Emphasizing the diversity of materials and styles Mimmo Rotella employed throughout his career, this exhibition (part of a multivenue tribute to the Italian artist on the tenth anniversary of his death, with concurrent shows at Cardi Gallery [September 20–December 22], Galleria Carla Sozzani [October 9–November 13], and Fondazione Marconi [December 2–February 4]) shifts the focus from his renowned décollages to his remarkable photographs, paintings, and ceramics. Particularly resonant are his doctored covers of American news magazines, including Time and Newsweek emblazoned with alarming headlines such as “Italy’s Trial by Terror” and “Italy in Torment.”
Mimmo Rotella THE MAVERICK MIMMO ROTELLA
Sadie Benning’s latest series describes a fraught relationship between the body and how it is named within culture. Dissecting the binary gender narrative alluded to by the show’s title, “Excuse Me Ma’am,” Benning’s works are pointed hybrids—combinations of painting, photography, sculpture, and drawing––that elude easy categorization.
Sadie Benning Excuse Me Ma’am
Giuseppe Uncini, a contemporary of Piero Manzoni and Enrico Castellani, began working with concrete in the late 1950s. Highlighting the artist’s interest in the relationship between object and shadow, the works on view include several flat concrete architectural studies, Dimore (Mansions), whose geometric forms suggest doors, windows, and roofs, and their shadows. Rather than creating dimension, Uncini implies it.
Part of a multivenue homage to the late Mimmo Rotella, which includes simultaneous exhibitions at Fondazione Marconi (December 2–4), Cardi Gallery (September 20–December 22) and Robilant + Vena (September 20–October 28), Galleria Carla Sozzani presents rare photo transfers and frottage works by the Italian master. The erotic subject matter reflects the spirit of the 1960s sexual revolution, during which time Rotella was working between New York (living at the Chelsea Hotel) and Paris.
Mimmo Rotella Erotique
Showing a more intimate side of a painter whose long career was recently the subject of major exhibitions at Bilbao’s Guggenheim Museum and London’s Serpentine Gallery, this show focuses on Katz’s small-scale works. Less stylized than the large-scale portraits for which he is well-known, the artist’s preparatory studies, drawings, and small paintings are surprisingly expressive and spontaneous.
Alex Katz Small paintings and drawings 1990-2016
Strange, humorous, and sardonic, Urs Fischer’s new small-scale bronzes are presented at Massimo De Carlo’s converted warehouse on Via Ventura. Arranged in a theatrical tableau, the twenty-six handpainted figurines include a female nude reclining on a chaise lounge next to a snail, a crying horse, and piano-playing rat. (Fischer’s work is concurrently on view at the gallery’s new location at the Piazza Belgioioso.)
Urs Fischer Battito di Ciglia
Known for his décollages made from torn street posters in Rome, Mimmo Rotella also made so-called “Blanks” by sticking large monochrome sheets of paper onto advertisements. First shown in Milan in 1980, and rarely exhibited since, these striking erasures are back in the spotlight as part of a multi-venue tribute to the Italian artist on the tenth anniversary of his death. The late Nouveau Réaliste's work is also on view at: Fondazione Marconi (December 2–February 4), Galleria Carla Sozzani (October 9–November 13), Robilant + Vena (September 20–October 28.)
Mimmo Rotella Mimmo Rotella. Blanks
In addition to the well-known sculpture that lends the show its title, this exhibition features other politically charged sculptures by Ed and Nancy Kienholz. Among them: The Bronze Pinball Machine with Woman Affixed Also, 1980, which presents the female body as pure entertainment, and 76 J.C.s Led the Big Charade, 1993–1994, one of the couple’s final installations, in which seventy-six wall-mounted crucifixes (made with baby doll parts and wagon chassis) take aim at institutionalized religion.
Edward Kienholz and Nancy Reddin Kienholz KIENHOLZ: FIVE CAR STUD
The title of Betye Saar’s first exhibition in Italy, “Uneasy Dancer,” is an expression the Californian used to describe herself and her process, which she recently described in her Artforum.com 500 Words as a “personal ritual.” Uniting more than ninety works produced between 1996 and 2016 and showcasing Saar’s powerful critique of racist and sexist stereotypes, this show features intimate assemblages created inside boxes and suitcases as well as large-scale installations, such as The Omega (The Beginning and the End), 2013–16, a circular environment related to the life cycle that was adapted specifically for this show.
Betye Saar BETYE SAAR: UNEASY DANCER
Multidisciplinary artist Marc Camille Chaimowicz brings his unique combination of design, literature, art, and performance to the Palazzo dell’Arte. The dreamy exhibition, which is part of the Triennale di Milano, includes historical examples of Metaphysical art, like Giorgio de Chirico’s Prodigal Son, 1973, and plenty of Chaimowicz’s own meditative and atmospheric experiments with linear time and logical space.
Marc Camille Chaimowicz: Maybe Metafisica
Kishio Suga’s first European retrospective includes more than twenty installations dating from 1969 to the present day. Within the HangarBicocca’s vast industrial architecture, the Japanese artist’s beautiful, unsettling stacks and suspensions of organic and man-made elements (including materials found on site) upend our understanding of gravity, solidity, and tension.
Kishio Suga Situations