A guide to miart 2022 and the events not to be missed during the Milano Art Week

An essential guide to the events of the Milano Art Week and the highlights of the first 2022 contemporary art fair. A “first movement”, as director Nicola Ricciardi says.

1. Artur Żmijewski, “When Fear Eats the Soul”, PAC (Padiglione d’Arte Contemporanea) From 29 March to 12 June, the first solo exhibition in Italy by one of the most radical and important figures on the Polish art scene – Artur Żmijewski – opens at PAC. He has exhibited in institutions all over the world, including documenta 12 and 14, the Venice Biennale and in 2012 he curated the Berlin Biennale for Contemporary Art. Curated by Diego Sileo, the exhibition is part of an exhibition programme that for some time now has aimed to open up to the international scene, focusing on great artists who have not received the attention they deserve in Italy and on the museum as a research pole for social, political and identity issues. Żmijewski’s research is founded on a concern for contemporary socio-political problems. Through his works he examines the mechanisms of power and oppression in the community, as well as the inclinations of fear and evil in the human instinct. The relationship between the internalisation of extreme emotions and their manifestation through physical expressions is the common thread running through the works on display, a varied selection of historical and recent works, three of which were conceived specifically for the PAC. Żmijewski confronts the observer with a system representing different forms of fear: fear of solitude, of being forgotten, of mental disorders and disability, but also of a foreign and hostile environment, of state racism. There are several references to refugees on the Polish-Belarusian border during the summer-autumn 2021. No further words are needed to understand the urgency of reflecting on these issues. Now more than ever.

29 March – 12 June
Artur Żmijewski, Gestures, 2019. Courtesy Foksal Gallery Foundation, Varsavia e Galerie Peter Kilchmann, Zurich

2. Elmgreen & Dragset, “Useless Bodies?”, Fondazione Prada Finding out what happens to human bodies with the rise of the metaverse will probably take some time yet, but Elmgreen & Dragset seem to want to speed things up. From 31 March, Fondazione Prada’s Largo Isarco site opens to the Scandinavian duo for a total of 3,000 m2, including the courtyard, which until now has not hosted any major exhibitions. The title of the project “Useless Bodies?” is programmatic, a perennial question contemporary society has no answer to. Is the physical presence of the human being truly indispensable today? What will be the consequences of the post-industrial era’s race towards digitalisation and automation? Complex questions to answer today, which lead artists to reflect on the idea of the “ideal body” over time. 

31 March – 27 August
Elmgreen & Dragset, What’s Left?, 2021, silicone, clothing, wire rope, balancing pole, dimensions variable. Courtesy the Artists. Photo Elmar Vestner

2. Elmgreen & Dragset, “Useless Bodies?”, Fondazione Prada The exhibition opens with “Serial Classic”, Fondazione Prada’s first exhibition dedicated to the ambivalent relationship in classical sculpture between originality and imitation (a theme also addressed, albeit from different angles, in the exhibition “Role Play”, on display until 27 June at the Observatory Prada Foundation). Classical and neoclassical bodies are associated with hyper-realistic representations by the protagonists of the solo exhibition. Beyond the Podium, the mood becomes darker. In a game full of dark humour, the two artists play on the senses and counter-senses of Western lifestyles: rows of abandoned workplaces and spas, futuristic bunker-like dwellings, alienated ordinary objects and dog robots. Disorienting images that stage a systemic collapse and question everyday surveillance mechanisms. After the Short Cut installation in Galleria Vittorio Emanuele in 2003, Elmgreen & Dragset hit the mark again.

31 March – 27 August
Elmgreen & Dragset, This is How We Play Together, 2021, bronze, lacquer, dimensions variable. Christen Sveaas Art Collection. Courtesy Perrotin. Photo Elmar Vestner

3. Steve McQueen, “Sunshine State”, Pirelli HangarBicocca It is worth mentioning the opening of Steve McQueen’s solo exhibition – winner of a Turner Prize and an Oscar – for its fame, on show from 31 March to 31 July 2022. Curated by artistic director Vicente Todolí, the exhibition is produced in collaboration with London’s Tate Modern, where in 2020, at the peak of the COVID-19 pandemic, an initial version of this project was presented at the Steve McQueen exhibition. In Milan, the visual artist, director and producer has conceived a special exhibition project entitled “Sunshine State”, featuring a new selection of works. Through the spaces of the Naves and the Cube, and on the outside of the building, the evolution of his twenty-year career in the visual arts can be experienced in a non-chronological path, which six installations and one sculpture are displayed in.

30 March – 31 July
Steve McQueen, Charlotte, 2004 (still), 16mm color film, no sound, 5’ 42’’, © Steve McQueen. Courtesy the artist, Thomas Dane Gallery and Marian Goodman Gallery 

3. Steve McQueen, “Sunshine State”, Pirelli HangarBicocca The construction of identity and the sense of belonging, as well as the right to freedom and post-colonialism, are fundamental themes in his research, based on the film medium. In his works, this language takes on a sculptural body in spatial and temporal terms, an aspect that takes on a particular thickness when the human body is filmed, in a constant agency for the viewer. Therefore, the exhibition features an unpublished video that gives its name to the entire exhibition. A work commissioned by the International Film Festival Rotterdam (IFFR) 2022 that the artist has been working on for more than twenty years; as the curators explain, “Sunshine State” proposes a reflection on the beginnings of Hollywood cinema and on how the big screen has had a major influence on the perception and construction of identity. 

Steve McQueen, Static, 2009 (still), 35 mm color film, transferred to HD, sound, 7’ 3’’, © Steve McQueen. Courtesy the artist, Thomas Dane Gallery and Marian Goodman Gallery 

4. Yuli Yamagata, “Afasta Nefasta”, Ordet If the Venice Art Biennial’s upcoming trend is to exhibit surreal and dreamlike worlds, Yuli Yamagata’s poetics are moving in the same direction. For the first time in Italy, the Brazilian artist, born in 1989, presents some of her new works at Ordet, the space directed by Edoardo Bonaspetti and Emanuele Cernuschi in the Porta Romana area. Since its opening year, 2019, Ordet has stood out for displaying experimental and avant-garde international research (as the last beautiful exhibition by Jon Rafman). Drawing inspiration from mass culture, Yamagata’s works stage human mutations, poised between reality as we understand it today and the animal world. 

2 April – 28 May
Yuli Yamagata, Coming back home, 2022. Photo Eduardo Ortega. Courtesy Fortes D’Aloia & Gabriel, São Paulo/Rio de Janeiro; Anton Kern Gallery, New York and Galeria Madragoa, Lisboa

4. Yuli Yamagata, “Afasta Nefasta”, Ordet From 2 April to 28 May, an octopus, a snail, a hermit crab and a snake will populate Ordet, in an installation interpreted as a twisted, altered and sprawling skeleton. In Yamagata’s padded and fabric-covered works, a little grotesque and a little cartoonish, what is known becomes perturbing. At first glance the subjects are identifiable, and immediately alienating. Just as aesthetic taste is malleable, ranging from horror taste, shopping mall consumerism and science fiction comics, so does human intelligence?

2 aprile – 28 maggio
Yuli Yamagata, Coming back home, 2022. Photo Eduardo Ortega. Courtesy Fortes D’Aloia & Gabriel, São Paulo/Rio de Janeiro; Anton Kern Gallery, New York and Galeria Madragoa, Lisboa

5. Dafne, “+39 334 2928559”, MASSIMO MASSIMO is an intimate venue, almost as if it were a person. Based in Porta Venezia, via degli Scipioni, this non-profit space for contemporary art was founded in December 2019 by Stefano Galeotti, Giulia Parolin and Martina Rota. They aimed at creating a space that could capture the most recent artistic experimentation, focusing on the human relationships built over time with the artists in order to sincerely embrace all the aspects surrounding an individual’s poetic research. During miart they inaugurate the exhibition “+39 334 2928559” by Dafne, a group consisting of a little bit human and a little bit metaphorical different identity, founded in 2019 by Filippo De Marchi, William Merante and Giovanni Riggio, who are dedicated to artistic research ranging from music and sound to performance and visual arts, constantly trying to redefine and expand the boundaries of these categories.

31 March – 19 April 2022
DAFNE, How I became a house, Milan

5. Dafne, “+39 334 2928559”, MASSIMO Until 19 April, MASSIMO’s space changes its appearance with Dafne’s contribution. The straight lines delimiting the ceiling and floor lose themselves in minimal volumes, perceived by the viewer in an almost two-dimensional way. The white cube is transformed into an achromatic multiverse, a convulsive, curved green screen housing four sculptures and a painting. They are works created simultaneously by the three founders, in an actual sharing of the creative process. Tables with centripetal force, brushstrokes with futuristic overtones, bowling balls on scales and abstract numbers meet in a swirling environment capable of translating chaos into harmony. For less fascinated readers, we refer to the title of the exhibition, which is a mobile phone number too.

31 March – 19 April 2022
DAFNE, preview of “+39 334 2928559”, Massimo, Milan

The 26th edition of miart 2022 is just around the corner. From 1 to 3 April, the first modern and contemporary art fair in Italy – and one of the first in Europe – opens after months of stops and delays due to the COVID-19 pandemic. These include the decision to postpone the Salone del Mobile, which used to follow the art fair week, to June, as well as Artefiera in Bologna, scheduled for January.  

miart 2022, primo movimento (first movement). Photo Isabelle Wenzel. Creative direction Cabinet Milano

Nicola Ricciardi, the first-time director of the fair, expects a more personal edition that is on a par with the previous one. A desire reflected in its name: primo movimento (first movement). “This term, borrowed from classical music, does not only represent the beginning of a musical form, but also a desire for acceleration, for moving all together – gallery owners, collectors, artists, citizens and visitors. Because the perfect execution of a symphony is only possible if there is collaboration and cohesion between the baton, forearms, hands, fingers, looks, faces, gestures and, last but not least, the audience in the hall,” he tells Domus.

Tyra Tingleff, The intimidation of sexual wealth, 2021 Oil on raw linen, 190 × 120 cm

Photo Trevor Lloyd
Courtesy of The Artist and ChertLüdde, Berlino

Alina Chaiderov Altruism, 2020 Medicine rehabilitation ball, copper leaf, 27 × 27 × 27 cm

Photo Aurélien Mole
Courtesy the Artist and Ciaccia Levi, Paris – Milan

Silvia Bächli, Untitled, 2021 Gouache on paper, 102 × 144 cm; 108 × 150,5 × 5 cm framed 2 parts (102 × 72 cm each)

Courtesy of the Artist and Galleria Raffaella Cortese, Milan 

Yuli Yamagata, Explorador, 2021 Shoe, dried fish, pool noodle, resin, rope, fake leather, silicone fiber, sewing thread, 62 × 90 × 70 cm unique

Courtesy Madragoa, Lisbon

Luigi Ghirri Bologna, Via Fondazza, 1989-90 Signed, dated and with archive number Estate verso c-print, vintage image 19.5 x 24.2 cm (7.7 x 9.5 in.) framed 41.5 x 51.5 x 3.2 cm (16.3 x 20.3 x 1.3 in.) (LUG.20159.P)

Photo Luigi Ghirri, Via Fondazza, 1989-90 © Eredi di Luigi Ghirri Courtesy Mai 36 Galerie, Zurich 

Lucio Fontana, Concetto Spaziale. Attesa, 1966 Waterpaint on canvas, 47 x 38 cm 18 1/2 x 15 in

Courtesy Mazzoleni, London – Turino

Jonathan Monk, Salvo Painting 60, 2019 Digital print, paint on canvas, 35,5 x 45 x 2 cm

Courtesy Meyer Riegger, Berlin

Ugo Mulas, Saul Steinberg, Palazzina Mayer #02, Milano, 1961 Modern Print. Gelatin silver print on baritated paper on board 37 × 37 cm (not framed) 63 × 58 × 4 cm (framed) Edition of 28

Courtesy Archivio Ugo Mulas, Milano – Galleria Lia Rumma, Milan/Napoles

Charles Avery, Untitled (Boogie-Woogie), 2012 Cardboard, paper, bronze, acrylic, gouache, 80 x 30 x 40 cm

Photo Andrea Rossetti
Courtesy Vistamare, Milan, Pescara

Toti Scialoja, Il primo dell’anno, 1957 Oil and paint on canvas, 184.3 x 179.3 cm

Courtesy Studio Vandrasch e Galleria dello Scudo, Verona

Ezio Gribaudo, Cuba, 1967 Acrylic on canvas and mixed media, 80 x 100 cm, Unique

Credit Isabelle Arthuis
Courtesy the Artist & Sans titre (2016), Paris

Andrew Gilbert, Squirrels stay in nest and write Beautiful Poetry, 2020 Acrylic, fineliner and watercolor on paper, 40 x 30 cm

Photo Constanza Meléndez
Courtesy the artist and Sperling, Munich 

Giovanni Anselmo, Dove le stelle si avvicinano di una spanna in più, 2001 – 2022 Projector, slide, 3 blocks of clear diorite, variable dimension

Photo Luciano Romano
Courtesy Alfonso Artiaco, Naples

Barry McGee, Senza Titolo, 2014 Mixed technique on paper, 43x60cm

Credits Simon D’Exea
Courtesy Galleria Alessandra Bonomo, Rome

Daniel Dewar & Grégory Gicquel, Oak bench with dark crimson underwing moths, opium poppies and snails, 2021 Oak wood and embroidery on cushion, 16 1/2 x 52 1/2 x 26 inches 42 x 146 x 66 cm

Courtesy © Benjamin Baltus Courtesy of the artist and CLEARING New York, Brussels

Nicola Martini, Not titled yet, 2020-21 Dyneema fabric, liquid natural latex, graphite powder 128 x 200 x 2,5 cm 

Photo Marco Davolio
Courtesy Clima, Milan

Chantal Joffe, Jay Bernard, 2021 Oil on canvas, 100 × 70 × 2 cm

Courtesy Monica De Cardenas, Milan – Zuoz – Lugano

Tomaso Binga, Vista Zero, 1972 Photography, print on photographic paper, cm 80 x 30,5 each, overall dimensions variable, 3 elements

Photo Danilo Donzelli
Courtesy the Artist and Galleria Tiziana Di Caro, Naples

Grazia Varisco, Reticolo frangibile Quadricromia, 1969 Acrylic, wood and glass, 53 x 72 cm

Copyright Alicja Kielan
Courtesy Volker Diehl Gallery, Berlin

Angelo Mangiarotti, Coppia di grandi sculture della collezione Poiesis, 1988 Dyed, recomposed and shaped wood veneers. 32x12.5xh.26 cm each. Execution Pierluigi Ghianda for Arquati Cornici, Castellaro di Sala Baganza

Courtesy Eredi Marelli, Cantù 

Jannis Kounellis, Senza titolo, 2000 Iron sheet, lead, aluminum cot and blanket, 200x180x10 cm

Courtesy Galleria Fumagalli, Milan

Bruno Munari, Macchina inutile, 1934-1984 Arches silk-screened cardboard, wood, string and iron rod burnished for counterweight, 253 x 72 cm

Courtesy MAAB Gallery, Milan

Enrico Baj, Specchio, 1960 Collage di specchi e pietre su stoffa su tavola / Mirrors and stones collage on fabric laid on panel 100 x 116 cm

Courtesy Gió Marconi, Milan

竹崎和征 Kazuyuki Takezaki 無題 / untitled, 2021 Oil on canvas, 18x14cm

Courtesy MISAKO & ROSEN, Tokyo – Brussels 

Alighiero Boetti, Le infinite possibilità di esistere, 1990 Tapestry, 33x34 cm

Foto Paolo Vandrasch, Milan
Courtesy ML Fine Art Matteo Lampertico, Milan

Dennis Oppenheim, Ground System II,1968 Painted wood, 30x60x90cm

Courtesy MontrasioArte Monza and Milan and Dennis Oppenheim estate New York

Adelaide Cioni, Study for a red headdress, 2020 Wool stitched on canvas, 112x92 cm

Photo Carlo Favero
Courtesy the artist and P420, Bologna

Basil Kincaid, The Water Rises, But I Learn To Float, 2021 Ghanaian Kente woven on traditional loom, brocade, wax print fabric, Abrokyere, second hand quilt, 109 x 135 x 102 cm

Courtesy Galleria Poggiali, Florence – Milan – Pietrasanta 

Lucio Fontana, Battaglia equestre, 1947 Ceramic, 12x14x8 cm

Courtesy Galleria Allegra Ravizza, Lugano – Milan

Salvatore Arancio, Edelweib, 2021 Oil pastels on paper and collage, 27,5 × 32 cm

Aldo Mondino, Mondino 6 Su, 1966-70 Acrylic and enamel on canvas, 80x80 cm

Courtesy Galleria Spazia, Bologna

Giulia Cenci, marine snow (scuro-scuro) #9, 2020 Metal, resin, fiberglass, dusts, 45 x 60 x 75 cm

Photo by Hector Chico
Courtesy the artist and SpazioA, Pistoia

Coady Brown, Bouquet, 2021 Oil on canvas, 24 x 20 in. / 61 x 50.8 cm

Courtesy Stems Gallery, Bruxelles

Emilio Isgrò, Integrale (Enciclopedia Treccani Volume V), 1970 Unabridged (Encyclopedia Treccani Volume V), 1970, ink on typographic book in wooden and plexiglass box, 50x75x12.5 cm

Courtesy Cristian Castelnuovo e Studio Guastalla Arte Moderna e Contemporanea, Milan

Wassily Kandinsky, Communiqué, 1936 Watercolor and ink on paper mounted on cardboard, 48.5x30.5 cm

Courtesy Tornabuoni Arte, Florence – Milan – Forte dei Marmi – Crans Montana – Paris 

Anna Perach, Mother of Egg, 2019 Tufted yarn, beading and wooden frame, 90 x 150 x 110 cm

Photo by Matt Ashford
Courtesy of the artist and ADA, Rome

Catalin Pislaru, Assembly instructions for the second spring of the year nr 4, 2022 Oil paint on HPL panel, 53x43 cm

Courtesy of the artist and Nir Altman, Munich

Todd Bienvenu, Wipeout#4, 2021 Oil on canvas, 112 x 135 cm

Photo Annik Wetter
Courtesy the Artisti and Galerie Sébastien Bertrand, Geneve 

Tanja Widman, 20200317_15 (Vanessa), 2020 Inkjetprint, perspex box, 25 × 33,5 × 2,4 cm (9.843 × 13.891 × 0.949 in)

Photo kunst-dokumentation.com
Courtesy the artist and FELIX GAUDLITZ, Vienna

Pamela Diamante, Medicea, 2018 Ink on Breccia Medicea, 57 x 48 x 2 cm

Photo Giorgio Benni
Courtesy the Artist and Galleria Gilda Lavia, Rome

Curtis Talwst Santiago, Young Prince Old Pegasus a Portrait of Jean and Andy, 2019 Mixed media diorama in reclaimed jewelry box, 7,6 × 7 × 7 cm, MS-SAN

Photo Andrea Rossetti
Courtesy Martina Simeti, Milan

  

Moreover, this dynamic framework includes the original project of performances in the city curated by Davide Giannella, an original cycle scheduled for 30 March that combines performance and public sphere, featuring visual artist Riccardo Benassi and choreographer Michele Rizzo. This project is realised thanks to the support of Fondazione Marcelo Burlon. “The entire miart and Fiera Milano team wanted to highlight the importance of getting back on the move this spring. In fact, the OutPut project was created to shape the theme of this edition effectively,” Ricciardi continues. Along with FOG Triennale Milano Performing Art, the performing arts festival presents the lecture-performance Dying on Stage by Cypriot Christodoulos Panayiotou (2 April) and the world premiere of Milano, the new work by Romeo Castellucci filmed by Yuri Ancarani (3 April).

Carla Accardi, Mutual influences, 2012, vinyl paint on canvas, 100×120 cm, arch. n. 350C. Photo Alberto Petrò. Courtesy the Artist and Francesca Minini, Milan

The Milan fair is a starting point for the 59th International Art Exhibition of the Venice Biennale. In fact, artists being on display also include some of the protagonists of the Venetian kermesse, such as Carla Accardi, Tommaso Binga, Miriam Cahn, Giulia Cenci, Louise Nevelson and Joanna Piotrowska, to name but a few. There are 151 participating galleries, from twenty countries. The galleries’ works will be displayed in three main sections, smaller than in previous editions. “The idea is to provide a clearer distribution of spaces encouraging visitors to move around,” Ricciardi continues. For the first time, the main Established section showcases a selection of mixed galleries, combining design and modern art works with contemporary works and developing a more appropriately exhibition-oriented path. “The 2021 miart edition has shown that a closer interaction between modern and contemporary can produce common benefits. Therefore, Established Masters and Established Contemporary have been combined in order to encourage greater permeability, stimulating galleries to imagine increasingly high-quality exhibition projects and encouraging dialogues and rediscoveries.”

Enzo Mari, Project 1379A, Le porte (The doors), 1976-84, screen printing on paper. 50x69.5 cm. Ed. Danese, XXV numbered and signed artist’s proofs. Courtesy Eredi Enzo Mari and Massimo Minini Gallery, Brescia

It is an edition that focuses on new generations and experimentation, a constantly evolving panorama that will increasingly stimulate the curiosity of collectors and visitors. This is immediately clear from the place reserved for Emergent within Fieramilanocity, the section for new generation of galleries and artists, and the associated prizes introduced, which “prove the growing interest of institutions, companies and partners.” 

Besides the support of Intesa Sanpaolo, the fair’s main partner, and the Fondazione Fiera Milano Acquisition Fund – whose collection, on display in Palazzina degli Orafi, has now reached one hundred works – there are also promotional and support initiatives for artists and gallery owners, which are reflected in several awards: Herno Prize for the best stand, LCA Prize for the best gallery in the Emergent section, Covivio Acquisition Award, which will select an artist to commission a site-specific work.

Marcia Hafif, Nr. 111 (from the Italian Paintings series), 1966, acrylic on canvas, 70x70 cm. Courtesy Galerie Hubert Winter, Vienna

Lastly, the fair’s systemic focus on the city. The partnership with Milan institutions is in fact a cornerstone of miart, which over time has grown events and exhibitions in museums, foundations, galleries and non-profit spaces opening during the fair. Despite two difficult years, Milano Art Week is not losing heart and is celebrating from 28 March to 3 April a restart characterised by big international names, who suggest quality exhibitions, in collaboration with the Cultural Department of the City of Milan. Among the many events, from the most popular to the most hidden, here are five not to be missed.

1. Artur Żmijewski, “When Fear Eats the Soul”, PAC (Padiglione d’Arte Contemporanea) 29 March – 12 June
Artur Żmijewski, Gestures, 2019. Courtesy Foksal Gallery Foundation, Varsavia e Galerie Peter Kilchmann, Zurich

From 29 March to 12 June, the first solo exhibition in Italy by one of the most radical and important figures on the Polish art scene – Artur Żmijewski – opens at PAC. He has exhibited in institutions all over the world, including documenta 12 and 14, the Venice Biennale and in 2012 he curated the Berlin Biennale for Contemporary Art. Curated by Diego Sileo, the exhibition is part of an exhibition programme that for some time now has aimed to open up to the international scene, focusing on great artists who have not received the attention they deserve in Italy and on the museum as a research pole for social, political and identity issues. Żmijewski’s research is founded on a concern for contemporary socio-political problems. Through his works he examines the mechanisms of power and oppression in the community, as well as the inclinations of fear and evil in the human instinct. The relationship between the internalisation of extreme emotions and their manifestation through physical expressions is the common thread running through the works on display, a varied selection of historical and recent works, three of which were conceived specifically for the PAC. Żmijewski confronts the observer with a system representing different forms of fear: fear of solitude, of being forgotten, of mental disorders and disability, but also of a foreign and hostile environment, of state racism. There are several references to refugees on the Polish-Belarusian border during the summer-autumn 2021. No further words are needed to understand the urgency of reflecting on these issues. Now more than ever.

2. Elmgreen & Dragset, “Useless Bodies?”, Fondazione Prada 31 March – 27 August
Elmgreen & Dragset, What’s Left?, 2021, silicone, clothing, wire rope, balancing pole, dimensions variable. Courtesy the Artists. Photo Elmar Vestner

Finding out what happens to human bodies with the rise of the metaverse will probably take some time yet, but Elmgreen & Dragset seem to want to speed things up. From 31 March, Fondazione Prada’s Largo Isarco site opens to the Scandinavian duo for a total of 3,000 m2, including the courtyard, which until now has not hosted any major exhibitions. The title of the project “Useless Bodies?” is programmatic, a perennial question contemporary society has no answer to. Is the physical presence of the human being truly indispensable today? What will be the consequences of the post-industrial era’s race towards digitalisation and automation? Complex questions to answer today, which lead artists to reflect on the idea of the “ideal body” over time. 

2. Elmgreen & Dragset, “Useless Bodies?”, Fondazione Prada 31 March – 27 August
Elmgreen & Dragset, This is How We Play Together, 2021, bronze, lacquer, dimensions variable. Christen Sveaas Art Collection. Courtesy Perrotin. Photo Elmar Vestner

The exhibition opens with “Serial Classic”, Fondazione Prada’s first exhibition dedicated to the ambivalent relationship in classical sculpture between originality and imitation (a theme also addressed, albeit from different angles, in the exhibition “Role Play”, on display until 27 June at the Observatory Prada Foundation). Classical and neoclassical bodies are associated with hyper-realistic representations by the protagonists of the solo exhibition. Beyond the Podium, the mood becomes darker. In a game full of dark humour, the two artists play on the senses and counter-senses of Western lifestyles: rows of abandoned workplaces and spas, futuristic bunker-like dwellings, alienated ordinary objects and dog robots. Disorienting images that stage a systemic collapse and question everyday surveillance mechanisms. After the Short Cut installation in Galleria Vittorio Emanuele in 2003, Elmgreen & Dragset hit the mark again.

3. Steve McQueen, “Sunshine State”, Pirelli HangarBicocca 30 March – 31 July
Steve McQueen, Charlotte, 2004 (still), 16mm color film, no sound, 5’ 42’’, © Steve McQueen. Courtesy the artist, Thomas Dane Gallery and Marian Goodman Gallery 

It is worth mentioning the opening of Steve McQueen’s solo exhibition – winner of a Turner Prize and an Oscar – for its fame, on show from 31 March to 31 July 2022. Curated by artistic director Vicente Todolí, the exhibition is produced in collaboration with London’s Tate Modern, where in 2020, at the peak of the COVID-19 pandemic, an initial version of this project was presented at the Steve McQueen exhibition. In Milan, the visual artist, director and producer has conceived a special exhibition project entitled “Sunshine State”, featuring a new selection of works. Through the spaces of the Naves and the Cube, and on the outside of the building, the evolution of his twenty-year career in the visual arts can be experienced in a non-chronological path, which six installations and one sculpture are displayed in.

3. Steve McQueen, “Sunshine State”, Pirelli HangarBicocca Steve McQueen, Static, 2009 (still), 35 mm color film, transferred to HD, sound, 7’ 3’’, © Steve McQueen. Courtesy the artist, Thomas Dane Gallery and Marian Goodman Gallery 

The construction of identity and the sense of belonging, as well as the right to freedom and post-colonialism, are fundamental themes in his research, based on the film medium. In his works, this language takes on a sculptural body in spatial and temporal terms, an aspect that takes on a particular thickness when the human body is filmed, in a constant agency for the viewer. Therefore, the exhibition features an unpublished video that gives its name to the entire exhibition. A work commissioned by the International Film Festival Rotterdam (IFFR) 2022 that the artist has been working on for more than twenty years; as the curators explain, “Sunshine State” proposes a reflection on the beginnings of Hollywood cinema and on how the big screen has had a major influence on the perception and construction of identity. 

4. Yuli Yamagata, “Afasta Nefasta”, Ordet 2 April – 28 May
Yuli Yamagata, Coming back home, 2022. Photo Eduardo Ortega. Courtesy Fortes D’Aloia & Gabriel, São Paulo/Rio de Janeiro; Anton Kern Gallery, New York and Galeria Madragoa, Lisboa

If the Venice Art Biennial’s upcoming trend is to exhibit surreal and dreamlike worlds, Yuli Yamagata’s poetics are moving in the same direction. For the first time in Italy, the Brazilian artist, born in 1989, presents some of her new works at Ordet, the space directed by Edoardo Bonaspetti and Emanuele Cernuschi in the Porta Romana area. Since its opening year, 2019, Ordet has stood out for displaying experimental and avant-garde international research (as the last beautiful exhibition by Jon Rafman). Drawing inspiration from mass culture, Yamagata’s works stage human mutations, poised between reality as we understand it today and the animal world. 

4. Yuli Yamagata, “Afasta Nefasta”, Ordet 2 aprile – 28 maggio
Yuli Yamagata, Coming back home, 2022. Photo Eduardo Ortega. Courtesy Fortes D’Aloia & Gabriel, São Paulo/Rio de Janeiro; Anton Kern Gallery, New York and Galeria Madragoa, Lisboa

From 2 April to 28 May, an octopus, a snail, a hermit crab and a snake will populate Ordet, in an installation interpreted as a twisted, altered and sprawling skeleton. In Yamagata’s padded and fabric-covered works, a little grotesque and a little cartoonish, what is known becomes perturbing. At first glance the subjects are identifiable, and immediately alienating. Just as aesthetic taste is malleable, ranging from horror taste, shopping mall consumerism and science fiction comics, so does human intelligence?

5. Dafne, “+39 334 2928559”, MASSIMO 31 March – 19 April 2022
DAFNE, How I became a house, Milan

MASSIMO is an intimate venue, almost as if it were a person. Based in Porta Venezia, via degli Scipioni, this non-profit space for contemporary art was founded in December 2019 by Stefano Galeotti, Giulia Parolin and Martina Rota. They aimed at creating a space that could capture the most recent artistic experimentation, focusing on the human relationships built over time with the artists in order to sincerely embrace all the aspects surrounding an individual’s poetic research. During miart they inaugurate the exhibition “+39 334 2928559” by Dafne, a group consisting of a little bit human and a little bit metaphorical different identity, founded in 2019 by Filippo De Marchi, William Merante and Giovanni Riggio, who are dedicated to artistic research ranging from music and sound to performance and visual arts, constantly trying to redefine and expand the boundaries of these categories.

5. Dafne, “+39 334 2928559”, MASSIMO 31 March – 19 April 2022
DAFNE, preview of “+39 334 2928559”, Massimo, Milan

Until 19 April, MASSIMO’s space changes its appearance with Dafne’s contribution. The straight lines delimiting the ceiling and floor lose themselves in minimal volumes, perceived by the viewer in an almost two-dimensional way. The white cube is transformed into an achromatic multiverse, a convulsive, curved green screen housing four sculptures and a painting. They are works created simultaneously by the three founders, in an actual sharing of the creative process. Tables with centripetal force, brushstrokes with futuristic overtones, bowling balls on scales and abstract numbers meet in a swirling environment capable of translating chaos into harmony. For less fascinated readers, we refer to the title of the exhibition, which is a mobile phone number too.