After the recent award “Illy Present Future Prize 2010″, Franco Soffiantino Gallery proposes the young artist Melanie Gilligan in its spaces showing the work that won the last edition of the prize.

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The exhibition “Dystopia” is the offshoot of a screenplay proposed by the American science-fiction writer and theoretician Mark von Schlegell. In this screenplay, which has acted as a basis for the exhibition’s construction by Mark von Schlegell and Alexis Vaillant, a curator at the CAPC, dystopia, or utopia’s wretched flipside, has been taken not as an end but as a beginning.

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Following his arrival in New York in 1953, Jack Smith became one of the most influential members of the American avant-garde and a central figure in the cultural history of the film, performance, and art of downtown New York. The exhibition “Thanks For Explaining Me” at Gladstone Gallery – curated by Neville Wakefield – presents 12 recently restored films as well as a selection of drawings, collages, never before seen color photographs, black-and-white photographs, and two seminal slide shows. Three collaborative works are also on view, in which artists Ryan McNamara, A.L. Steiner, and T. J. Wilcox appropriate heretofore unseen Jack Smith film material to create contemporary meditations on Smith’s fascinating life and work.

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by Raimundas Malasauskas

Try to imagine a space where all possibilities coexist.

It’s hard, isn’t it?

The very idea of space (be it the space of a sentence or a room) already seems to exclude something, or maybe impose a certain order and sequence on things.

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The chain and the ring of the sentence by Stanislaw J. Lec inevitably bring with themselves the images of the connection among the elements. It’s so that the last suggestion of Terre Vulnerabili is also the metaphor of an entire and long exhibition readable as a cyclic process where the elements succeed one as consequence of the other. At the same time, it also evokes True solutions come from the bottom up, the first title of the four phases of Terre Vulnerabili.

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Bas van den Hurk and Harm van den Dorpel combine and manipulate multiple spatial co-ordinates through different mediums in a given context, in this case Rod Barton Gallery in London. In an era where the potential to make new remarkable gestures seems exhausted, they instead productively research discursive networks, modes and models of painting and virtual reproduction.

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Ai Weiwei is one of the leading cultural figures of his generation and consistently displays great courage in placing himself at risk to affect social change through his art. He serves as an example for legitimate social criticism and free expression both in China and internationally.

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Carsten Höller returns to Milan with a site specific project that tracks the artist’s interest in the animal kingdom. At Massimo De Carlo, the artist with a degree in Agronomy presents Kanarienwaage (Canary Scale), a work from 2010, consists of two identical bird cages, suspended, containing a total of 12 male Timbrado Español canaries. At the midpoint of the bar connecting the two cages there is a special measuring device which, depending on the canaries’ most minute movements, registers the height difference between the cages.

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Still Life presents the work of 6 artists including Gillian Carnegie, Anne Collier, Mark Leckey, Sherrie Levine, Seth Price and a new site-specific work by Richard Wright.

The exhibition, curated by Polly Staple, explores the status of images as objects. Artistic strategies represented in the exhibition include appropriation, repetition and serial production. Points of reference include the production of images influenced by new technologies and the relationship between painting, photography and the moving image.

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There is a definitive empathic attraction concerning nomadic experience in the works of Maeghan Reid. This idea or fantasy of nomadic experience, being a human existence in a wilderness beyond the interior of sedentary being, operates as a formal and psychological simultaneity.

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There’s a medieval thriftiness to the idea that two sharpened sticks dragged over one another could make fire. That something as quiet and dumb as a small section of tree – via impulsive chop and sweat and luck – carries a potential blaze. But there is also a fiddling stupidity in the instruction, no manual or download to offer suggestion of how this blind alchemy could ever be as simple as a match. And there is also the question of what’s missing, of the glaze of actions before and after the taking and the sharpening. So in the title, the exhibition suggests a command, an optimism, but also the image of hapless engineer moving via ancient cartoon process.

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The impression that remains after an initial exposure with an image or series of images relies upon a persistence of vision, evoking the unique sensorial ability to hold on to the perceptual remainder of image encounters. This group exhibition of recent American art focuses on how artists re-order, re-sequence, and shift emphasis in the wake of associations and references that arise in looking at and responding to the surfeit of images and image-objects in contemporary culture. Context, source, and circulation are implied but often secondary as the associative nature of image sequencing is increasingly brought to the forefront.

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The title of this exhibition of new work by Aleana Egan, ‘nature had an inside’ is taken from Saul Bellow’s 1987 novel, ‘More Die of Heartbreak.’ Frequently absorbed by language and literature, the works presented here are not an attempt to translate such texts into the physical, but rather operate as a pause, a noting and a generative mining of the experience of different mediums. Notably Egan engages her interest in the possibilities and effects of an interplay between literature and sculpture; two genres which often oppose in influence.

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Featuring: Richard Aldrich, Cheryl Donegan, Angiola Gatti, Jacqueline Humphries, Sergej Jensen, Raoul De Keyser, Michael Krebber, Albert Oehlen, Julian Schnabel, Peter Soriano, Richard Tuttle

Curated by Raphael Rubinstein

Until May 21, 2011

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Kilian Rüthemann makes sculptures using simple substances such as salt, sugar, bitumen or cement, interacting these with the fabric of the building that support them to form architectural interventions that alter the function of their known ingredients, allowing structural properties to expound their own logic.

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Erotic art is not exactly a major topic within Islamic history, so when an ancient, giant stone phallus sculpture was discovered under the foundations of a new museum under construction in the ‘Arabian desert’, naturally there was panic. No photographs were taken, and no record of it’s discovery or disappearance exist. Some say it was destroyed, others saw an unlabeled crate departing for ‘destination unknown’.

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