Category: exhibition

Tuesday May 14 opens: Matilde Sambo, Falsità in buona coscienza, curated by Gabriela Galati, aA29 Project Room Milan.

Matilde Sambo,

Falsità in buona coscienza

Curated by Gabriela Galati

With a text by Alessandra Galletta

Media partner That’s Contemporary

Opening on Tuesday 14th May, h 6.30pm

aA29 Project Room Milan

Piazza Caiazzo 3, 1st. floor

20124 Milan


aA29 Project Room Milano presents Matilde Sambo’s first solo exhibition Falsità in buona coscienza, curated by Gabriela Galati with a text written by Alessandra Galletta.

The artist’s recent research, and in particular the project developed for the present exhibition, is to be considered from the point of view of the topic of the limit, or rather, from its cancellation and blurriness. Binary pairs of seemingly opposite concepts are shown, in Sambo’s work, as a continuum, and the boundaries between them become labile.

The exhibition presents a series of works that question, through simple strategies of intervention or overlapping, the separation, to begin with, between nature and artifice: shells modified in an almost imperceptible way, or strands of hair, wax and thorns that form small compositions that the artist distributes around the gallery, often installing them in places that are difficult to access for the viewer’s gaze. In addition to this set of works, there are some sculptures belonging to the series Cantus ab aestu, which Sambo realises using cicadas moults found on trees as casts.

The irrelevance of the visibility of the object, or at least of its permanent visibility, is also to be found in the second series of works on display La material non è mai al suo posto (Matter is never in its place): it consists in “fake” relics exhibited in four reliquaries—modelled by the artist and cast by Fonderia Artistica Battaglia—which contain stalactites found in a cave. The relic in this case alludes to a continuous cycle, to a kind of closed loop in which artificial and natural, sacred and profane, true and false are reversed and mixed until they become indistinguishable. Thus, the cave takes the place of the profaned temple in which the relic was found, the stalactite, which in turn, when exhibited becomes artifice.

Finally, Omeostasi, belonging to the Untitled-Monitors and Materials series, consists of a video installation on two monitors in which the artist documents a session of “manipulation”. In one of the monitors the gaze is focused on the masseur’s hands, in the other on the patient’s reactions, which passes from intense laughter to anguished crying. This work therefore also raises questions about the act of believing, not as a religious element as is the case of the relic, but in a kind of therapy that in Western culture is considered “alternative” and not scientific, and at the same time puts the accent on the unclear limit between joy and suffering. The work also considers the transformation of the hands from limbs that human animals have in common with other species, to tools that distinguish us, perhaps, from non-human animals.

Matilde Sambo’s first solo exhibition invites us, then, to rethink the world, or at least part of it, in cyclical and non-contradictory terms.


Matilde Sambo (Venice 1993) graduated in Visual Arts at the IUAV University of Venice. She currently lives and works in Milan. During her career she has participated in various residences in Italy and in Europe: Roccaporena di Cascia (Umbria, Italy), Collective signatures (Formentera, Spain) and at VIR (Via Farini, Milan). She has also taken part in various representations, through the use of sound improvisations accompanied by video projections, including Sciame Project (Steam Factory, Milan), Radio Raheem for the project by Eva Macail Rava vavàra at Argo16 (Venice), t- space (Milan), Loup Studio (Rovereto), Festival Sconfini (Modena) and Teatro Fondamenta Nuove (Venice). She has exhibited in group exhibitions such as Friends at Space Thetis, Trigger Parties at Marsélleria Paradise (Milan), Villa Memo Giordani Valeri (Treviso), Doxa sounds from society at the Romanian Institute of Culture (Venice) and during the Venice International Performance Art Week. She was selected among the finalists of the Biennale Giovani Trento in 2012, won first prize in the “Un giornoenny” section of the Pasinetti Video Competition in Venice in 2012, the first Pomilio Blumm Award (Pescara) in 2013 and will present in 2019 the own film Collective signatures-the cave at the Formentera Film Festival.


Matilde Sambo,

Falsità in buona coscienza

Curated by Gabriela Galati

With a text by Alessandra Galletta

Media partner Thats Contemporary


Opening Tuesday may 14th, h 6.30pm


aA29 Project Room Milan

Piazza Caiazzo 3, 1st. floor

20124 Milan

Tiziana Pers, CAPUT CAPITIS I, curated by Gabriela Galati, aA29 Project Room Milan

Tiziana Pers,

Curated by Gabriela Galati
With a text by Gabi Scardi

Opening Wednesday March 27th, 6.30pm
March 27th – April 26th 2019

aA29 Project Room Milan
Piazza Caiazzo 3,
1st. floor, # 2


aA29 Project Room is pleased to present Tiziana Pers’ solo  exhibition CAPUT CAPITIS. The project was conceived as a single exhibition in two parts that will be inaugurated first at the gallery in Milan, and later in Caserta.
Tiziana Pers’s artistic research focuses on biocentrism, and works through the analysis and deconstruction of colonialism, racism, sexism, capitalism, speciesism and domination over nature. Precisely, the title of the exhibition alludes to the fact that the word “capitalism” derives from the Latin caput capitis, i.e. head of cattle. The objectification of the other that produces surplus value from work, or as in this case, from the forced reproduction of animals, forms the basis of the capitalist system.

More specifically, the common thread that binds all her practice, and the exhibition CAPUT CAPITIS in particular, is her project ART_HISTORY, always in-progress.
In the artist’s words, ART_ HISTORY “consists in exchanging one of my paintings with an animal that was destined to be slaughtered: a horse, donkey, rabbit, lamb, chicken, pig, duck, goat, cow, goose…depending on project. The painting has the same height and dimensions as the animal to be saved. And I do not decide who will come with me: the butcher, or breeder makes the choice. A contract certifies the exchange.” In this way the project opens several questions on the attribution of an economic value to a sentient being as well as to a work of art, and at the same time on the possibility of art to interact with the actual situation and save a life.

On show in Milan a selection of works related to the Art History practice and to the liberated animals will be presented, starting from the exchange contracts. These include ART_HISTORY / Vucciria (2018), an action carried out in Palermo for Manifesta 12 (*).
ART_HISTORY is also closely linked to the other fundamental project of Pers’ practice: the residence for artists and animal sanctuary RAVE East Village Artist Residency, founded together with his sister Isabella, in which every year an international artist is invited to live with the saved animals and to develop an artistic project that is somehow the result of this interaction.
The exhibition, although not exhaustive, aims to present the complexity of an artistic research that is largely grounded on concrete action.

Tiziana Persstudied Foreign Languages ​​and Literature, and developed her doctoral research on the dialogue between visual arts and literature. Among the last public events to which she took part are worth mentioning: Ex Wunderkammern, double solo show with Regina Josè Galindo, curated by Mylène Ferrand and Robert Baramov at the National Museum of Natural History in Sofia (BG), Art_History / Vucciria, (*) 2018, performance realized in scope of Memoria Collettiva. Casa Spazio hosts Casa Sponge curated by Lorenzo Calamia and Serena Ribaudo / Border Crossing collateral event MANIFESTA 12, Palermo and her participation with the video RAVEto the project THE INDEPENDENTcurated by Elena Motisi and NESXT, MAXXI National Museum of the XXI Century Arts, Rome. Her works and performances have been presented in numerous museums and institutions, among which: Lapidarium Museum, Novigrad, Croatia; Seoul Biennale of Architecture and Urbanism, South Korea; Drawing Madrid (aA29 Project Room) Circulo de Bellas Artes, Madrid; Musée de la Chasse et de la Nature in Paris; PAV Living Art Pavilion Turin; Museum of Natural History of Trieste and Milan; Palazzo Pretorio Volterra; Castello di Rivoli Museum of Contemporary Art; Italian Market Hong Kong; One Night Stand Gallery, Sofia; Prix-Pictet Palais De Tokyo Paris; Old Police Station, London; 53. Venice Biennale e. c .; Novosibirsk State Art Museum, Russia; TriesteContemporanea, Trieste; N.Est Museo MADRE Naples; DIFC Dubai; Dade Public Library Miami. She has lectured at numerous universities and institutions, including: MAXXI Rome Museum, Polytechnic of Milan, University of Trieste and Udine, PAC Contemporary Art Pavilion in Milan, NABA Milan, Contemporary Dolomites, École nationale supérieure d’arts de Paris-Cergy.

Tiziana Pers,
Curated by Gabriela Galati
With a text by Gabi Scardi
Media partner That’s Contemporary

Opening Wednesday March 27th, 6.30pm

aA29 Project Room Milan

Piazza Caiazzo 3,
1st. floor, # 2

Camilla Alberti finalista del STATES OF MIND PRIZE, inaugurazione 1 febbraio Palazzo Valmarana Braga, Vicenza.

Comunicato stampa:

Dopo un intenso lavoro di valutazione da parte dei giurati  – Simona Bordone, Orietta Brombin, Riccardo Caldura, Gabi Scardi e Luigi Viola – che ringraziamo, finalmente pubblichiamo i nomi degli artisti finalisti della prima edizione del premio di arte contemporanea dedicato agli UNDER 35, ideato da Gli Stati della Mente, realizzato con il sostegno del MiBACT e di SIAE, nell’ambito dell’iniziativa “Sillumina – Copia privata per i giovani, per la cultura”, avvalendosi del patrocinio di PAV – Parco Arte Vivente (Torino) e dell’Istituzione Fondazione Bevilacqua La Masa (Venezia).

Le opere selezionate saranno esposte dal 1 al 17 febbraio presso lo storico Palazzo Valmarana Braga a Vicenza.
In occasione dell’inaugurazione sarà Barbara Fragogna, direttrice della galleria d’arte torinese partner del concorso Fusion Art Gallery / Inaudita, in accordo con la giuria, a decretare il vincitore in occasione dell’inaugurazione della mostra.
L’artista vincitore del Premio States of Mind avrà la possibilità di effettuare una residenza d’artista e la conseguente mostra personale presso la galleria partner. Verrà invece assegnato da Petra Cason, art director del Festival Gli Stati della Mente, il Premio Speciale Nicefall dedicato alla videoarte, e messo a disposizione assieme al know-how da Nicefall, agenzia di soluzioni digitali interattive specializzata in video mapping, lighting design e visual design.


Per maggiori informazioni su Camilla Alberti si prega di cliccare qui.

Per maggiori informazioni sul premio e la mostra di prega di cliccare qui.


Baptiste Debombourg at Plasticus, Galerie ENSAPLV École nationale supérieure d’architecture de Paris-La Villette



Exposition du 16/11/2018 au 25/01/2019

Avec Boris Achour, Rada Boukova, Baptiste Debombourg & David Marin, Pierre-Yves Hélou, Camille Henrot, Delphine Kohler & Les Filles du Facteur, Eric Monin, la Plastic Bank, les étudiants de l’ENSAPLV.

Le projet Plasticus est né de la collaboration entre Rada Boukova, artiste invitée en 2018, et Baptiste Debombourg enseignant en art à L’ENSAPLV. L’exposition est une toile de fond pour un projet de recherche plus large, développé en atelier.

Cette exposition autour du sac plastique aborde le problème de son envahissement du fait de sa production de masse et donc la pollution engendrée. Elle propose une réflexion sur l’usage, le détournement, le recyclage de cet objet dans l’art contemporain, le design, l’architecture, l’histoire, l’économie ou la mode. Véritable atelier de recherche ouvert sur l’imagination, l’objectif est de proposer des pistes pour transformer et recycler ce matériau. Marqueur spatio-temporel de notre civilisation, basique, original, banal ou sophistiqué, le sac fait partie de notre quotidien depuis les années 1960 environ. Devenu un objet universel, il n’en demeure pas moins un matériau pourvu d’un immense potentiel tout autant qu’il est devenu un fléau pour l’environnement.

L’idée de cette exposition est un élan vers une autre direction : commençons par rêver et bricoler pour engager une autre manière de faire.

For more information on Baptiste Debombourg please click here.



Stakeholders dialogue. Human and Plants, installazione di Camilla Alberti e Simona Cioce presso The Swamp Pavilion, Biennale di Architettura di Venezia 2018.

Axel Straschnoy at Perm Regional Museum

The Permian Projects

The Natural History Museum is a place where life and death mingle, where to celebrate life, we kill, a place where the variety of life can only be appreciated dead. The Permian was one of the most biodiverse periods in the history of Earth but ended with the worst mass extinction. In the regional museum in Perm, even more than in any other museum of natural history, life and death coexist.

These projects are conceived as artistic interventions into the existing museum practices, drawing ways of working, aesthetics and conceptual frameworks from the institution itself.

The Permian Collection

The Permian Collection is a collection of the insects exterminated as part of Perm Regional Museum’s conservation efforts.

These are regularly exterminated and disposed of without much afterthought. Focused on the nature-out-there, the Museum fails to consider itself as a place overrun by living beings, some of which might work against its stated mission of heritage conservation.

At artist’s request, the Museum began collecting the insect it kills, rounding up in half a year over 200 from 35 different families of Arthropoda. The new collection includes butterflies, mosquitos but also spiders and woodlice. The collected insects have been scientifically defined with the support of entomologists of Perm University, catalogued, photographed and placed in custom-made boxes, becoming the first new entomology collection since 2008.

The Dioramas of the Permian Museum

The Dioramas of the Permian Museum is a tridimensional photo series portraying the zoological collection’s animals in their new habitat: the museum storage.

Since the 1960s, the Perm Regional Museum used to have several dioramas in its displays. After moving venue in 2007, these were dismantled and their parts put into storage. The taxidermied animals that were part of them currently inhabit a former office, crowded in unlikely combinations that span biotopes and predator-prey relationships.

Many of these animals, collected when they were typical for the region, have become endangered. Some have gone extinct. The biotopes that the dioramas’ painted backgrounds depicted have in many cases ceased to exist. For many of the animals in the Museum’s Zoological collection, the storage itself has become their natural habitat, the only place they can still be found.

Axel Straschnoy’s work has been supported by a State Grant for Artists from the Arts Promotion Centre Finland. His residency at the museum was supported by the Vladimir Potanin Foundation. The projects were co-produced by the Perm Regional Museum and Kolme Perunaa.

For further information on Axel Straschnoy, please click here.

Camilla Alberti e Carlo Gambirasio alla Biennale di Architettura di Venezia 2018 per la Swamp School di Urbonas Studio

Camilla Alberti, Stakeholders Dialogue, 2018. Maquette for the Swamp School, Biennale di Architettura di Venezia 2018.


The Swamp Pavilion è un’idea di Nomeda e Gediminas Urbonas, artisti, educatori e fondatori di Urbonas Studio.

Il duo ha ideato il progetto dello Swamp Pavilion per la XVI Edizione della Biennale di Architettura di Venezia. Attraverso il contributo di studiosi e artisti ci si interrogherà sul Commonism (On Cohabitation), ovvero sul significato del vivere comune nella società moderna in un laboratorio- piattaforma di sperimentazione e ricerca sul futuro del vivere.

Il progetto prevede la partecipazione degli studenti di diverse e prestigiose università internazionali, tra cui NABA oltre al MIT dove Gediminas Urbonas è direttore del programma in Art, Culture and Technology. Saranno presenti, inoltre, lo IUAV di Venezia, la Royal Academy di Anversa, la Princeton University, la FHNW di Basilea e la University of Fine Arts di Amburgo.

Il 25 settembre, all’interno del Padiglione Lituano, si terranno dei workshop guidati dagli Urbonas con la partecipazione di 13 studenti del Biennio di Arti Visive e Studi Curatoriali di NABA : Camilla Alberti, Marco Antelmi, Valentina Avanzini, Matteo Canetta, Simona Cioce, Laura Colantonio, Benedetta Dosa, Clarissa Falco, Carlo Gambirasio, Chiara Lupi, Letizia Mari, Matteo Messina, Tommaso Pagani.

Seguirà una lecture tenuta da Marco Scotini, Direttore Dipartimento Arti Visive e Studi Curatoriali e da Andris Brinkmanis, Course Leader BA in Painting and Visual Arts di NABA.


10.30- 13.00:

Evocation of the Swamp di Nomeda e Gediminas Urbonas, artisti e curatori (Lituania/US)

Workshop NABA:

Swamp Pedagogy. A manual for the drift, presentato da Letizia Mari, Matteo Canetta

– The anti-sinking workshop. Utopian solutions from below, un progetto di Carlo Gambirasio, in collaborazione con Irene Angenica, Alice Staro, Andrea Biffi  e Galleria Ikona, Galleria Artespaziotempo, Venezia.

– Ants Soundscape, presentazione dell’installazione sonora di Chiara Lupi in collaborazione con Giorgio Berti e Dario Sposini

– Food for Commons, Food for Life, workshop di Valentina Avanzini, Laura Colantonio, Benedetta Dosa, Clarissa Falco

14.00 – 16.00 .

Workshop NABA

-Drum System, presentazione di Marco Antelmi

-Stakeholders dialogue. Human and Plants, presentazione di Camilla Alberti e Simona Cioce

-Marco Polo Returns through Suez, presentazione di Matteo Messina in collaborazione con Tommaso Pagani e Chiara Lupi

16:00 – 17.00

The desert in common. In praise of a Nomad Science, lecture di Marco Scotini and Andris Brinkmanis, curators NABA

The Swamp School,  a cura di  Nomeda & Gediminas Urbonas

24-29 Settembre, 2018

Luogo : Giardino Bianco Art Space

Castello, Via Giuseppe Garibaldi, 1814, 30122 Venezia , Italy

 Più informazioni su Camilla Alberti e Carlo Gambirasio.

Tomislav Brajnović’s solo exhibition Direct Link at the Museum of Contemporary Art Zagreb will be on view until June 10.

Tomislav Brajnović: Direct Link

MSU Gallery, Thursday, 24th May 2018 at 8:00 pm

Curator of the exhibition: Nataša Ivančević, Deputy Director & Museum Advisor

For Tomislav Brajnović, art is more than the exploration of the form, visual artistic means, production, and presentation of the work of art. The radicalism of the artistic idea is more important to him than the radicalism of the artistic form. His works as well as his worldview are concerned with the issues of ethics, social justice, and are a critical reflection of the times we live in. Art and life are interfused without limitation. His methodology is focused on asking questions, analyzing and criticizing the social moment, the polemics with proponents of opposing views, and the disagreement with generalized answers. The range of his themes spans from social to religious to political to economic controversies, and is present in the works created from the beginnings of his artistic activity in the 1990s to this day.

He easily moves from medium to medium, and uses video, installation, sound, performance, readymade, and other means that best serve to transfer ideas at a specific point in time. More recently, he has been using social networks as a medium of artistic activity, as they provide the possibility to quickly spread information and personal views, as well as to express the opinions of a large number of users. At his first larger solo exhibition in Zagreb, “Direct Link”, he presents installations, documentation, video works, FB comments, and texts taken from the Internet, in which he reveals the social inequality that is reflected in the unequal distribution of wealth, power and influence, in the manipulation and abuse of advanced technology, which becomes a means of controlling free will and possible consequences of such action.

Brajnović takes the concept of Direct Link (Direktna veza) by the Slovenian philosopher Slavoj Žižek for the title of his exhibition. The term implies a direct link between the human brain and digital space. Technology and scientific research bring progress, and the insertion of implants brings health benefits. What is a threat to the loss of autonomy of human thought and action and, ultimately, to freedom, is the possibility of managing the human mind through chip implants and digital links. According to Žižek, for an individual, the possibility of separating from the outside world and the possibility of withdrawal into one’s inner worlds thus disappears, which raises the ultimate question: “Who will control it?” On the other hand, Elon Musk thinks that humans already possess the characteristics of cyborgs, given the connection with digital devices, clouds and space. In the worst scenario, this can lead to the abolition of free will and of the space of freedom, and to the introduction of art censorship at the level of thought and idea. In this exhibition, Brajnović therefore issues a manifesto on the death of the audience as a result of the abolition of the artist, the audience and art.

After MSU, the exhibition will be presented at the Gallery of Fine Arts, Split, albeit on a lesser scale. Curator of the Split exhibition: Jasminka Babić, Senior Curator

Tomislav Brajnović was born in Zagreb in 1965. He completed his first year of studies at the Royal Academy of Art (KABK) in The Hague. He graduated from the Academy of Fine Arts in Zagreb in 1999, where his mentor was Professor Đuro Seder, and completed postgraduate studies in Fine Art at Central Saint Martins College of Art & Design in London in 2003. He works and exhibits intensively both in Croatia and abroad. He is a recipient of several awards, scholarships and recognitions, and has taken part in several residence projects. He teaches New Media, City Mapping, and Recontextualization at the Academy of Applied Arts in Rijeka. Since 2007, he has been running the Studio Golo Brdo Project/Gallery. He is the author of the Supper with the Artist project.

For more information on the exhibition please click here.

For more information on Tomislav Brajnović please click here.

Carlo Gambirasio ha inaugurato la sua personale Bodylights n°1 presso Porto dell’arte

Bodylights n°1 di Carlo Gambirasio

a cura di Irene Angenica

 dal 4 al 6 maggio dalle ore 18 alle 22.

Carlo Gambirasio | Verona 1994 |


Il pensiero di Carlo Gambirasio prende origine da un’attenta analisi della cultura visiva nella quale viviamo e pone l’attenzione sull’impossibilità di codificare attraverso un segnale finto, digitale, ogni tipo di rappresentazione sensibile. Il nostro mondo è pieno di immagini analogiche, prodotte attraverso un processo discreto che può essere semplificato ma mai riprodotto in forma identica.

Le sue non sono opere ma dispositivi privi di scopo pratico, strumenti capaci di trasmettere un concetto e di far riflettere sulle modalità di fruizione della realtà. Il suo fare pone domande sulle regole del mondo artificiale, non si abbandona a un futuro ormai programmato ma cerca di insinuarsi nel sistema per comprenderlo e modificarlo.

Carlo Gambirasio svela i trucchi dei signori delle macchine, mostra come le tecnologia sia priva di anima e necessiti di un logos per essere utile e portatrice di senso. Strumenti e macchine sono solo mezzi la cui funzione ultima viene identificata attraverso il termine “Metànthropia”. Coniata dall’artista stesso, la parola vuole evidenziare come esista un’ autoevoluzione artificiale creata dall’uomo, che differisce da quella naturale per metodi e tempi.

Per maggiori informazioni sull’artista si prega di cliccare qui.

Per informazioni sulla mostra si prega di cliccare qui.



Testo di Marco Roberto Marelli

Ivana Adaime Makac and Camilla Alberti in Questions on the Living / Domande sul vivente, at aA29 Project Room Milano.

Ivana Adaime Makac, The Variation of Animals and Plants under Domestication (2016); Origine des plants cultivées (2018) and L’univers de notre jardin (2018). Different editions of the three books, Savoy cabbage, varnish, pigments, different measures.


Ivana Adaime Makac’s and Camilla Alberti’s works will be featured in the exhibition Domande sul vivente / Questions on the Living at aA29 Project Room Milan, from May 30th through July 27th, together with Brandon Ballengée, Tiziana Pers, Muriel Rodolosse, Matilde Sambo and SEEDS.

Domande sul vivente /Questions on the Living is a group exhibition curated by Gabriela Galati that features works by six artists and a creative collective who ask questions about the living with very different points of view and approaches, and even sometimes in contradictory contexts.

The exponential acceleration during the last century in technological developments has inevitably led to questions on the changes in the relationship between humans and technology, and, almost at the same time, on the living as a whole. Many of the researches in this regard have been proposed under the name of posthuman: a “condition” that implies an expansion in the interest towards a more complex and comprehensive vision of contemporaneity; a vision that puts all life forms on the same level taking into consideration also the relationship with the inorganic. In this sense, “living”, one of the most discussed and difficult aspects to be defined by biology, includes human and non-human animals, the vegetal world, and why not, even forms considered semi-living, such as viruses.

The exhibition intends to explore diverse visions, approaches and methodologies regarding the living in the artistic practices it presents. Its intention is not to use living beings as materials, or to create a purely aesthetic experience, but on the contrary, all these artists are interested on the living as a topic of reflection, and often of action, whatever the medium chosen to convey it. In fact some of them, like Camilla Alberti, Tiziana Pers and Muriel Rodolosse use panting, Ivana Adaime Makac and Brandon Ballengée include vegetal elements and animals in their oeuvre, and Matilde Sambo works with video and photography.

A great part of Ivana Adaime Makac’s artistic research focuses on investigating the processes of domestication and dis-domestication of living beings. Particularly, in the works in the show she used Savoy cabbage, a vegetable that was domesticated hundreds of years ago for human consumption, treated in different ways: In the books sculptures, she covered an 1867 edition of Charles Darwin’s The Variation of Animals and Plants under Domestication and Alphonse de Candolle’s Origine des plants cultivées (1998) with layers of cabbage treated with pigments and lacquer. In the installation that belongs to the series Jardin Transformiste, the artist used the cabbage to “dress” a stool, and remaining vegetables from other works and installations to build the garlands. The artist’s interest for life cycles and incomplete shapes is paired in all these works with new forms of domestication and reutilisation of the vegetal element.

Camilla Alberti’s paintings deal with nature as landscape: she isolates some details from a landscape, and recomposes the images creating an abstract background. In this way, the elaboration of nature is doubled: firstly when it is conceptualised as landscape, as it usually is, and a secondly through her artistic elaboration.

Brandon Ballengée is an artist and biologist who has been researching for a long time on terminal deformities in amphibian populations, and from these investigations his artistic series Malamp (1996-ongoing) stemmed. Featured in the show there is one work of his Styx series (2007-ongoing). It consists in a chemically cleared and stained tiny frog lying on an illuminated glass dish. The deformed bodies are very small, and as in the Reliquaries photographs (2001-ongoing), the artist intends to create an emotional bond with the viewer, not to present the animals as monsters. His research also includes finding what generated these deformities, and eventually killed the amphibians: the causes are often pollution of the environment and water.

Tiziana Pers research is focused on biocentrism and antiespeciesism. The painting presented in the show is part of the series Elephant Song (2016), a group of works that initially addressed the extinction of elephants, but that successively the artist extended to other species, in this case, sharks. In particular, she is interested in increasing awareness on an extremely cruel practice usual in some parts of Asia where sharks’ fins are used to make a very popular soup: sharks are caught, its fins cut while they are still alive, and then thrown back to the water, where they slowly bleed to death. Elephant Song_Shark is a call to stop these insane practices, and at the same time, an homage to all animals, like all the artist’s oeuvre is.

Muriel Rodolosse’s back paintings on Plexiglas intend to put into question common human views on nature. In the apparent delicate and dreamy quality of many of her works, a quality possibly accentuated by the milky white background, it is possible to perceive a silent struggle between architectural and natural elements. The idea of a disturbed nature is challenged by also conveying the sense of natural wilderness that predominates on the pictorial surface.

Matilde Sambo’s recent video Fairy Cage (2018) investigates the tension between human fascination with nature, more specifically with other non-human animals, and the also very human need of possessing it/them. The artist slowly unveils each image and each movement, a choice that together with the disturbing audio intensifies the feeling of uneasiness when the viewer understands that each one of the living beings in the piece is a prisoner.

The exhibition is completed with the participation of SEEDS, a collective dedicated to exploring the relations between people and plants. For the exhibition, Giada Seghers, one of SEEDS’ three founders, conceived the installation Up Above and Down Below in which plant cuttings that belonged to different people, and thus have different stories are exhibited. The work aim is twofold: on the one hand, tracing and sharing plants’ movements and stories, on the other hand, in this work the roots, which are usually hidden and untouchable acquire the same importance as the “upper green” part.

SEEDS will also present the performance The Plant Swap on June 23rd, from 4 to 8pm. It will be an event open to the public in which participants exchange plants, plant cuttings and seeds, advices on how to better take care of them, but also their stories (The Plant Story Project). SEEDS has been organising the The Plant Swap event in Bruxelles, Paris and Milan since 2015 as a way of creating a community through these cities grounded on the love of plants and their shared stories.

Thus Questions on the Living aims at making evident that, even when the angles to tackle the diverse topics and the artistic research methodologies can vary, sometime greatly, there are current artistic practices, like the presented ones, which actively engage in the necessary efforts to rethink and re-enact the co-existence between the living, the inorganic and the technological as a complex ecosystem. In this complexity, older hierarchies, especially the ones that considered “the human” on top, are put into discussion and new models of interaction and co-habitation are conceived and deployed.


Questions on the Living

 Ivana Adaime Makac, Camilla Alberti,

Brandon Ballengée, Tiziana Pers,

Muriel Rodolosse, Matilde Sambo,


curated by Gabriela Galati

Opening May 30th, 6.30pm

May 30th – July 27 2018

Wed-Fri, 2.00-7.30pm

Or by appointment

The Plant Swap by SEEDS

Saturday June 23rd, 4-8pm

aA29 Project Room Milan

Piazza Caiazzo 3

20124 Milan