Croatia...
27 educators are taking the London gallery to an employment tribunal, demanding that they be recognized as employees
In further news: Glasgow School of Art to be rebuilt; Philadelphia Museum of Art gets a Frank Gehry-designed restaurant
Highlights from Condo New York 2018 and Commonwealth and Council at 47 Canal: the summer shows to see
Knussen’s music laid out each component as ‘precarious, vulnerable, exposed’ – and his conducting similarly worked from...
Nods to the game in World Cup celebrations show how dance has gone viral – but unwittingly instrumentalized for...
‘You can’t reason with him but you can ridicule him’ – lightweight as it is, Trump Baby is a win for art as a...
Anderson and partner Juman Malouf are sorting through the treasures of the celebrated Kunsthistorisches Museum for...
From Capote to Basquiat, the pop artist’s glittering ‘visual diary’ of the last years of his life is seen for the first...
‘When I opened Monika Sprüth Galerie, only very few German gallerists represented women artists’
Can a ragtag cluster of artists, curators and critics really push back against our ‘bare’ art world?
In further news: German government buys Giambologna at the eleventh hour; LACMA’s new expansion delayed
Gucci and Frieze present film number two in the Second Summer of Love series, focusing on the history of acid house
Judges described the gallery’s GBP£20 million redevelopment by Jamie Fobert Architects as ‘deeply intelligent’ and a ‘...
Is the lack of social mobility in the arts due to a self-congratulatory conviction that the sector represents the...
The controversial intellectual suggests art would be better done at home – she should be careful what she wishes for
Previously unheard music on Both Directions At Once includes blues as imposing as the saxophonist would ever record
In further news: Macron reconsiders artist residencies; British Council accused of censorship; V&A to host largest...
In our devotion to computation and its predictive capabilities are we rushing blindly towards our own demise?
Arts subjects are increasingly marginalized in the UK curriculum – but the controversial intellectual suggests art is...
An exhibition of performances at Foksal Gallery Foundation, Warsaw, unfolds the rituals of sexual encounters
An art historian explains what the Carters’s takeover of the Paris museum says about art, race and power
Artist Andrea Fraser’s 2016 in Museums, Money and Politics lifts the lid on US museum board members and...
The Ruhrtriennale arts festival disinvited the Scottish hip-hop trio for their pro-Palestinian politics, then u-turned
The Baltimore’s director on why correcting the art historical canon is not only right but urgent for museums to remain...
Serpentine swimmers complain about Christo’s floating pyramid; and Hermitage’s psychic cat is a World Cup oracle: the...
The largest mural in Europe by the artist has been hidden for 30 years in an old storage depot – until now
Alumni Martin Boyce, Karla Black, Duncan Campbell and Ciara Phillips on the past and future of Charles Rennie...
In further news: po-mo architecture in the UK gets heritage status; Kassel to buy Olu Oguibe’s monument to refugees
The frieze columnist's first novel is an homage to, and embodiment of, the late, great Kathy Acker
60 years after the celebrated Brutalist architect fell foul of local authorities, a Berlin Unité d’Habitation apartment...
The British artist and Turner Prize winner is taking on the gun advocacy group at a time of renewed debate around arms...
The central thrust of the exhibition positions Sicily as the fulcrum of geopolitical conflicts over migration, trade,...
The Carters’s museum takeover powers through art history’s greatest hits – with a serious message about how the canon...
The 20-metre-high Mastaba finally realizes the artist and his late wife Jeanne-Claude’s design
‘What is being exhibited at Manifesta, above all, is Palermo itself’
With the 12th edition of the itinerant European biennial opening in Palermo, what do local artists, curators and...
In the age of Brexit, why Labour leader Jeremy Corbyn’s pledge to return the ‘stolen’ Parthenon marbles has never been...
The curators seem set to ask, ‘how civilized is the world’s current state of affairs?’
US true crime series Unsolved takes two formative pop cultural events to explore their concealed human stories and...

On View

Latest Magazines

frieze magazine

April 2018

frieze magazine

May 2018

frieze magazine

June - August 2018