- 2024
-
2023
-
The 3-second rule of thumb
Curated by Kaspar Müller
December 15, 2023 - February 2, 2024 -
Daniele Milvio
Le Faremo Sapere.
September 21 - October 27, 2023 -
Charlemagne Palestine, C'ERAA UNAAA VOLTAAA CHARLEWORLDDD
June 6 - July 7, 2023 -
Bill Hayden
café Uranus
May 4 - 31, 2023 -
Gianni Piacentino
March 22 - April 23, 2023
-
Emil Michael Klein
January 17 - February 17, 2023
-
-
2022
-
Osama Al Rayyan
knights
November 9 - December 16, 2022 -
Rochelle Goldberg
Ghost Centrale
September 16 - October 21, 2022 -
Beatrice Marchi
Who crushed the Evil Turtle?
June 8 - July 29, 2022 -
Kaspar Müller
Maintenance 2
March 30 - May 13, 2022 -
6 Bagatelles
Osama Al Rayyan
Beatrice Marchi
Daniel Murnaghan
Matthew Pang
Giangiacomo Rossetti
Cinzia RuggeriFebruary 15 - March 18, 2022
-
- 2021
-
2020
-
PaJaMa (Paul Cadmus, Jared French, Margaret Hoening French)
September 25 - November 15, 2020
-
Jared Madere
In the back of the restaurant I made him kiss the ring: Haunted House in the Key of New Years
Paths to G-ddess~ Tiny Dick Timmy Ricochet~ Live from the Geomancer’s Clit Ring
You say one thing and everyone acts like you don’t mean the opposite of it at the same time tooFebruary 13 - March 27, 2020
-
-
2019
-
Renata Boero
Tempo e Tempi
November 15, 2019 - January 10, 2020 -
Doriana Chiarini
IN GRANDE! Scultura a dismisura
Curated by Mariuccia CasadioSeptember 18 - October 31, 2019
-
Cinzia Ruggeri
la règle du jeu?
June 25 - August 9, 2019 -
Genoveva Filipovic
May 14 - June 20, 2019 -
Emil Michael Klein
Curtains
March 15 - April 19, 2019 -
Daniel Murnaghan
February 8 - March 9, 2019
-
-
2018
-
Dario Guccio
Urnas plebeyas, túmulos reales
December 14, 2018 - January 25, 2019 -
Michael Pollard, Eric Schmid
Life is good
October 26 - November 24, 2018 -
Daniele Milvio
A Milano non si usa
September 14 - October 12, 2018 -
Tra l'inquietudine e il martello
July 16 - August 11, 2018 -
Rochelle Goldberg
1000 "emotions"
May 25 - June 30, 2018 -
Green Tea Gallery at Federico Vavassori
Amore Atomico di Amore di Lava
Curated by United BrothersApril 18 - May 19, 2018
-
Bill Hayden and Greg Parma Smith
Legend of Festival and Enclosure
March 16 - April 15, 2018 -
Cinzia Ruggeri
Umbratile con Brio
Curated by Mariuccia Casadio
February 9 - March 10, 2018
-
-
2017
-
Kaspar Müller
Maintenance
December 21, 2017 - January 27, 2018 -
Lisa Ponti
IL
FOGLIO
È UNA STANZA
CHIUSA
MA
MERAVIGLIOSASeptember 15 - October 14, 2017
-
Genoveva Filipovic & Daniel Murnaghan
May 25 - July 1, 2017 -
Rosa Aiello
27 seasons
March 29 - April 29, 2017 -
Giangiacomo Rossetti
KRIS
February 16 - March 18, 2017 -
Matthias Gabi
January 12 - February 11, 2017
-
-
2016
-
Matthew Watson
Surplus to Requirements
November 25 - December 23, 2016 -
Dario Guccio feat. Andrea Cleopatria
Referendum sull'aeroplano
October 25 - November 19, 2016 -
Erika Landström
CONTROL I'M HER
September 9 - October 8, 2016 -
Benjamin Horns
May 25 - June 25, 2016 -
Emil Michael Klein
April 06 - May 14, 2016
-
-
2015
-
Daniele Milvio
Cacafoco
November 9 – December 5, 2015 -
Matteo Callegari
September 17 – October 24, 2015 -
Rochelle Goldberg
The Cannibal Actif
June 5 – July 4, 2015 -
Mélanie Matranga / Oliver Payne
Organized by Fredi Fischli and Niels Olsen
April 10 – May 9, 2015 -
Dario Guccio
Hammer, Chewing Gum, Evasion, Destruction
January 16 – February 14, 2015
-
- 2014
- 2013
- 2012
- 2011
BILL HAYDEN AND GREG PARMA SMITH
LEGEND OF FESTIVAL AND ENCLOSURE
March 16 - April 15, 2018
Thinking of Legend as a fable or a key to a map; Festival as an ecstatic suspension of worldly power relations; Enclosure as the removal of free space from shared use.
We’re showing our individual and collaborative artworks that refer to visionary psychic space, medieval feudalism, the carnivalesque, private property, teacher plant medicines, alcohol, dualities, and the potential for rupture.
Writing on Rabelais’ medieval literature, Mikhail Bakhtin describes carnival as a suspension of societal hierarchy that draws its organic force from primordial natural law— one far more powerful than that of the patriarchal authority of priests and kings that claim to sanction it. This dissolution of the borders defining the social order is inseparable from a dissolution of the individual body. In the ecstasy of carnival, body “is not separated from the rest of the world... it is not a closed, completed unit; it is unfinished, outgrows itself, transgresses its own limits... The [literary] stress is laid on those parts of the body that are open to the outside world, that is, the parts through which the world enters the body or emerges from it, or through which the body itself goes out to meet the world.” Bas-relief, holes, self-enfolding or unfolding objects are present in this exhibition as well. Bakhtin characterizes this mode as the archaic grotesque.
In the corporeal world of the present, different types of ecstatic (out-of-body) states are commonplace, from absorption in the apparatus of technology, to Dionysian revelry, to spiritual practice of all kinds. They have the potential to bring liberation (as in divine communion, love, compassion, the shattering of calcified opinions and egoic dogmas) as well as enslavement (internet life negating the agency of the body, escapism, disembodied subjugation to abstracted forms of value, alienation from other people in shared circumstances).
A common panacea for an anxious mind is likening one’s disposition to a throw of the dice. The circumstances of a being arriving in world is not a chance occurrence but a specific appropriation.
The question is, what do we do upon returning to the everyday, what did we learn?