The group show at Francesca Minini, curated by Adam Carr, explores the relationship between the concepts of finished and unfinished, in constant dialogue in art and life, through a series of works ranging from painting to photography, from drawing to sculpture, to video. Along with works whose completeness requires the active participation of the viewer, the exhibition includes works that finds their reason for being in the absence and in the unfinished. The artists involved are: Meriç Algün Ringborg, Ghada Amer, Nina Beier, Pierre Bismuth, Liudvikas Buklys, Christian Burnoski, Claire Fontaine, Ryan Gander, Juozas Laivys, Sol LeWitt, Nina Beier and Marie Lund, Kris Martin, Simon Dybbroe Møller, Jonathan Monk, Alek O., Dan Rees, Mandla Reuter, Ron Terada, Mario Garcia Torres.

Until July 14.

The solo show by the duo Pennacchio Argentato at Wilkinson Gallery in London is a challenge to the exhibition space, where Marisa Argentato and Pasquale Pennacchio (1977) rethink the role of sculpture. Once abandoned the wall, their objects hang from the ceiling, in a dialogue among themselves and with the environment, playing with references that range from minimalist language to optical art and include photographic elements, videos and Gothic fonts.

Until June 17.

In his new solo show at Monitor Francesco Arena confronts the issue of illegal immigration through two monumental works that occupy the gallery’s spaces. A layer of soil from the reception center of Lampedusa covers the upper surface of a metal beam suspended between two walls: Orizzonte, put at 1.57 meters above the ground, (the distance of the artist’s eyes from the ground), evokes the scenario that constantly offers itself to the gaze of illegal immigrants. Riduzione di mare is a 34 kg block of salt, obtained by evaporating a cubic meter of sea water. Six performers will lick its surface for two months, carving the text, translated into Morse code, of a document drawn up by the Dutch organization United for Intercultural Action containing the list, announced by the media between January 1, 1993 and January 29, 2012, of people died trying to emigrate to Europe.

Until July 21.

A CUF FUL SKUL is the anagram of the name of the Swiss collective Fluck | Paulus, founded in 2010 by Léa Fluck and Lauris Paulus, entrusted with the first appointment of the cycle Bureau for Art Nerds, curated by Valentina Sansone, at the Istituto Svizzero in Milan as well as some non-profit and self-managed spaces of the city. The initiative, in which the institute involves the founders of the most important Swiss self-managed projects, includes exhibitions, talks, book launches, performances, DJ sets and live music, conceived as an occasion for exchange and experimentation. The opening exhibition involves thirteen among artists and curators (Kim Seob Boninsegni, Philippe Daerendinger, Renaud Loda and Sebastien Verdon, Tobias Madison and Kaspar Müller, Fabian Marti, Annina Matter, Lauris Paulus, Valentina Stieger, Niels Wehrspann, Marie Villemin ans Marie Léa Zwahlen) called to describe the contemporary Swiss art scene.

Until June 26.

Noise is the title of the first solo show by Duncan Marquiss at 1/9 unosunove in Rome. Grids, waves and signs, according to the artist’s research, generate overlappings and surfaces that assign to the concept of noise – conceived both as interference and structure – a double value, sound and visual. The layering of similar but “out of sync” patterns produces new dimensions, leading to the the finding oof ther places and meanings. The exhibition includes a series of new drawings, a site-specific work made on the checked floor of the gallery and the film Interferometry.

Until April 23.

Large and small sculptures, drawings, paintings, textiles, sketches and the first animated work by Klara Kristalova (1967) constitute the path of the first large solo show by the Swedish artist. The spaces of Bonniers Konsthall in Stockholm are so invaded by an enchanted, neo-gothic and disturbing imaginary, that tells intimate and almost forbidden stories oozing innocence and horror, beyond the Nordic stereotypes associated with woods and fantastic animals.

Until July 29.

The apparent motion of the sun and the attempt to trace its shape over time, similar to an 8, the mathematical symbol of infinity, is the main topic of investigation of SunRa, a solo show by Ettore Favini (1974) at Marsèlleria in Milan.A shot by cameras previously provided with a special filter, set to shoot at the same time and with the same frame, is the mechanical process of research which the artist carries out, creating a direct and constant dialogue with the natural element . The result is told by the works on show that, through a variety of languages, try to return reality and memory to a phenomenon otherwise invisible.

Until May 25.

1/8 Ettore Favini, SunRa, 2012, exhibition view
2/8 Ettore Favini, SunRa, 2012, print on canvas, burning, 100 x 100 cm
3/8 Ettore Favini, Senza titolo, 2012, magazine images, burning, sun filter, 22 x 18 cm
4/8 Ettore Favini, Senza titolo, 2012, magazine images, burning, sun filter, 25 x 15 cm
5/8 Ettore Favini, Analemma # I, 2012, photograph, 50 x 50 cm
6/8 Ettore Favini, Senza titolo, 2012, mixed media, magazine pages, magnifying glass, frame, 45 x 36 cm
7/8 Ettore Favini, Senza titolo, 2012, mixed media, magazine pages, magnifying glass, frame, 45 x 36 cm
8/8 Ettore Favini, SunRa, 2012, exhibition view

The first solo exhibition by Falke Pisano (1978) at De Vleeshal, Middelburg, curated by Lorenzo Benedetti, consists of three installations and a series of videos that reflect, from different angles, on the role of representation as a tool for knowledge. The artist identifies six dates, six places and six events as responsible and propulsive forces, bearers of changes which, through time, have produced forms of crisis of the body. Six black panels, partially hidden behind curtains of the same color, interrupt the rhythm and repetition of the space. The result is a vision of a here and now consciously destabilizing through games of seriality, references and repetitions.

Until May 20.

Nous n’avons pas de prénom, 2004 – 2012 is the title of the exhibition France Fiction presents today at Frutta. Born in 2004 and formed by Stéphane Argillet, Marie Bonnet, Eric Camus, Lorenzo Cirrincione and Nicolas Nakamoto, the collective, which consideres itself both as a single and multiple entity, carries on artistic and curatorial activities, having been also an exhibition space and a magazine. Among its interests, between reality and imagination, there are utopia and science fiction, the forgotten figures of the past, the occult and melancholy.

Language: En / It
Dimension (Width x Height): 130 x 200 mm
Colour
Pages: 46
Works by: Salvatore Arancio, Francesco Arena, Francesco Barocco
Chiara Camoni, Sergio Breviario, Francesco Carone, Giulio Delvè,
Ettore Favini, Francesco Mernini, Marco Morici, Giovanni Oberti, Luca Trevisani.
Texts: Ludovico Pratesi
Edition of 200 copies
Year: 2012

Produced by CO2 Gallery
with the support of Provincia di Roma