Article courtesy of Il Giornale dell’Arte
As the first step of a larger display project Alyson M. Gingeras selected sixteen artists works from François Pinault’s incredible art collection giving shape to the new exhibition at Palazzo Grassi, as we can also tell from the title: ‘Sequence 1. Painting and sculpture in François Pinault’s collection’. Doubtlessly the lead role is for Urs Fisher, multifaceted talent, his work widely ranges in sizes and materials: from the gigantic tree right at the entrance, hanged to his branches more than two thousands pictures, to some lilliputian grey animals displayed in another work. Is Fischer’s decision once again, to leave in certain rooms visible traces of the previous exhibition ‘Where are we going?’, as a pale souvenir. On the same track Louise Lawler chooses to present a picture of Maurizio Cattelan’s ‘Hitler’ (displayed on the occasion of ‘where are we going’) presenting it in a different setting. This is the end of the references to the prior show. In fact most of the artists selected have changed together with most of the exhibition display: the most evident variation is the replacement of Jeff Koon’s ‘Poodle’ with a huge skull, made of iron pots, by Indian artist Subodh Gupta. Using such everyday objects in a totally singular circumstance Gupta refers to Mike Kelly’s work. Kelly, on his behalf, chose to present the everyday life of an ordinary room with standard furniture realizing what we could almost call a revisit of Pop Art. On the other hand, the skull symbol as a ‘memento mori’ dialogues with Marlene Dumas’s panels representing two corpses. Dumas’ work is for sure the controversial climax of the whole show.
Political criticism finds its way into palazzo Grassi through the gesture of young Milanese artist Roberto Cuoghi presenting a series of paintings depicting maps of the nations George W. Bush, United States’ president, has indicated as the Western World enemies. Social criticism as well can be found in the aggressive xerographic pieces realized by Richard Prince: urban scenes and writings co-opted by street-art graffiti. Besides this more committed works we can also get pleasure from Kristin Baker’s colored wall or Laura Owens’ weightless watercolor. Franz West was even asked to realize a chill-out corner, with palm trees, plastic armchairs and sofas where the visitors can choose to rest, read, chat or even go for more flirtatious occupation. A remarkable retrospective is also displayed: French artist Martial Raysse joyful version of pop art.
Many project were directly commissioned for this show, including the kiosk, placed in campo San Samuele, a two-hand installation realized by Franz West and Rudolf Stingel.
Until the 11th of November