In his many films, Roman Signer most often appears paused, silent, while painstakingly waiting for something to happen (more often than not, an explosion). Perhaps these suspensive experiences stood him in good stead during the four-decade-long wait for his

Descending the few steps that lead to the ‘In Residence’ basement space of Galleria Franco Noero, you might think you had walked into a construction site. The room smells of wet concrete, a concrete mixer is in the corner and

Flicking through an abandoned magazine in an airport last week, I stumbled across an article dissecting the peculiar strain of madness thought to run through David Bowie’s family. It featured a black-and-white photograph of Bowie himself—who died of cancer in

Museion inaugurates its 2016 programme with a two-part exhibition on and around the work of Francesco Vezzoli entitled ‘Museo / Museion’. On the first three floors of the museum, the artist has re-imagined and re-arranged the collection, while on the

Diving into the turbulent depths of legacy and memory, “Space Shuttle in the Garden”—Petrit Halilaj’s first solo exhibition in Italy—is a noteworthy exploration of resurfacing national and personal trauma, and a vivid investigation of the potential for artistic storytelling to

Originally published on: Lorenzo Benedetti, Eva Fabbris, Letizia Ragaglia, Nicola Ricciardi, Marco Scotini, Here, Now and Elsewhere: Site-Specific and Thereabouts (Milan: Mousse Publishing / La Triennale, 2015), 20–38.   Over the past twenty years, public art has increasingly distanced itself

Setting aside the ceramics and sculptural works that have dominated his more recent output, for his first solo show at Zero …, entitled ‘Il mio cuore sulla spiaggia’ (My Heart on the Beach), Alessandro Pessoli returned to focus on canvas,

Originally published on: Nicola Ricciardi et al, Patrick Tuttofuoco. Portraits. Portraits, Portraits (Milan: Mousse Publishing, 2015), 5–27. Though it might seem out of place for a monograph on an artist, this book could easily begin with a first person pronoun.

His abstract sculptures – with their mixture of architecture, music, mathematics and science delicately expressed in brass, ceramics or plaster – unarguably labeled Fausto Melotti (1901-1986) as one of Italy’s most iconic and recognizable artists of the post- war period.

Nicola Ricciardi: With a substantial volume of research, a wealth of artists and a grand platform such as Palazzo Reale, even three months before it opens its doors to the first visitor “The Great Mother” already looks like a seminal