REVIEWS

/ ILARIA BOMBELLI
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
Nicolas Party’s “Two Naked Women”

KAUFMANN REPETTO, Milan

View of Nicolas Party’s “Two Naked Women,” kaufmann repetto, Milan, 2015.
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Ilaria Bombelli

Standing knee-deep in brackish water as dark as iodine, two stocky women, closely resembling each other and completely naked, have their backs turned to us. Their arms hang slack along their sides in a very relaxed pose that wraps their bones in unmoving shadow and highlights their mature, voluptuous buttocks,... continue reading
“Fatamorgana”

GALLERIA ENRICO ASTUNI, Bologna

View of “Fatamorgana,” Galleria Enrico Astuni, Bologna, 2014.
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Ilaria Bombelli

A barren desert, a swarm of apparitions: the Italian writer Dino Buzzati’s novel, The Tartar Steppe (1940), is one of the few in Italian literature in which the idea of a hallucination, or fata morgana, becomes a narrative mechanism with allegorical power, peopled by characters worn down by endless waiting,... continue reading

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ARTIST

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Anton Kern Gallery
The breeder
Michael Kon
art-agenda
Afterimage
Sprueth Magers
Brooklyn Rail
Deweer
MIA Art Fair
Blum&Poe
Art Monthly
Vitamin creative space
Marion