REVIEWS

/ ILARIA BOMBELLI
Olivo Barbieri, (Left) After Piero della Francesca Polittico della Madonna della Misericordia 1445-1462 Museo Civico Sansepolcro Arezzo, 2017. (Right) Olivo Barbieri, Point Lobos CA, 2017.
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Ilaria Bombelli

Olivo Barbieri’s new solo show—the title of which winks at The American Monument (1976), the acclaimed, anti-spectacular photography book by Lee Friedlander, in which he photographed grand civic monuments against the quotidian surroundings of billboards, streets, and parks—comprises a group of 20 large-format photographs, almost all taken in 2017 in... continue reading
View of Gerasimos Floratos’s “Soft Bone Journey,” Armada, Milan, 2017.
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Ilaria Bombelli

As you walk up to Armada—through a courtyard ringed with industrial sheds and machine shops—placards appear to the right and left that read “adagio” (“drive slowly”), “non urtare” (“caution”), and again, “adagio.” Even if you aren’t the size of a truck, these signs have a way of making you proceed... continue reading
Mandla Reuter

FRANCESCA MININI, Milan

View of Mandla Reuter, Francesca Minini, Milan, 2017.
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Ilaria Bombelli

The invitation to the third solo show by Mandla Reuter at Francesca Minini bears no title or explanation. It relies on just one image, evocative enough on its own: a moonless sea, rippled by waves. Even the press release, stripped of all syntax, is reduced to a chain of words... continue reading
View of “Neon Paradise: Shamanism from Central Asia,” Laura Bulian Gallery, Milan, 2017.
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Ilaria Bombelli

One clean cut and—snip!—the plait of hair flops to the floor. Then comes the next braid—snip!—and the next—snip-snip! Strand by strand, all the remaining black hair of this Asian woman, dressed in traditional Kyrgyz garb, is sheared off by her own hand. It falls around her feet, leaving her neck... continue reading
Wael Shawky

LISSON GALLERY, Milan

View of Wael Shawty, Lisson Gallery, Milan, 2017.
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Ilaria Bombelli

Craggy peaks of stone, desolate plains, parched and rasping arctic coasts—still caught perhaps in some distant geologic era—provide a home to stray beasts of all kinds: the spindly heads of snakes rise like pinnacles from the summits of crumbling towers. The sagging legs of pachyderms prop up arcades redolent of... continue reading
Allison Katz’s “AKA”

GIò MARCONI, Milan

View of Allison Katz, “AKA,” Giò Marconi, Milan, 2016.
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Ilaria Bombelli

“Rats live on no evil star.” And “In a regal age ran I.” There is no apparent truth, no evident foundation, in these two double-sided expressions—same characters, reverse order—whose heads and tails can switch places like a juggler’s pins. Just a tumbling act of letters on the tightrope of some... continue reading

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Luisa Strina
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Gallery Ernst Hilger
Art Newspaper
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Anton Kern Gallery
art-agenda
Magazine Mousse
Hilger
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