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DTSTART;VALUE=DATE:20260619
DTEND;VALUE=DATE:20261012
DTSTAMP:20260721T151531Z
CREATED:20260701T103702Z
LAST-MODIFIED:20260721T151531Z
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SUMMARY:Skuja Braden: Above the Below / Sanctum of Flow
DESCRIPTION:skuja braden: above the below / sanctum of flow \n\n\n\nAbove the Below / Sanctum of Flow (2026) is a siteintegrated ceramic installation in the communal washroom of Kistefos’ visitor center. At its center stands Above the Below\, conceived as an anti-monument in which a porcelain splash rises from a dense stoneware base on a marble platform above the sinks\, so that the work is experienced from below. A circular mirror placed above serves to close the well. As visitors wash their hands\, they encounter themselves held within the falling structure – no longer outside the work\, but inside it.\nSurrounding this core\, Sanctum of Flow unfolds through thirteen oval wall works integrated into the restroom stalls. Formed from clay\, glaze\, and glass\, they resemble bodily and architectural thresholds – openings\, passages\, releases – made of pipes\, ropes\, zippers\, anatomical fragments\, and fluid forms. Skuja Braden is an international artist duo working primarily with ceramic to create immersive\, feminist installations that merge decorative tradition with autobiographical\, political\, and cultural critique.
URL:https://kaufmannrepetto.com/exhibition/skuja-braden-above-the-below-sanctum-of-flow/
LOCATION:Kistefos Museum\, Jevnaker\, Norway
CATEGORIES:Permanent Installation
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20260606
DTEND;VALUE=DATE:20260831
DTSTAMP:20260610T152509Z
CREATED:20260610T114954Z
LAST-MODIFIED:20260610T152509Z
UID:29577-1780704000-1788134399@kaufmannrepetto.com
SUMMARY:Talia Chetrit: Bunny
DESCRIPTION:talia chetrit: bunny \n\n\nFirst institutional solo exhibition in Spain by Talia Chetrit.\n\n\nChetrit holds a key position in contemporary photography for the way she challenges the medium from within.\n\n\nFor her first institutional solo exhibition in Spain\, photographer Talia Chetrit (Washington D.C.\, U.S.\, 1982) presents Bunny\, a selection of works that moves playfully between portraiture\, tableaux\, and still life. The artist proposes a distinctive curatorial approach\, placing past and present photographs in dialogue within a single visual sequence. These juxtapositions recode older images\, creating simultaneity—both visual and semantic—between subjects and scenes that might otherwise feel distant. \nChetrit’s photographs seem to escape the limits of time and space\, capturing human fascination and paradox in ways that sometimes recall classical painting. Rather than offering a straightforward depiction of her personal sphere\, she employs exhibitionism and vulnerability as elements of theatrical staging. Her subjects—from family and friends to themes of parenthood and eroticism—are shown from multiple viewpoints\, near and far\, above and below. Her style is at once recognizable and elusive. \nThe exhibition’s title\, Bunny\, reflects the sensibility of her images: raw\, seductive\, and playfully performative. In her work\, the line between truth and fiction remains open to negotiation between artist and viewer. Photography becomes both medium and object\, highlighted as a material condition through which images are layered\, extended\, and transformed. The works vary in scale: intimate black-and-white prints invite close observation\, while large-format color photographs assert a physical presence and engage the viewer’s body.
URL:https://kaufmannrepetto.com/exhibition/talia-chetrit-bunny/
LOCATION:Loewe Foundation | Lázaro Galdiano Museum\, Madrid
CATEGORIES:Museum Exhibitions
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20260527
DTEND;VALUE=DATE:20260911
DTSTAMP:20260606T094850Z
CREATED:20260529T111744Z
LAST-MODIFIED:20260606T094850Z
UID:29405-1779840000-1789084799@kaufmannrepetto.com
SUMMARY:PPP pinkypussypunk
DESCRIPTION:I encountered the work of Atelier dell’Errore (AdE)[Atelier of Mistakes] before I met the members of Atelier dell’Errore. The exhibition was Hic sunt Dracones\, at GAM in Turin: when I came out\, I was not the same person who had gone in. A seed — or perhaps it would be more appropriate to say a larva — had slipped into my flesh and taken up residence there. The creatures of Atelier dell’Errore\, to paraphrase Goya\, are monsters that generate thoughts. Since then they have never left me\, and I have had the opportunity to work with and write about the collective’s work on several occasions. This text gathers\, in a generative and rhizomatic way\, in keeping with the creatures of AdE\, everything I have written so far\, though I already know it is nothing more than a small portion of a larger design. \nPrologue \nIn Reggio Emilia\, on the third floor of the Collezione Maramotti\, Atelier dell’Errore makes its home: a collective of eleven neurodivergent artists. It is impossible to say exactly when Atelier dell’Errore was born: it did not arise from a precise intention or from a premeditated plan. Atelier dell’Errore happened. It happened that Luca Santiago Mora\, an artist and now the artistic director of Atelier\, received a call twenty years ago from a friend asking him to replace her for a year in the expressive activities workshop of the Child Neuropsychiatry Department of the AUSL in Reggio Emilia. He never left that workshop. The hours spent with the young people became an experience among equals\, where everyone learns and everyone makes mistakes\, in the conviction that errors are only a convention. \nFor this reason\, from the very beginning Santiago Mora decided to base the work on drawing\, a technique he himself had never explored as an artist\, so that everyone could start from the same line. Two further stakes marked out the perimeter within which to move: the subjects had to be inspired by the animal kingdom\, and erasing was forbidden — no erasers\, no correction fluid\, no changing the sheet of paper. One always moves forward with what is there and with what one is. From these premises\, and from the relentless practice of drawing\, the processually metamorphic morphology of AdE’s creatures was born. \nOver more than twenty years of activity\, Atelier dell’Errore has created a bestiary of hybrid beings: part insect\, part underwater animal\, rarely mammal. They are monstrous\, unsettling\, magnetic creatures\, the result of a collective practice that has been engaging with large scale for years. In 2018\, Atelier reached an important goal: the collective became a social cooperative art studio. The young people\, by then adults\, were hired as draftspeople. Their salaries depend on the sale of the works\, “without European\, regional\, or municipal funding\,” while always keeping their distance from the worlds of art therapy and outsider art\, and infiltrating ever more deeply the fabric of the official contemporary art world. \nFrom a workshop for neurodivergent children\, Atelier dell’Errore has become a Renaissance bottega\, where each member of the collective can give the best of themselves\, experimenting with new techniques and materials. Although the works are the result of many hands\, those hands collaborate harmoniously\, giving rise to an imaginary that is always unified and coherent. Like a living organism\, AdE evolves and takes on increasingly ambitious projects. It is through these challenges that the members of the collective have found their profession and their place in the world. \nNew York\, February 2025 \nIn February 2025\, Atelier dell’Errore landed in New York City\, in the spaces of Kaufmann Repetto\, with FREAK YOU!\, the collective’s first exhibition on the other side of the Atlantic. Staying with the nautical metaphor\, the exhibition opens with AdEVelaAlpina 01\, a large sail originally presented at the ninth edition of Biennale Gherdeina\, and with a domestic version in the main room\, AdEVelaAlpina 02. The sails are the most recent result of a career-long experimentation with supports alternative to paper. With the help of a historic sailmaker\, AdE transformed emergency thermal blankets — a material that in Italy immediately evokes the theme of migration — into a sail for the Edipo Re\, the fishing boat that hosted Pasolini and Maria Callas and that\, at the end of the Second World War\, carried Istrian Italians fleeing the Iron Curtain to safety. That same glossy\, almost mirror-like material has since been adopted as the surface for the drawings\, later mounted on recovered remnants of silk. These works mark the return of color after a long age of gold\, which had characterized AdE’s works in recent years. The explosion of acrylic colors and flesh-pink tones goes hand in hand with the shift in subject matter in the new cycle of works: Unknown Pleasures. \nMilan\, May 2026 \nThe exhibition pinkypussypunk brings together the works produced in this new phase in the lives of the members of the Atelier dell’Errore collective. The sexless insects of the age of gold have become pubescent creatures with new anatomical attributes\, unmistakably sexual. The children from the workshops of twenty years ago have become young adults\, and sex lies at the center of their imaginary\, their thoughts\, their impulses. The monstrous creatures once conceived as guardian animals against the bullying suffered at school become libidinous creatures\, giving form to desire. The explosion of acrylic colors and flesh-pink tones goes hand in hand with the shift in subject matter in the new works from the Unknown Pleasures series\, which makes that desire explicit and adopts the famously libertine deities of Greek mythology in order to speak of autoeroticism\, arousal\, loss of control: Hyper Sexy Aphrodite (2025) welcomes visitors and guards the space\, imperious yet fragile. In the adjoining room\, a special display designed by the collective recounts\, like a classical frieze\, the adventures of six characters from AdE’s personal mythology. Melusine Blow Up Doll\, Countess BatHorny\, Priapo Orchitico Capezzoluto\, Urechis Ero-Thanatos\, Hyper Sexy Aphrodite\, Pegging Gimp Girl — all from 2026 — are the materialization of a sexuality and a desire that loudly proclaims its own existence\, even though it cannot be acted upon. \nOn the opposite side of the gallery\, a new series\, Black Pearls Penguins\, is less explicit but\, if possible\, even more disturbing\, especially for those who suffer from trypophobia: a more or less intense form of repulsion that some people feel when faced with surfaces filled with small\, irregular\, closely clustered holes. \nTrypophobia does not appear in diagnostic manuals\, but in many cases it provokes reactions of disgust\, discomfort\, or even fear that are incomprehensible to those who do not experience it. You may discover that you are affected by it by looking closely at All Yours or Venus birthing from an egg. But even if you do not belong to that ten to fifteen percent of the population for whom these images produce shivers and a sense of unease\, they will certainly not leave you indifferent — just as the titles that accompany them cannot help but elicit a smile and a sense of admiration: Daphne Brood Mother\, Jumping Pleasure\, Tickle me till I shiver\, I melt with desire\, Put your finger in my ribs\, I fuck you till you love me\, Penguin Milking Gland\, Amikiri spreading for birth\, Surgery Gender Affirmation Operationing. As one might intuit\, each of these characters has a story to tell\, of which its visual materialization is only the loose end of the thread. Some of these stories can be heard in the living voices of their creators thanks to the video PINK! IS THE WARMEST COLOUR\, a special tour of the exhibition filmed in a single sequence shot and included in the show. In the final room\, the path concludes with an almost mystical vision\, thanks to a new experiment with materials that gives rise to Glowing Vulvae. Three vulvae drawn by the collective with acrylic colors and markers on a transparent material\, Melinex\, transform the last room into a chapel bathed in the colors of a psychedelic sunset. \nOn the basement floor\, the play of mythological references continues: the acronym of Atelier dell’Errore is AdE\, the god who presides over the underworld. The collective that bears his name has interpreted the lower level of the gallery as a chthonic world\, renamed the Chamber of Vulvae (Cueva Tito Bustillo)\, where everything is drawn in pencil on paper\, a return to the collective’s origins. The title of this room comes from another very famous “hole”: the Cueva de Tito Bustillo\, a cave decorated by human beings before 10\,000 BCE and discovered in 1968 by a group of young speleologists in Asturias. In the original cave\, alongside many drawings of horses\, deer\, and other animals\, there appears a series of representations of female genitalia outlined in red\, believed to have been intended as invocations of fertility. The Vulvae Family Tree is the collective’s own invocation: a family tree in which thirty vulvae are represented as proud\, hypertrophic creatures\, a gallery of portraits whose underlying theme seems to be the genesis of life. This family tree also offers a possible key to reading the large work Arakne’s SexToy\, which appears as the point of connection between the works on the ground floor and those in this room. In scale and explicitly sexual content\, the work engages with the colorful deities of the Unknown Pleasures series\, but the pencil line that extends to the edges of the paper\, creating an inextricable web\, seems to distance it from those noisy creatures\, as though this were the wise ancestor that generated them all. A great spider mother — the insects of the beginning return — from whom all the others have emerged\, one by one\, to conquer the world. \n– Marta Papini \n  \n  \n  \nHo conosciuto il lavoro di Atelier dell’Errore (AdE) prima di conoscere i membri di Atelier dell’Errore. La mostra era Hic sunt Dracones\, alla Gam di Torino: quando ne sono uscita non ero la stessa persona che era entrata. Un seme\, o forse è più appropriato dire una larva\, mi si era intrufolata nella carne e mi aveva abitata. Le creature di Atelier dell’Errore\, parafrasando Goya\, sono mostri che generano pensieri. Da allora non mi hanno più lasciata\, e ho avuto modo di lavorare e scrivere del lavoro del collettivo in diverse occasioni. Questo testo raccoglie in modo generativo e rizomatico\, in linea con le creature dell’AdE\, tutto quello che ho scritto finora\, ma già so che non è altro che una piccola porzione di un disegno più grande. \nPrologo \nA Reggio Emilia\, al terzo piano della Collezione Maramotti\, ha casa Atelier dell’Errore\, un collettivo di undici artisti neurodivergenti. Non si può dire esattamente quando nasca Atelier dell’Errore: non nasce da una volontà precisa o da un disegno a tavolino. Atelier dell’Errore è successo. È successo che Luca Santiago Mora\, artista e oggi direttore artistico di Atelier\, vent’anni fa riceve una chiamata da una amica che gli chiede di sostituirla per un anno nel laboratorio di attività espressive della Neuropsichiatria infantile dell’AUSL di Reggio Emilia. Da quel laboratorio non se ne è mai andato. Le ore trascorse insieme ai ragazzi sono diventate un’esperienza fra pari\, dove tutti imparano e tutti sbagliano\, nella convinzione che gli errori siano solo una convenzione. \nPer questo Santiago Mora decide di impostare fin dal principio il lavoro sul disegno\, una tecnica che nemmeno lui ha mai esplorato come artista\, per partire tutti dalla stessa linea di partenza. Altri due paletti delineano il perimetro entro cui muoversi: i soggetti devono essere ispirati al regno animale ed è vietato cancellare\, vietata la gomma\, il bianchetto e vietato cambiare il foglio\, si va sempre avanti per quel che c’è e per quel che si è. Da queste premesse e dalla pratica ad oltranza del disegno nasce la morfologia processualmente metamorfica delle creature di AdE. \nNegli oltre vent’anni di attività Atelier dell’Errore ha creato un bestiario di esseri ibridi: un po’ insetti\, un po’ animali sottomarini\, raramente mammiferi. Sono creature mostruose\, inquietanti e magnetiche\, frutto di un lavoro collettivo che da anni si confronta con il grande formato. Nel 2018 Atelier raggiunge un obiettivo importante: il collettivo si costituisce come studio d’arte cooperativa sociale. I ragazzi ormai maggiorenni sono assunti come disegnatori. Il loro stipendio dipende dalla vendita delle opere “senza fondi europei\, regionali\, comunali”\, tenendosi sempre lontani dal mondo dell’arte terapia e dell’outsider art\, infiltrandosi sempre di più nelle trame del mondo dell’arte contemporanea ufficiale. \nDa laboratorio per bambini neurodivergenti Atelier dell’Errore è diventato una bottega rinascimentale\, dove ognuno dei membri del collettivo può dare il meglio di sé\, sperimentando tecniche e materiali nuovi. Nonostante le opere siano il frutto di tante mani\, queste collaborano in modo armonico\, dando vita a un immaginario sempre unitario e coerente. Come un organismo vivente AdE evolve e affronta progetti sempre più ambiziosi. È grazie a queste sfide che i membri del collettivo hanno trovato la propria professione e il proprio posto nel mondo. \nNew York\, Febbraio 2025 \nNel febbraio 2025 Atelier dell’Errore sbarca a New York City negli spazi della Galleria Kaufmann Repetto con FREAK YOU! la prima mostra del collettivo sull’altra sponda dell’Atlantico. Rimanendo nella metafora nautica\, la mostra si apre con AdEVelaAlpina 01 una grande vela\, originariamente presentata alla nona edizione della Biennale Gherdeina\, e da una versione domestica nella sala principale\, AdEVelaAlpina 02. Le vele sono il risultato più recente di una carriera di sperimentazioni di supporti alternativi alla carta. Con l’aiuto di una storica veleria AdE ha trasformato le coperte isotermiche di salvataggio\, un materiale che in Italia richiama subito il tema della migrazione\, in una vela per l’Edipo Re\, il peschereccio che ospitò Pasolini e Maria Callas e che al termine della Seconda guerra mondiale portò in salvo gli italiani istriani in fuga dalla cortina di ferro. Quello stesso materiale lucido\, quasi specchiante\, viene adottato come superficie dei disegni da allora in poi\, montati poi su scampoli di seta recuperati. Quelle opere segnano il ritorno del colore dopo una lunga età dell’oro\, che aveva caratterizzato le opere di AdE negli ultimi anni. L’esplosione di colori acrilici e di tonalità di rosa carne va di pari passo con lo scarto nei soggetti del nuovo ciclo di opere: Unknown Pleasures. \nMilano\, Maggio 2026 \nLa mostra pinkypussypunk raccoglie le opere prodotte in questa nuova fase della vita dei membri del collettivo Atelier dell’Errore. Gli insetti assessuati dell’età dell’oro sono diventati creature puberi con nuovi attributi anatomici\, inequivocabilmente sessuali. I bambini dei laboratori di venti anni fa sono diventati giovani adulti e il sesso è al centro del loro immaginario\, dei loro pensieri\, dei loro impulsi. Le creature mostruose che un tempo erano concepite come animali custodi contro il bullismo sùbito a scuola diventano creature libidinose\, che danno forma al desiderio. L’esplosione di colori acrilici e di tonalità di rosa carne va di pari passo con lo scarto nei soggetti delle nuove opere dalla serie Unknown Pleasures\, che rende esplicito quel desiderio e adotta le divinità della mitologia greca\, notoriamente libertine\, per parlare di autoerotismo\, eccitazione\, perdita di controllo: Hyper Sexy Aphrodite (2025) accoglie i visitatori e custodisce lo spazio\, imperiosa ma fragile. Nella stanza accanto uno display speciale\, progettato dal collettivo\, come un fregio classico narra le avventure di sei personaggi della personale mitologia dell’AdE. Melusine Blow Up Doll\, Countess BatHorny\, Priapo Orchitico Capezzoluto\, Urechis Ero-Thanatos\, Hyper Sexy Aphrodite\, Pegging Gimp Girl (tutte 2026) sono la materializzazione di una sessualità e di un desiderio che urla a chiare lettere la propria esistenza\, nonostante non possa essere agita. \nDal lato opposto della galleria una nuova serie Black Pearls Penguins è meno esplicita ma se possibile ancora più disturbante\, soprattutto per chi soffre di tripofobia\, una forma di repulsione più o meno intensa che alcune persone provano alla vista di superfici piene di piccoli fori irregolari e ravvicinati. \nLa tripofobia non compare nei manuali diagnostici\, ma provoca in molti casi reazioni di disgusto\, disagio o persino paura incomprensibili per chi non ne soffre. Potreste scoprire di esserne affetti guardando con attenzione All Yours o Venus birthing from an egg. Ma anche se non foste in quel dieci-quindici per cento della popolazione a cui queste immagini danno i brividi e un senso di inquietudine\, di sicuro non vi lasceranno indifferenti\, così come non possono che strappare un sorriso e un senso di ammirazione i titoli che le accompagnano: Daphnae Brood Mother\, Jumping Pleasure\, Tickle me till I shiver\, I melt with desire\, Put your finger in my ribs\, I fuck you till you love me\, Penguin Milking Gland\, Amikiri spreading for birth\, Surgery Gender Affirmation Operationing. Come si intuisce\, ognuno di questi personaggi ha una storia da raccontare\, di cui la materializzazione visiva è solo il bandolo della matassa. Alcune delle storie possono essere ascoltate dalla viva voce dei loro creatori grazie al video PINK! IS THE WARMEST COLOUR uno speciale tour della mostra girato in unico piano sequenza\, presente in mostra. Nell’ultima stanza il percorso si conclude con una visione quasi mistica\, grazie a una nuova sperimentazione di materiali che dà origine a Glowing Vulvae. Tre vulve disegnate dal collettivo con colori acrilici e pennarelli su un materiale trasparente\, il Melinex\, trasformano l’ultima stanza in una cappella bagnata dai colori di un tramonto psichedelico. \nAl piano interrato il gioco di referenze mitologiche continua: l’acronimo di Atelier dell’Errore è AdE\, il dio che sovrintende il sottosuolo. Il collettivo che ne prende il nome ha interpretato il piano inferiore della galleria come un mondo ctonio\, rinominato la Camera delle Vulve (Cueva Tito Bustillo) in cui tutto è disegnato a matita su carta\, un ritorno alle origini del collettivo. Il titolo per questa stanza nasce da un altro famosissimo “buco”: la Cueva de Tito Bustillo\, una grotta decorata dagli esseri umani prima del 10.000 a.C. e scoperta nel 1968 da un gruppo di giovani speleologi nelle Asturie. Nella grotta originale\, insieme a molti disegni di cavalli\, cervi e altri animali compare una serie di rappresentazioni di genitali femminili tratteggiati in rosso\, che si ritiene avessero l’intento di invocare la fertilità. \nIl Vulvae Family Tree è la personale invocazione del collettivo\, un albero genealogico in cui trenta vulve sono rappresentate come creature fiere e ipertrofiche\, una galleria di ritratti che sottotraccia sembra avere come tema la genesi della vita. Questo albero genealogico offre una possibile chiave di lettura anche per la grande opera Arakne’s SexToy che appare come il punto di congiunzione tra le opere al piano terra e quelle della stanza. Per dimensione e contenuto esplicitamente sessuale l’opera si confronta con le divinità colorate della serie Unknown Pleasures\, ma il tratto a matita che si estende fino al perimetro della carta creando una ragnatela inestricabile sembra distanziarla da quelle creature chiassose\, come se questa fosse la saggia antenata che le ha generate tutte. Una grande madre ragno – tornano gli insetti degli inizi – dalla quale le altre sono fuoriuscite a una a una per conquistare il mondo. \n– Marta Papini
URL:https://kaufmannrepetto.com/exhibition/ppp-pinkypussypunk/
LOCATION:Kaufmann Repetto Milan\, Milano\, Milano\, 20132\, Italy
CATEGORIES:Gallery Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260506
DTEND;VALUE=DATE:20260719
DTSTAMP:20260701T140531Z
CREATED:20260701T140410Z
LAST-MODIFIED:20260701T140531Z
UID:29774-1778025600-1784419199@kaufmannrepetto.com
SUMMARY:Magdalena Suarez Frimkess: Ninety-six and Pissed
DESCRIPTION:magdalena suarez frimkess: ninety-six and pissed \n\nFor nearly six decades\, Magdalena Suarez Frimkess (b. Caracas\, 1929) has maintained a daily practice of creating an autobiography without words. Rather than telling her story by weaving together anecdotes of the rather dramatic turns her life has taken as she moved from Venezuela to Chile and finally the United States\, she has instead chosen to sculpt in clay\, over and over again\, a personal pantheon of cartoon deities\, demi-gods and mortals who have acted as her very own Greek chorus. A painter and sculptor by training\, Suarez Frimkess has invoked a cast of characters from the animated world of cartoons: Minnie and Mickey Mouse\, Little Lulu\, Popeye and Olive Oyl\, Felix the Cat\, Betty Boop and Condorito\, the anthropomorphic Chilean comic strip bird known for his absurdist slap stick humor. \nIn 2025\, after decades of sharing a Venice\, California home and ceramics studio with her husband Michael Frimkess\, he finally succumbed to the multiple sclerosis that he had been battling for years. Forced by circumstances to move out of her longtime home\, the ninety-six-year-old artist found herself without a studio for the first time in more than half a century. Finding it difficult to restart her ceramic practice in a new context and frustrated by the tragic shift in her life\, Suarez Frimkess turned to the medium of drawing which had held an important if less prominent place alongside her explorations of hand-built ceramic sculpture. \n\n\nIn the exhibition Magdalena Suarez Frimkess: Ninety-six and Pissed\, the Library at MAF presents a selection of over thirty new drawings alongside the artist’s earlier iconic drawing Wonder Woman (2007) and a representative selection of her hand-built ceramic sculptures. Taking their cue from Wonder Woman\, Suarez Frimkess’s rendition of the 2006 United States Postal Service stamp celebrating the comic book superheroine surrounded by a constellation of cartoon characters\, her new drawings bring together a wide-ranging cast of “caracteres” (as she proclaims in Spanish in one of the works). Olive Oyl\, Bluto\, Wimpy and Popeye make appearances throughout these works; Bugs Bunny becomes part of an Egyptian hieroglyph; Charlie Brown\, Snoopy and the Peanuts gang splash about in a kiddie pool while a Celtic bird gazes upon them from above. \nThese characters appear every which way across these drawings alongside iconographic representations of figures and designs from the pre-Columbian Moche art of Peru\, Egyptian hieroglyphics\, Hellenistic black pottery figures and Celtic runes in a particular Suarez Frimkess-esque illustrative mash-up that irreverently crosses genres\, continents and centuries. In effect\, Suarez Frimkess has used her pencils to create a kind of free-floating pictorial cocktail party in which characters and symbols move freely between different drawings chatting each other up while paying little attention to stodgy art historical boundaries or traditions. Throughout these drawings\, Condorito makes repeat appearances\, impishly weaving his way amongst this crowd and giving a farcical emphasis to her frustrations with his frequent and emphatic slap stick exclamation ¡PLOP!. As she has noted many times\, “Condorito is my philosopher.” \n\n\nFor Suarez Frimkess\, this isn’t simply her life’s work. The work is her life\, and she has to work to live (“art is my life\,” she says). At ninety-six years old and cast into circumstances beyond her control\, she has taken up colored pencils instead of clay in an attempt to graphically manifest her frustration and reassert control over her life. As she will tell you\, she is ninety-six and pissed off\, yet her work keeps her going and the drawings of her cherished caracteres are coming along with her on the ride to keep her company. \nMagdalena Suarez Frimkess: Ninety-six and Pissed is curated by MAF Director Hanneke Skerath and independent curator and writer Douglas Fogle.
URL:https://kaufmannrepetto.com/exhibition/magdalena-suarez-frimkess-ninety-six-and-pissed/
LOCATION:Marciano Art Foundation\, Los Angeles
CATEGORIES:Museum Exhibitions
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20260415
DTEND;VALUE=DATE:20260522
DTSTAMP:20260416T150209Z
CREATED:20260317T173349Z
LAST-MODIFIED:20260416T150209Z
UID:28079-1776211200-1779407999@kaufmannrepetto.com
SUMMARY:Kim Bohie: Towards
DESCRIPTION:  \nkaufmann repetto is glad to announce Towards\, Bohie Kim’s first Italian solo exhibition\, opening on April 15th in Milan. One of Korea’s most esteemed landscape painters\, her vividly chromatic compositions synthesize a breadth of influences\, merging Oriental and Western traditions. At the core of Kim’s radiant paintings are the exuberant forms of the natural world\, infused with evocative visual and spiritual qualities. \nKim was initially trained in East Asian painting\, employing ink-wash techniques on hanji\, the traditional Korean mulberry paper. Gradually she started to incorporate also Western mediums such as canvas and acrylics\, developing a hybrid style for her depictions of landscapes\, still-lifes and human figures. After earning both her BFA and MFA from Ewha Womans University\, she served as a professor in the same department until 2017 and she is now professor emerita at the university. \nIn the early 2000s\, the artist set up home on the island of Jeju\, which lies south of the Korean Peninsula. The move marked a period of creative transition\, during which her vocabulary underwent a transformation\, shifting towards a visual language imbued by the island’s luxuriant subtropical flora and its volcanic landscapes. Under the influence of this overwhelming ambience\, Kim’s attention began to focus on the daily observation of her surroundings. Informed by the lineages of jingyeong sanshuwa\, the traditional ‘true-view landscape painting’\, and avoiding the use of linear perspectives\, she favored instead cropped close-ups of botanical specimen\, indexical plant studies and wide-angled depictions of coasts and valleys. Often her depictions blur the boundaries between representation and abstraction\, reflecting a dichotomy inherent in nature itself: “There are some objects that need to be expressed in a more realistic aspect\, and sometimes it is necessary to express a more abstract portrayal”\, says Kim\, “I believe that nature does not only have figurative features; nature itself holds abstraction\, and I only express it as it is.”[1] \nMeditative and calm\, yet at the same time radiant and seductive\, her paintings exude a profound appreciation for the physical world as a site for sensory as well as spiritual experiences. For the artist\, the universe\, the earth and all existing life are manifestations of the ‘creation’ in an almost biblical sense\, and ‘Towards’ – the title of the Milanese exhibition – reflects her own empathic gaze and posture. Echoing the pioneering essay ‘The Sense of Wonder’ by proto-environmentalist Rachel Carson\, Kim says: “I believe that humans should ultimately get closer to nature. I hope through experiencing my work\, viewers might feel the mystery and wonder of the world around them\, and the gratitude for our presence in it”.[2] \n\n[1] Mark Rappolt\, ‘Kim Bohie: Look Outside Yourself’\, Art Review (2022)\n[2] Ibidem
URL:https://kaufmannrepetto.com/exhibition/kim-bohie-towards/
LOCATION:Kaufmann Repetto Milan\, Milano\, Milano\, 20132\, Italy
CATEGORIES:Gallery Exhibitions
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20260415
DTEND;VALUE=DATE:20260522
DTSTAMP:20260416T150124Z
CREATED:20260402T120852Z
LAST-MODIFIED:20260416T150124Z
UID:28222-1776211200-1779407999@kaufmannrepetto.com
SUMMARY:Un cuore semplice
DESCRIPTION:kaufmann repetto is pleased to present Un cuore semplice (A Simple Heart)\, Pierpaolo Campanini’s eighth solo exhibition with the gallery. \nBorrowed from Gustave Flaubert’s 1877 short story Un cœur simple\, the title evokes a world in which devotion attaches itself to modest things and\, through repetition and solitude\, transforms them into images of unexpected intensity. In Flaubert\, the life of the humble servant Félicité is marked by a succession of losses of people she holds dear\, culminating in her almost mystical devotion to a parrot and\, later\, to its preserved remains. The artist engages with this emotional register\, dwelling in the moment in which affection takes form\, and form begins to detach from reality\, acquiring an autonomous presence\, almost a sacred residue. \nCampanini’s works develop through a layered process that moves between physical construction and digital elaboration. Objects assembled in the studio are often provisional and unstable\, and are translated into sequences of manipulated images\, which are then filtered\, redrawn\, and ultimately resolved in painting. Rather than producing definitive forms\, this process generates figures that feel precise in appearance yet subtly dislocated from within. The digital passage does not serve to define the image\, but to disturb it — breaking apart its logic\, introducing shifts and inconsistencies\, and opening it to further transformation before it returns to painting. \nTwo works on paper depict parrots\, a subject that connects directly to Flaubert. Campanini is drawn to the parrot’s double nature: at once mimetic and emphatic\, capable of blending into its environment while asserting itself through vivid color. In the short story\, the parrot Loulou shifts from living presence to preserved object\, from companion to relic. The artist lingers in this ambiguity. His figures appear suspended between vitality and inertia\, their chromatic intensity offset by a sense of stillness\, as if already poised between life and objecthood. \nThe three canvases revolve around shoes\, a leitmotif throughout Campanini’s recent work. Shaped by use\, pressure\, and time\, wrinkled\, folded\, and worn\, they retain a tactile memory of the body while remaining detached from it. In the studio\, the artist assembles them into provisional sculptural compositions\, which are then broken down and reconfigured in painting. What reaches the canvas is not the object itself\, but its altered afterlife: loosened from function\, pushed toward ornament\, puppet\, shell\, or fragment. \nBy installing all five works on a single wall\, Campanini turns the area into a chamber of focus\, where each image gains density through its proximity to the others. The installation reinforces the sense that these works should be read not one by one\, but as a compact nucleus of variations\, obsessions\, and returns. Parrots and shoes belong to very different orders of experience\, yet in this exhibition they begin to answer one another. One carries the charge of attachment\, projection\, and display; the other bears the imprint of contact\, use\, and bodily absence. Both become unstable presences\, removed from their ordinary function and held in a space where fixity and deterioration remain closely entangled. What emerges is less a story than a concentrated emotional field\, in which forms persist as if caught between memory and transformation. Within that register\, painting becomes the place where images are held in suspension\, neither fully resolved nor entirely released.
URL:https://kaufmannrepetto.com/exhibition/un-cuore-semplice/
LOCATION:Kaufmann Repetto Milan\, Milano\, Milano\, 20132\, Italy
CATEGORIES:Gallery Exhibitions
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20260415
DTEND;VALUE=DATE:20260522
DTSTAMP:20260428T163458Z
CREATED:20260402T121329Z
LAST-MODIFIED:20260428T163458Z
UID:28225-1776211200-1779407999@kaufmannrepetto.com
SUMMARY:The Walker
DESCRIPTION:In Simone Fattal’s practice\, archeology\, politics\, religion\, literature\, and history are deeply entangled. Born in Syria and raised in Lebanon\, the Mediterranean is the basin from which the artist’s works spread out\, equally drawing upon ancient myths and current socio-political concerns. Men\, women\, gods and warriors populate her universe\, as well as architectural fragments and subjects from the natural world. The bronze Walker\, renders a life-size figure in motion\, paired with a rock that trails it like a shadow. “Man is a standing animal\,” Fattal has said of her prophets and wanderers. “Before he started thinking\, he got up.” \nSimone Fattal will be the subject of a solo show at Musée d’art Moderne in Paris\, opening on September 2026. She is this year’s recipient of the International Contemporary Art Prize (PIAC) awarded by the Prince Pierre Foundation of Monaco\, and in 2024 of the Julio González International Prize and of the Berlin Grand Art Prize. She recently took part in the group exhibition Copystes at the Centre Pompidou-Metz\, in the Aichi Triennale and in the 18th Istanbul Biennial. Solo shows of her works have been presented internationally at renowned institutions such as: IVAM\, Valencia (2024); Louvre\, Paris (2024); Secession\, Vienna (2024); Portikus\, Frankfurt (2023); TBA21 Academy\, Ocean Space\, Venice (2023); ICA Milan\, Milan (2021); Whitechapel Art Gallery\, London (2021); Bergen Kunsthall\, Bergen (2020); and MOMA PS1\, New York (2019). Simone Fattal has been participated in numerous biennials\, such as the 60th Venice Biennale\, Venice (2024); 12th Berlin Biennale\, Berlin (2022); 16th Lyon Biennale\, Lyon (2022) and 59th Venice Biennale\, Venice (2022). Next year kaufmann repetto New York\, in collaboration with Greene Naftali\, will present a solo exhibition dedicated to the artist.
URL:https://kaufmannrepetto.com/exhibition/the-walker/
LOCATION:Kaufmann Repetto Milan\, Milano\, Milano\, 20132\, Italy
CATEGORIES:Gallery Exhibitions
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20260410
DTEND;VALUE=DATE:20260517
DTSTAMP:20260508T133353Z
CREATED:20260409T153032Z
LAST-MODIFIED:20260508T133353Z
UID:28439-1775779200-1778975999@kaufmannrepetto.com
SUMMARY:Billy Sullivan: Not So Still (1984 - 2026)
DESCRIPTION:kaufmann repetto is pleased to announce Not So Still (1984-2026)\, Billy Sullivan’s seventh solo exhibition with the gallery. \nBilly Sullivan emerges from a defining era in New York’s cultural history. Moving in close orbit with the likes of Andy Warhol and Nan Goldin\, Sullivan is witness to a dynamic assembly of artists\, poets\, writers\, and fashion models that shaped the 1960s-1980s. Known for his compulsive\, almost devotional recording of his surroundings\, Sullivan has built an expansive diaristic practice spanning over five decades. Across oil paintings; drawings in pastel\, watercolor\, and ink; and photographs and slideshows\, his work resists hierarchy. \nSullivan invites us through his perspective\, time is caught in suspension\, slippery and sudden\, both fluid and abrupt. These “still lifes”—a term hard to apply to the restless vitality of his mark— are never still but rather accumulations of frenetic gestures and vibrant pigments that parallel life’s unwieldiness. As Sullivan has noted\, the speed of the mark mirrors the inevitability of decay: flowers wilt as they are painted\, time collapses into gesture. These works become incidental monuments—intimate\, unassuming\, yet insistent—they bottle the ephemeral momentum underlying every instant\, drawing together these intimate perspectives carefully woven over the years\, a manifesto of life’s fleeting pleasures. \nThe two large paintings\, completed this year\, bookend the show’s memorializing themes even as they circumvent the still lifes’ allusive\, indirect portraiture by putting the artist himself on prominent display. Billy\, Max\, and Sam\, August 1976 (2026) features the earliest memory in the show\, his sons\, who were then nearly four and two years old playing together on Fowlers Beach in Southampton. Here\, memory is not fixed but reanimated—revisited through the accumulated weight of time. Not So Still (1984-2026) becomes a reflection on the architecture of a life: how its meaning accrues not only in grand events\, but through the dense constellation of fleeting\, seemingly minor encounters. A galaxy of moments\, each orbiting the next. The exhibition looks back without nostalgia\, attending instead to the humble\, persistent material of living. It offers a window into time as it is felt—uneven\, luminous\, and always slipping forward. As poet René Ricard once wrote in a 1978 review for Art in America\, “It’s as if a whole life could be distilled into that afternoon when we had such a good time.”
URL:https://kaufmannrepetto.com/exhibition/billy-sullivan-not-so-still/
LOCATION:Kaufmann Repetto New York\, New York\, United States
CATEGORIES:Gallery Exhibitions
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20260403
DTEND;VALUE=DATE:20260404
DTSTAMP:20260414T121903Z
CREATED:20260414T104628Z
LAST-MODIFIED:20260414T121903Z
UID:28592-1775174400-1775260799@kaufmannrepetto.com
SUMMARY:Magdalena Suarez Frimkess: KAWS ART & COMIX
DESCRIPTION:
URL:https://kaufmannrepetto.com/exhibition/magdalena-suarez-frimkess-kaws-art-comix/
LOCATION:Albertina Modern\, Vienna
CATEGORIES:Museum Exhibitions
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20260305
DTEND;VALUE=DATE:20260810
DTSTAMP:20260724T140051Z
CREATED:20260724T135947Z
LAST-MODIFIED:20260724T140051Z
UID:30117-1772668800-1786319999@kaufmannrepetto.com
SUMMARY:Jane Swavely: Painting in Color
DESCRIPTION:Presented in conversation with Spray: Jules Olitski in the 1960s\, this exhibition invites you to experience four contemporary artists continuing the tradition of abstraction: Heather Hutchison\, Joseph Marioni\, Jane Swavely\, and John Zurier. \n\n\n\nAccompanying Spray: Jules Olitski in the 1960s\, the exhibition Painting in Color features four contemporary artists whose work continues the tradition of abstraction into the 21st century. Heather Hutchison (b. 1964)\, Joseph Marioni (1943–2024)\, Jane Swavely (b. 1959)\, and John Zurier (b. 1956) explore color\, light\, scale\, and space in artworks that foreground visual perception and invite quiet reflection. \nLike Olitski\, who envisioned color suspended in the air like a fine mist\, these artists explore painterly techniques to express visual and tactile experiences drawn from the natural world. Employing innovative approaches to painting\, their works heighten sensory awareness\, sharpen how we see\, and invite new ways of looking. Together\, the artists in Painting in Color advance the legacy of Jules Olitski’s spray paintings and affirm the lasting energy of color and abstraction. \n\nThis exhibition is generously supported by Dr. Emily Leff\, with additional support by The Wolf Kahn Foundation\, and the Currier’s Susan E. Strickler Exhibition Fund.
URL:https://kaufmannrepetto.com/exhibition/jane-swavely-painting-in-color/
LOCATION:Currier Museum of Art\, Manchester\, NY\, Manchester\, NY\, United States
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20260304
DTEND;VALUE=DATE:20260409
DTSTAMP:20260311T135500Z
CREATED:20260303T114341Z
LAST-MODIFIED:20260311T135500Z
UID:27782-1772582400-1775692799@kaufmannrepetto.com
SUMMARY:Jane Swavely: My Little Pony
DESCRIPTION:“The paintings point to the history of the medium while remaining firmly rooted in the present. I aim to create a space of light that can shift perception—at once familiar and unfamiliar—exploring the boundary between the conscious and the subconscious (…).”\n— Jane Swavely\, 2020 \n“The paintings are reductive but not minimalist. They embrace their objectness\, leaving traces of their support and of the history of their making. The act is performative; the medium is the message (…). While they are being made\, the painting itself is the subject.”\n— Jane Swavely\, 2024 \nI have known Jane Swavely for three years\, since Paintings\, her first exhibition at Magenta Plains in New York in 2024 — a true revelation. While certainly not her first exhibition overall\, it marked an important moment: the first presentation of her work within that specific context\, and the beginning of a dialogue that has continued ever since. We became friends shortly thereafter\, and during my frequent visits to the city\, I often go to see her. \nWhen I enter her studio on the Bowery\, Jane doesn’t immediately talk to me about the paintings. \nShe moves them. \nShe pushes the large canvases against one another\, slides them across the floor\, hides behind them only to suddenly reappear\, as if the painting were a curtain or a theatrical wing. The relationship is physical\, direct\, almost choreographic. Jane wears Adidas track pants\, a camel sweater\, short hair\, and bright red lipstick. She is effortlessly elegant. Her body — lean\, swift\, precise — measures the space as she shifts enormous surfaces dense with color\, as if they were lighter than they truly are. \nShe flips through her work before my eyes\, one painting after another. \nShe doesn’t comment on them: she shows them. \nAt a certain point\, she has me sit on a chair that looks salvaged from the street\, perhaps from the 1980s. It is uncomfortable\, well-worn\, perfectly off-kilter. Behind me is New York. In front of me\, her paintings become windows: openings into a world that is not representational but mental — constructed through layers\, residues\, and restraint. \nIn that moment\, I realize that Jane Swavely’s work does not stem from the idea of an image\, but from a corporeal relationship with painting. Her canvases are never detached objects: they are presences that demand to be traversed\, moved\, and reactivated in space. For her\, painting is something encountered with the body even before the gaze. \nFrom this physicality — so concrete\, so anti-rhetorical — a practice deeply rooted in American art history takes shape\, yet never illustratively. It is a painting attentive to surface\, pressure\, and perception: one that carries traces of Bay Area light\, the structural rigor of Brice Marden\, and the tensions articulated by New Image Painting\, while ultimately moving toward an increasingly radical engagement with light and color as material conditions rather than expressive devices. \nBut none of this is ever merely cited. \nIt is enacted. \nThe Bowery studio functions as a resonance chamber. The street enters through the glass\, the architecture reflects the light\, and the city constantly presses upon the interior. Jane paints within this pressure. The paintings absorb this urban energy\, hold it\, and filter it. They function less as views than as instruments: surfaces that register the condition of being in the city rather than depicting it. \nJane arrived in New York in 1980\, bringing with her an education from Boston University and a deep familiarity with California’s Bay Area painting. In those years\, artists such as Richard Diebenkorn proposed broad chromatic fields\, complex spatial relationships\, and an atmospheric approach to structure that left a lasting impression on Jane’s early thinking about painting. Diebenkorn\, in particular\, informed her understanding of the figure as a mark within a field rather than as a narrative protagonist — an idea she absorbed early through sustained engagement with catalogs and reproductions during her university years. In 1978\, even before moving to New York\, Jane encountered the landmark exhibition New Image Painting at the Whitney Museum of American Art\, which reopened figuration after Minimalism\, through reduced\, emblematic forms. Artists such as Susan Rothenberg and Neil Jenney proposed a painting in which the figure functioned as a charged sign within a structured field — an approach that resonates with Jane’s understanding of painting as pressure rather than representation. \nIn 1980s New York\, Jane worked as an assistant to Lois Lane\, an experience that provided not only technical knowledge — particularly in handling and preparing large-scale canvases — but also an ethical discipline of making. From Lane\, she absorbed the idea of a painting sustained by persistence: rigorous in gesture\, yet open to emotional tension. Equally formative was her five-year period working with Brice Marden beginning in 1980. Marden offered Jane a structural grammar rather than a stylistic template. With him\, painting became a plane: a flat object where surface\, support\, edge tension\, and material decisions carry as much weight as color or mark. These lessons — often transmitted more through posture and practice than instruction — remain embedded in her work today: in the attention to stretcher bars\, in compositional restraint\, in the silence between one gesture and the next. \nJane’s involvement with A.I.R. Gallery also played a central role. As one of the first feminist artist-run spaces in the United States\, A.I.R. functioned for her not merely as an exhibition venue but as a school of positioning. Painting there was understood as a relational act — shaped by dialogue\, collective responsibility\, and shared listening. This ethical dimension of painting as a communal practice continues to underpin her work. While Henri Matisse was an important reference during Jane’s earlier\, more explicitly figurative period\, her later work moves decisively elsewhere. Looking back\, artists such as Clyfford Still and Barnett Newman — though not central to her thinking at the time — have become increasingly relevant points of reference. Their engagement with scale\, chromatic intensity\, and the painting as a total field resonates strongly with the direction her work has taken. \nA pivotal shift occurred during the Covid period\, when Jane began making what she calls her “green screen” paintings. Working constantly within this chromatic condition\, the landscape gradually disappeared. Painting became fully abstract — not as a stylistic decision\, but as a consequence of sustained looking and prolonged immersion. Color ceased to frame space and instead became space itself. \nAlongside this artistic genealogy runs another equally decisive line: Jane’s daily\, unmediated relationship with New York\, and specifically with the Bowery\, which she has inhabited for over forty years. From her lofts — first on Spring Street and later on the Bowery\, both with floor-to-ceiling windows — she experienced the city almost at street level\, as if inside its continuous flow. \nShe has witnessed the transformation of the neighborhood: the urban voids of the Eighties\, the open light of the Lower East Side before the towers\, the construction sites\, demolitions\, and the arrival of reflective architectures that now bounce and refract light back into the studio. This changing luminosity — no longer diffused but reflected\, filtered\, and intensified — has directly shaped her most recent paintings. \nWhat makes Jane Swavely’s work so necessary today is precisely this capacity to hold together genealogy and vulnerability\, discipline and risk\, history and desire. Her paintings do not declare their sources; they activate them. They do not ask to be deciphered\, but to be traversed. \n– Fabio Cherstich
URL:https://kaufmannrepetto.com/exhibition/my-little-pony/
LOCATION:Kaufmann Repetto Milan\, Milano\, Milano\, 20132\, Italy
CATEGORIES:Gallery Exhibitions
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20260304
DTEND;VALUE=DATE:20260409
DTSTAMP:20260321T152737Z
CREATED:20260303T123454Z
LAST-MODIFIED:20260321T152737Z
UID:27787-1772582400-1775692799@kaufmannrepetto.com
SUMMARY:Gianni Caravaggio: Sculptures with Thoughts and Feelings
DESCRIPTION:During my journey across the Alps\, I find myself in awe at the sight of a majestic mountain ridge\, delicately covered by the season’s first snowfall. The mist just below the crest veils it\, making it seem as though it were floating in the air. This entire vision\, and the emotion it stirs\, appear to exist outside of me. And yet they arise because I feel such a natural spectacle echoing within my deepest memory — something that is in me but does not belong to me: it secretly inhabits me. The dissolution of the self in a cosmic experience seems to contradict the tendency to withdraw into everything. Perhaps I could say that\, if a portrait of me were ever to exist in such a moment\, it would be one of complete surrender\, of abandoning myself in wonder before the other. I step aside; I offer everything to the one who is perceiving. \nSculpture harbors a particular possibility of confrontation with the other because it is\, first and foremost\, a thing\, a body\, and by its very nature it resists narcissistic projection\, like a comet unexpectedly attempting to penetrate our atmosphere. Even if we use things with increasing technical determination\, reducing their apparent physical resistance\, they still oppose us with a demanding psychic resistance\, so that only in moments of grace can they secretly appear animated and\, in turn\, animate us. This resistance of sculpture’s “thingness” offers the viewer two possibilities: to reassure oneself with what is casually recognized as material or figure\, or to perceive the opportunity for a listening that takes place outside oneself. Such listening — the attentive\, sensitive perception of what stands before us — may unexpectedly bring forth images that have atavically and primordially inhabited us\, yet which we do not possess as certainties. Listening\, therefore\, is not confirmation\, but a shared participation in a possible imaginative dimension evoked by something other. \nWithin this perceptual and evocative dimension\, sensations become true. Like a portion of mountain veiled by mist\, a wedge-shaped piece of alabaster covered with a sheet of opaline paper appears as a faint two-dimensional phantom\, before revealing the full mass that lies beneath. An entire alabaster rock — an ovoid petrification formed in the Upper Miocene through the concentration and evaporation of marine waters trapped in closed basins — is gradually cut into sections shifted in one direction\, and thus appears like a cloud moved by the wind\, as if unveiling its own feelings. This wind also seems to trace the trajectory of two serpents\, gleaming in the light of two different metals\, that part and reunite along a straight line and appear to encounter a limit only in the circumference of the globe. Two stone slabs — one of white alabaster and the other of Belgian black marble — seem to have long nurtured the design that has emerged upon their surface: the cloud-like structure of the white alabaster appears to have announced the first rain\, and the delicate white veins in the black marble have finally illuminated the three light bulbs in the constellation of Orion. Outside\, beneath the plants in the courtyard\, a piece of Guatemala green marble\, in the sunlight\, remembers having once been a leaf. \n— Gianni Caravaggio \n  \n  \n  \n  \nNel mio viaggio attraverso le Alpi mi meraviglio alla vista di una maestosa cresta di una montagna e di come essa sia delicatamente coperta dalla prima nevicata. La nebbia poco sotto la cresta la vela\, e pare farla galleggiare nell’aria. Tutta questa visione e la commozione emotiva sembrano situarsi fuori di me. Eppure\, si generano perché sento echeggiare tale spettacolo naturale nella mia memoria profonda\, che è in me ma non la posseggo: essa segretamente mi abita. Tale dissoluzione dell’io in un’esperienza cosmica sembra contraddire la tendenza a ritrarsi in ogni cosa. Potrei forse dire che\, se mai esistesse il ritratto di me in un istante simile\, sarebbe quello dell’abbandono completo nello stupore dell’altro. Mi scanso\, offro tutto a chi sta percependo. \nLa scultura cova la particolare possibilità del confronto con l’altro perché è innanzitutto una cosa\, un corpo\, e\, per tale natura\, crea resistenza a una proiezione narcisistica\, come una cometa che inaspettatamente cerca di penetrare la nostra atmosfera. Anche se le cose sono usate da noi con sempre più caparbietà tecnica\, ponendo apparentemente sempre meno resistenza fisica\, non mancano di opporci un’ardua resistenza psichica\, tanto che solo in momenti di grazia possono apparirci segretamente animate e\, quindi\, animarci. Tale resistenza dell’“essere cosa” della scultura lascia allo spettatore due possibilità\, rassicurarsi con quello che riconosce distrattamente come materiale o figura\, oppure percepire l’opportunità di un ascolto fuori di sé. E tale ascolto fuori di sé\, l’attenta percezione sensibile di ciò che si trova di fronte\, potrebbe inaspettatamente far sorgere delle immagini che atavicamente ci abitano fin dagli arbori ma che non possediamo come certezza. L’ascolto\, quindi\, non è una conferma\, ma un compartecipare a una possibile dimensione immaginativa evocata da qualcosa di altro. \nIn tale dimensione percettiva ed evocativa\, le sensazioni diventano vere. Come una parte di montagna velata dalla nebbia\, un pezzo di alabastro cuneiforme è ricoperto da un foglio di carta opalina e traspare come un leggero fantasma bidimensionale prima di rivelare tutta la sua massa reale sottostante. Una roccia intera di alabastro – una pietrificazione ovoidale prodotta in natura nel Miocene superiore dalla concentrazione e dall’evaporazione di acque marine intrappolate in bacini chiusi – è tagliata gradualmente in varie sezioni spostate in una direzione e appare così come una nuvola\, mossa dal vento per svelare i propri sentimenti. Questo vento pare anche tracciare la traiettoria di due serpenti che brillano nella luce di due metalli differenti\, che si lasciano e si ritrovano su una linea retta e sembrano trovare limite solo nella circonferenza del globo. Due lastre di pietra\, una di alabastro bianco e l’altra di marmo nero del Belgio\, paiono aver da sempre covato il disegno comparso sulla loro superficie: la struttura nuvolosa dell’alabastro bianco sembra aver annunciato la prima pioggia\, e le sottili venature bianche sul marmo nero hanno infine illuminato le tre lampadine in costellazione di Orione. Fuori\, sotto le piante del cortile\, un pezzo di marmo verde Guatemala\, alla luce del sole\, si ricorda di essere stato una foglia. \n– Gianni Caravaggio
URL:https://kaufmannrepetto.com/exhibition/sculptures-with-thoughts-and-feelings/
LOCATION:Kaufmann Repetto Milan\, Milano\, Milano\, 20132\, Italy
CATEGORIES:Gallery Exhibitions
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20260228
DTEND;VALUE=DATE:20260510
DTSTAMP:20260516T150419Z
CREATED:20260314T102338Z
LAST-MODIFIED:20260516T150419Z
UID:28058-1772236800-1778371199@kaufmannrepetto.com
SUMMARY:atelier dell'errore: PINKING UP
DESCRIPTION:atelier dell’errore: pinking up \nPINKING UP is the exhibition that Ar/Ge Kunst dedicates to Atelier dell’Errore and their most recent production\, the so-called “pink period”\, in which desire becomes the central driving force of the research. Desire is understood here not as lack\, but as a generative force\, capable of pushing form beyond itself. \nFounded in 2002 by Luca Santiago Mora\, Atelier dell’Errore is today an artist collective composed of twelve neurodivergent artists. Their practice is based on a shared process in which error is not a limit to be corrected\, but an opening: the point at which the creature can emerge. The animals inhabiting the exhibition are neither designed nor represented: they happen. They are hybrid\, shifting organisms\, born from the convergence of many hands and sensibilities. They do not respond to taxonomies or stable identities\, but present themselves as transitional figures\, provisional outcomes of a collective desire. \nIn the “pink period”\, this desire takes on an explicitly transindividual form\, capable of abolishing boundaries between human and animal\, between self and other. PINKING UP thus presents itself as a collective organism in continuous becoming: not a finished narrative\, but an open phase of a shared process\, in which error becomes possibility and desire takes on form. \nWorking group: Laura Aurelio aka Sméagol\, Giorgia Ballabeni aka GB7\, Gianluca De Marco aka GiangiGiangetto\, Nicole Domenichini aka Niki Baxter\, Giulia Gaiti aka Mozzy\, Nicolò Grisendi aka Sid\, Marco Iardino aka Scotland Yardo\, Francesco Mandalà aka Metta\, Luca Santiago Mora aka Garibaldi\, Matteo Morescalchi aka The Gamer\, Matteo Sandrin aka Pitbull\, Giulia Zini aka July Shining.
URL:https://kaufmannrepetto.com/exhibition/atelier-dellerrore-pinking-up/
LOCATION:ar/ge kunst\, bolzano
CATEGORIES:Museum Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260210
DTEND;VALUE=DATE:20260504
DTSTAMP:20260328T161038Z
CREATED:20260226T170736Z
LAST-MODIFIED:20260328T161038Z
UID:27739-1770681600-1777852799@kaufmannrepetto.com
SUMMARY:Bice Lazzari | I linguaggi del suo tempo
DESCRIPTION:La Galleria Nazionale d’Arte Moderna e Contemporanea presenta dal 10 febbraio al 3 maggio 2026 la mostra Bice Lazzari. I linguaggi del suo tempo\, una grande retrospettiva di opere significative dell’artista\, (Venezia\, 1900 – Roma\, 1981)\, che ha attraversato tutto il Novecento\, lasciando un segno profondo e inconfondibile\, grazie al suo linguaggio unico\, solitario\, autentico. Organizzate secondo un percorso cronologico e tematico già sperimentato nella prima tappa milanese alla Grande Brera\, l’esposizione romana è stata notevolmente arricchita\, con l’integrazione di oltre ottanta opere. \nA cura di Renato Miracco in collaborazione con l’Archivio Bice Lazzari di Roma\, la rassegna vedrà esposte in totale oltre 200 opere che ripercorrono l’intera carriera dell’artista: dalle opere di arte applicata degli anni Trenta e Quaranta alla costruzione architettonica di veri e propri racconti pittorici\, dallo spazialismo all’informale materico\, fino ad opere minimaliste realizzate con semplici aste. Per la prima volta sarà esposta anche l’opera che Palma Bucarelli scelse per la propria collezione personale. La sezione al piano rialzato\, a cura di Mariastella Margozzi e dedicata all’ambito delle arti applicate\, presenta circa 100 bozzetti e manufatti realizzati dall’artista per la progettazione di cuscini\, gioielli\, decorazioni murali\, tessuti – anche per Giò Ponti – e interventi decorativi in luoghi pubblici e privati. Verranno inoltre esposti i due spettacolari arazzi progettati per la turbonave Raffaello. A completare il percorso espositivo\, una grande pittura murale di circa quattro metri offrirà una testimonianza della ricerca di Bice Lazzari. I disegni\, che nella composizione segnica travalicano la decorazione liberty o déco\, testimoniano un punto di svolta nella concezione del design contemporaneo. \nLa mostra è accompagnata da un catalogo edito da Allemandi\, arricchito dai testi di Dorothy Kosinsky e Christine Macel\, membri del comitato scientifico della mostra\, e da audioguide registrate dal curatore\, che forniranno una lettura scientifica e al tempo stesso intima del progetto espositivo\, arricchita dalla lettura di brani tratti dall’autobiografia dell’artista.\nL’esposizione sostenuta da Gucci\, main sponsor\, con il contributo di PwC e dello sponsor tecnico MAG\, raccoglie opere provenienti da istituzioni e collezioni italiane e straniere\, tra cui Ca’ Pesaro – Galleria Internazionale d’Arte Moderna di Venezia\, la Salomon R. Guggenheim Museum di New York\, il National Museum Women in the Arts a Washington D.C.
URL:https://kaufmannrepetto.com/exhibition/bice-lazzari-i-linguaggi-del-suo-tempo-2/
LOCATION:galleria d’arte moderna e contemporanea
CATEGORIES:Museum Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260207
DTEND;VALUE=DATE:20260223
DTSTAMP:20260519T130040Z
CREATED:20260519T130016Z
LAST-MODIFIED:20260519T130040Z
UID:29215-1770422400-1771804799@kaufmannrepetto.com
SUMMARY:Atelier dell'Errore: Musa
DESCRIPTION:atelier dell’errore: musa \n\n\n\nOn the occasion of the Milano Cortina 2026 Winter Olympic Games\, Casa Italia is opening for the first time to the public\, choosing the theme of Muse\, in homage to the role that Italy has played in inspiring the world’s imagination and culture over the centuries. An exhibition itinerary has been created in the spaces of Triennale\, structured in nine sections\, each dedicated to a muse that has inspired an artistic discipline—language\, architecture\, the figurative arts\, landscape\, food\, music\, drama\, innovation and sport— and to an iconic object of the Olympics from the Olympic Museum in Lausanne\, focusing on the shared values of Italian culture and the Olympic Movement.le milano\, milan
URL:https://kaufmannrepetto.com/exhibition/atelier-dellerrore-musa/
LOCATION:casa italia – triennale milano\, milan
CATEGORIES:Museum Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://kaufmannrepetto.com/app/uploads/2026/05/09-08_Casa-Italia-Milano-Cortina-2026.-Installation-view-MUSA-at-Triennale-Milano.-Ph.Simone-Falso.-©CONI-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260204
DTEND;VALUE=DATE:20260405
DTSTAMP:20260225T130559Z
CREATED:20260207T110619Z
LAST-MODIFIED:20260225T130559Z
UID:27547-1770163200-1775347199@kaufmannrepetto.com
SUMMARY:Macchine Inutili - Useless Machines (1934-1987)
DESCRIPTION:kaufmann repetto is pleased to announce Macchine Inutili (Useless Machines) 1934-1987\, a solo exhibition dedicated to Bruno Munari’s transdisciplinary and unconventional practice\, with a focus on his iconic\, self-propelled mobiles. \nBruno Munari (1907-1998) was a visionary pioneer who traversed freely art\, design\, graphic\, education\, always in tune with the major artistic movements of the 20th century. Since the outset he was interested in new processes of production and the exploration of innovative artistic media and languages. Stimulated by the experimentation of the avant-gardes — from Futurism to the Bauhaus and Neoplasticism — he started to challenge the static character of painting and sculpture. Since the early 1930s\, he tackled the concept of abstractionism in space with his Useless Machines. Designed with minimal forms and a limited use of color\, these devices employ light and shadow to produce abstract shapes on the walls of the environment. The dynamic encounter between space\, movement and form is further explored in Concave-Convex\, a series of topological and “planar” sculptures made from a sheet of wire mesh folded inwards at pre-established points that when suitably illuminated produce evanescent images in the space in which the viewer stands.
URL:https://kaufmannrepetto.com/exhibition/macchine-inutili-useless-machines-1934-1987/
LOCATION:Kaufmann Repetto New York\, New York\, United States
CATEGORIES:Gallery Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260203
DTEND;VALUE=DATE:20260302
DTSTAMP:20260225T130824Z
CREATED:20260217T124541Z
LAST-MODIFIED:20260225T130824Z
UID:27630-1770076800-1772409599@kaufmannrepetto.com
SUMMARY:Simone Fattal | Simone Fattal
DESCRIPTION:The Museo Jumex\, in collaboration with the Fondation Prince Pierre de Monaco\, presents for the first time in Mexico three sculptures by Lebanese artist Simone Fattal\, winner of the XLIX Prix International d’Art Contemporain (PIAC) 2025. \nThe works Adam and Eve (2021) and Door (2024) will be on display in the museum plaza from February 3 to March 1\, 2026\, activating the public space with a contemporary reflection on memory\, the body\, and myth. \nThe Prix International d’Art Contemporain (PIAC) \nCreated in 1965 and organized by the Fondation Prince Pierre since 1983\, the PIAC has been awarded every three years since 2010. The jury is chaired by H.R.H. the Princess of Hanover and made up of an Artistic Committee. Each member of this committee selects three expert international sponsors who\, under the artistic direction of Cristiano Raimondi\, nominate works produced in the two years prior to the award edition. The selected work is considered the most accomplished and representative of an artist’s work. \nIn its 49th edition\, held on October 14\, 2025\, at the Opéra Garnier in Monte Carlo\, artist Simone Fattal was recognized with the award\, worth €75\,000\, for her poetic\, historical\, and critical contribution to contemporary art. The selected work was Sempre il mare\, uomo libero\, amerai! (2023). \nSimone Fattal: Career and Artistic Vision \nBorn in Damascus in 1942\, Simone Fattal is currently considered one of the most influential figures in international contemporary creation. Her practice encompasses painting\, sculpture\, collage\, writing\, and publishing\, with references that dialogue with classical sculpture\, archaeology\, mythology\, memory\, and the political tensions of the present. \nAfter leaving Lebanon during the civil war\, Fattal settled in California\, where she founded the independent publishing house Post-Apollo Press. Her approach to ceramics and sculpture gave rise to a distinctive visual language\, in which archaic bodies\, figures in transit\, and symbolic thresholds evoke the persistence of the human spirit in the face of history. \nArtist Etel Adnan once wrote of her work: “When Simone Fattal faced her first piece of clay\, she did not hesitate. Her fingers… turned that muddy mass into a standing person. It was an act of creation… an essential movement\, one that separates the human species from the animal world.” \nFattal’s nomination for the PIAC was made by Christine Tohme\, Lebanese curator and director of Ashkal Alwan\, who highlighted the relevance of her work for understanding the social\, political\, and ecological realities of our time. \nThe PIAC in Mexico \nSince 2013\, each work awarded by the PIAC has been presented internationally. For the 2025 edition\, the Fondation Prince Pierre chose Mexico City\, in collaboration with the Jumex Museum\, as the venue for the exhibition during art week\, strengthening the cultural ties between Mexico and Monaco. \nThe Prince Pierre Foundation of Monaco \nFounded on February 17\, 1966\, the Foundation was created as a tribute to Prince Pierre\, father of Rainier III and grandfather of H.R.H. the Princess of Hanover. The institution promotes contemporary creation in literature\, music\, and the visual arts\, and is currently chaired by H.R.H. the Princess of Hanover.
URL:https://kaufmannrepetto.com/exhibition/simone-fattal-simone-fattal/
LOCATION:museo jumex\, mexico city
CATEGORIES:Museum Exhibitions
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20260115
DTEND;VALUE=DATE:20260720
DTSTAMP:20260127T152249Z
CREATED:20260127T152201Z
LAST-MODIFIED:20260127T152249Z
UID:27400-1768435200-1784505599@kaufmannrepetto.com
SUMMARY:Adrian Paci | Dal mare\, dialoghi con la città frontale
DESCRIPTION:Curated by Andrea Cusumano\, Il Teatro di Pietro Consagra—a large architectural concrete sculpture in the monumental heart of Gibellina—becomes\, prior to the start of its completion (designed by Mario Cucinella and scheduled for autumn 2026)\, the site of an ideal dialogue between Masbedo and Adrian Paci. \nWithin the structure\, with its Piranesian echoes\, Adrian Paci’s work The Bell Tolls Upon the Waves will be installed on three large screens on the first floor\, while on the upper level a monumental screen will present Resto by the duo Masbedo. \nBoth works\, devoted to the Mediterranean as a human\, political\, and existential horizon\, explore the relationship between sea\, movement\, and migration. Images and sounds will merge within the space\, generating a dialogue between artistic languages and between the ethical and aesthetic visions of the two artists and that of Consagra.
URL:https://kaufmannrepetto.com/exhibition/adrian-paci-dal-mare-dialoghi-con-la-citta-frontale/
LOCATION:Teatro di Pietro Consagra\, Gibellina
CATEGORIES:Museum Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://kaufmannrepetto.com/app/uploads/2026/01/Adrian-Paci-The-Bell-tolls-upon-the-waves.-Installation-view-at-Teatro-di-Pietro-Consagra-Gibellina.-Courtesy-Gibellina-Capitale-Italiana-dell’Arte-Contemporanea-2026-4.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260115
DTEND;VALUE=DATE:20260720
DTSTAMP:20260130T142723Z
CREATED:20260130T142723Z
LAST-MODIFIED:20260130T142723Z
UID:27425-1768435200-1784505599@kaufmannrepetto.com
SUMMARY:Dal mare\, dialoghi con la città frontale
DESCRIPTION:Curated by Andrea Cusumano\, Il Teatro di Pietro Consagra—a large architectural concrete sculpture in the monumental heart of Gibellina—becomes\, prior to the start of its completion (designed by Mario Cucinella and scheduled for autumn 2026)\, the site of an ideal dialogue between Masbedo and Adrian Paci. \nWithin the structure\, with its Piranesian echoes\, Adrian Paci’s work The Bell Tolls Upon the Waves will be installed on three large screens on the first floor\, while on the upper level a monumental screen will present Resto by the duo Masbedo. \nBoth works\, devoted to the Mediterranean as a human\, political\, and existential horizon\, explore the relationship between sea\, movement\, and migration. Images and sounds will merge within the space\, generating a dialogue between artistic languages and between the ethical and aesthetic visions of the two artists and that of Consagra.
URL:https://kaufmannrepetto.com/exhibition/dal-mare-dialoghi-con-la-citta-frontale/
LOCATION:Teatro di Pietro Consagra\, Gibellina
CATEGORIES:Museum Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://kaufmannrepetto.com/app/uploads/2026/01/Adrian-Paci-The-Bell-tolls-upon-the-waves.-Installation-view-at-Teatro-di-Pietro-Consagra-Gibellina.-Courtesy-Gibellina-Capitale-Italiana-dell’Arte-Contemporanea-2026-4.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260109
DTEND;VALUE=DATE:20260222
DTSTAMP:20260312T152328Z
CREATED:20260109T132115Z
LAST-MODIFIED:20260312T152328Z
UID:27191-1767916800-1771718399@kaufmannrepetto.com
SUMMARY:simone fattal: the hearth
DESCRIPTION:Time itself becomes pliant in the hands of Simone Fattal\, who has spent six decades forging a singular project to bridge the ancient and modern. This joint presentation spans two linked exhibitions — The Primeval Forest\, at Greene Naftali\, and The Hearth\, at kaufmann repetto — and marks the artist’s return to New York following her acclaimed 2019 survey at MoMA PS1. The works on view range from sculptures in clay\, stoneware\, and bronze to large-scale drawings and cut-paper collage\, implying a ritual landscape suffused with belief in what can’t be seen. \nBorn in Damascus in 1942\, Fattal was raised in Lebanon and educated in Beirut and Paris\, where she studied archaeology at the École du Louvre and philosophy at the Sorbonne. In 1969 she returned to Beirut\, where she began her career as an artist\, exhibiting her paintings locally through the start of the Lebanese Civil War. She left the city in 1980 and resettled in California. There she founded the Post-Apollo Press to publish avant-garde authors from around the world. By 1988 Fattal had resumed her visual art\, enrolling at the San Francisco Art Institute where she discovered ceramics\, coaxing a near-animistic quality from the supple medium of clay. As Negar Azimi has remarked\, her “figures look as old as the earth and yet they breathe.” Fattal eventually returned to Paris where she still resides\, making a body of work informed by poetry and myth that views the deep past through living eyes. \nKnown primarily as a sculptor of totemic works in clay and bronze\, Fattal makes use of motifs that imply a cultural mix—from Sumerian tales to Sufi mysticism and pre-Islamic lore—that mirrors her own itinerant life\, tapping into shared narratives of displacement and human resilience. Recurring forms include striding men on sturdy legs\, suggesting archetypal heroes that endure through the ages. The bronze Walker\, at kaufmann repetto\, renders a life-size figure in motion\, paired with a rock that trails it like a shadow. “Man is a standing animal\,” Fattal has said of her prophets and wanderers. “Before he started thinking\, he got up.” At Greene Naftali\, Ghaylan and Mayya depicts seafaring lovers from Arabic literature\, one splayed like a billowing sail—a material sleight-of- hand that uses the solidity of bronze to capture something as airy and impermanent as the wind. At the gallery’s center\, the monumental bronze Tree likens organic growth to artistic creation\, and the stoneware Humbaba from the Epic of Gilgamesh stands sentry\, protecting a hand-drawn forest scrawled and dripped in skeins of ink. \n\n\n\n\n\n\nBoth exhibitions feature an array of tabletop ceramics that pay homage to the natural world\, with glazed vignettes of plants and animals\, a sand dune or an ocean wave. Other clay structures resemble humble dwellings or architectural ruins. These rough-hewn objects portray elemental forces and our means of shelter from them: the fundamental drive to make a home\, to preserve what might otherwise be lost. The Primeval Forest and The Hearth consider the environmental relations of humans to their surroundings\, with the Mediterranean as an abiding source of inspiration. In Golden Sea\, a tessellated path of Murano glass tiles evokes a space of fluid circulation\, while a series of collages picture sun on water from remnants saved over time and pieced together. Layered and nonlinear\, collage is ideally suited to the multiplicity Fattal favors\, with truncated forms that convey history’s ruptures as well as its affinities. “We do not and cannot have any real knowledge of the past\,” Fattal has said. “We only have fragments.”
URL:https://kaufmannrepetto.com/exhibition/simone-fattal-the-hearth/
LOCATION:Kaufmann Repetto New York\, New York\, United States
CATEGORIES:Gallery Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20251218
DTEND;VALUE=DATE:20260407
DTSTAMP:20260225T125513Z
CREATED:20260225T120824Z
LAST-MODIFIED:20260225T125513Z
UID:27668-1766016000-1775519999@kaufmannrepetto.com
SUMMARY:simone fattal | Gli anni. Capitolo 2
DESCRIPTION:Participating artists:\nCarlo Alfano (Napoli\, 1932 – 1990) / Thomas Bayrle (Berlino\, 1937) / Luciano Fabro (Torino\, 1936 – Milano\, 2007) / Simone Fattal (Damasco\, 1942) / Giorgia Garzilli (Napoli\, 1992) / Eva Giolo (Bruxelles\, 1991) / Piero Golia (Napoli\, 1974) / Mimmo Jodice (Napoli\, 1934 – 2025) / Rashid Johnson (Chicago\, 1977) / Allan Kaprow (Atlantic City\, 1927 – Encinitas\, 2006) / Rosa Panaro (Casal di Principe\, 1935 – Napoli\, 2022) / Lorenzo Scotto di Luzio (Pozzuoli\, 1972) / Cindy Sherman (New Jersey\, 1954) Frances Stark (Newport Beach\, 1967) / Eric Wesley (Los Angeles\, 1973) \nThe ongoing exhibition format titled Gli anni is broken down into chapters and dedicated to exploring episodes from the history of art in Naples over recent decades. The Madre collection interacts with major public and private collections here\, largely from the city itself\, to re-evoke key moments and artistic productions that have taken place in the area through emblematic works. The first chapter of the exhibition was held from December 19\, 2024 to June 30\, 2025. \nThe title Gli anni refers to the novel of the same name by writer Annie Ernaux (The Years)\, winner of the 2022 Nobel Prize for Literature\, in which the description of photographs and memories of important moments in a single life become both an autobiographical fresco and a collective and historiographical chronicle. The novel warns that private images and memories are destined to disappear in the ebb and flow of history\, while this exhibition sets out to consider works of art as an antidote to this process of dissolution. Over time\, once the urgency of the relationship with the current events in which they were conceived has subsided\, the works may recount both their own aesthetic and linguistic research and the context in which they were produced and exhibited. In turn\, the collections in which they are preserved may be viewed\, from this stance\, as repositories of stories\, events\, and passages embedded in shared experience. \nThe narrative that unfolds\, punctuated by various moments and episodes\, is signposted by the years in which the selected works were exhibited in Campania\, i.e. when they became part of the shared memory that this exhibition celebrates. To complete this trajectory and confirm the vitality of Madre’s ongoing research into the present\, Gli anni also includes artists exhibiting in Naples for the first time: for this second chapter\, Eva Giolo. The experimental aspect continues further with an exhibition model featuring an artist from the Campania region\, in this case Giorgia Garzilli\, who is given the chance to curate a one-room exhibition drawing on the Madre collection\, exploited here as a cultural and creative pool of reference material. \nThe exhibition itinerary\, just like the structure of our own memories\, is not chronological. \nIn order for each work to become not only an emblem of artistic research and a specific socio-political moment\, but also an antidote to the disappearance of shared historical memory (a danger underlined by Ernaux)\, the exhibition has a real constituent element in its public program. During the exhibition period\, meetings\, conversations\, and visits reflect the liveliness of the Neapolitan art scene in recent cultural history\, contextualizing it in a broader historiographical perspective. The works on display thus become a palimpsest on which to construct historical-artistic\, political\, anthropological\, and sociological narratives\, in line with a notion of the museum as a place of transdisciplinary thought production.
URL:https://kaufmannrepetto.com/exhibition/simone-fattal-gli-anni-capitolo-2/
LOCATION:museo madre\, napoli
CATEGORIES:Museum Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20251120
DTEND;VALUE=DATE:20260226
DTSTAMP:20260225T153723Z
CREATED:20251121T131113Z
LAST-MODIFIED:20260225T153723Z
UID:26852-1763596800-1772063999@kaufmannrepetto.com
SUMMARY:Thea Djordjadze: Back Facing Front
DESCRIPTION:kaufmann repetto is pleased to announce Back Facing Front\, Thea Djordjadze’s fourth solo show with the gallery\, opening in Milan on November 20. The site-specific installation brings together newly conceived structures and reconfigured existing works. Interventions operated by the artist in-situ transform each element in a force with tendencies of its own\, leaving it open to dissolve and then to be re-constituted in different\, future activations. \nFor Djordjadze\, the exhibition space solicits potential relationships between its architecture and the materials and forms that inhabit it for the duration of the show. Engaging with the symmetrical layout and minimalist features of the Milanese gallery\, the artist conceived a wooden structure that runs along the perimeter walls\, while wedge-shaped aluminum elements\, originally devised for Djordjadze’s recent solo show at the Hamburger Kunsthalle\, are positioned along the window front. The rectilinear volumes of transparent cuboids hover on top of the concrete floor\, and a bright red carpet on a slightly higher level sets off the more domestic territory of a small\, adjacent chamber. The modularity of the sculptural interventions recalls the display devices encountered in museums\, but their meanings and functions are undermined by unexpected associations and hybrid employments. Elements that at first sight seem to evoke a purely formal function as supporting structures for something else – shelves\, pedestals\, vitrines – reveal themselves as sculptures in their own right. Their clean\, essential outlines and geometric shapes are countered by the highly subjective physicality of objects that transpire manual manipulation or bear the artist’s bodily intervention\, like the scratched surface of a plaster wall relief\, or the gestural traces on aluminum sheets\, bent by the artist’s own body into sculptural forms. The rejection of permanent and stable meanings and functions is part of Djordjadze’s critical scrutiny of contemporary art making and its institutional reception\, which she undermines by process-driven\, provisional interventions that respond to the physicality of the specific spatial and temporal frame of an exhibition.
URL:https://kaufmannrepetto.com/exhibition/thea-djordjadze-back-facing-front/
LOCATION:Kaufmann Repetto Milan\, Milano\, Milano\, 20132\, Italy
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20251120
DTEND;VALUE=DATE:20260226
DTSTAMP:20260225T153759Z
CREATED:20251121T152355Z
LAST-MODIFIED:20260225T153759Z
UID:26858-1763596800-1772063999@kaufmannrepetto.com
SUMMARY:Gaëlle Choisne: Exhale/Inhale
DESCRIPTION:kaufmann repetto is pleased to present Gaëlle Choisne\, Inhale/Exhale and Exhale/ Inhale\, two mirrored exhibitions opening at kaufmann repetto New York on November 7 and at kaufmann repetto Milan on November 20. Conceived as a diptych\, the projects take the movement of breathing as structure and motif\, moving between interiority and openness. \nIn New York\, Inhale takes its cue from the words “I can’t breathe” not just as a slogan but as a measure of the air we share\, evoking the physical\, social\, and political suffocation caused by police violence\, notably the death of George Floyd in 2020. In a world that has become unbreathable for many\, Inhale creates a place of respite and reconnection. In the words of the artist\, “breathing has become a luxury\, a spiritual wealth too often denied to those living under oppression or fear.” In Milan\, Exhale carries this attention outward\, proposing a meditative letting‑go that returns attention to the body and to others. \nBorn in France to a Haitian mother and Breton father\, Gaëlle Choisne draws on Caribbean lineages\, oral traditions\, and Creole cosmologies\, bringing them into conversation with contemporary social and environmental urgencies. Rooted in this Haitian ancestry and diasporic knowledge\, Inhale/Exhale bridges cultures and temporalities\, proposing breath as a shared practice of repair and a way of linking communities. Together\, the exhibitions trace a single arc of purification\, a modest rite for learning again to move through the world with awareness and reciprocity. \nChoisne’s environments gather sculpture\, image\, scent\, and found matter into charged constellations that oscillate between the domestic and the cosmic. At the core of Inhale in New York\, a large Charm for Humanity folds lavender\, coarse salt\, and dried herbs into textiles\, reactivating materials historically used for cleansing and protection\, while a family of ceramic Boudoirs nearby offers small\, contemplative zones for stillness and repair. Historically\, boudoirs were spaces of gathering and exchange among women\, sites of intimacy and resistance; here they serve as open sanctuaries for vulnerability\, care\, and reflection. Cigarettes appear occasionally like quiet provocations\, a pointed note on toxicity and the illusion of release. A hand‑built brass mesh\, Corps Éthérique\, draws a visible yet passable line through the space\, it runs through the room as a porous threshold: a filter for perspectives and energies\, a line that conducts rather than divides. \nAcross both Milan and New York\, new works from Safe Space for a Passing History develop the artist’s collaged “scrap‑paintings\,” where photographs\, talismans\, and textual fragments are layered onto reclaimed wooden panels\, repurposed from the shipping crates of her earlier installations. These surfaces operate like moodboards for thought\,sites where disparate histories and memories converge. Rather than illustrating a single narrative\, they hold multiple temporalities at once – anticolonial and abolitionist histories\, Indigenous guardianship of knowledge\, and popular culture as a communal balm – mapping networks of resilience and transformation. Profoundly influenced by the work of British author and critic Ekow Eshun and Pan- Africanist Nioussérê Kalala Omotunde\, Gaëlle Choisne is also driven by a desire for reparation: “I connect with an energy\, I channel messages from other worlds to create new temporal lines of healing and make our planet healthier.” \nIn Milan\, the sequence centers on the diptych Safe Space for a Passing History – Ère du Verseau 999 (Long Story First)\, first presented at the Centre Pompidou in 2024 on the occasion of Choisne’s Marcel Duchamp Prize\, where her installation explored astrological imaginaries as engines for rupture. The Boudoirs ceramics recur in both cities; the Milan iterations were developed during the artist’s 2025 residency at Scuola Piccola Zattere in Venice\, where production was embedded in local craft networks. In the same context\, Choisne collaborated with Venetian glassmakers on I hear my heart in your ear\, a lamp inspired by the city’s iconic lampposts — folding neighborhood know-how\, daily rhythms\, and material vernacular directly into the exhibition’s meditative cadence. \nIf Inhale turns inward\, Exhale releases that charge into motion\, tracing the delicate continuum between tension and rest. The two chapters form an ecology of gestures— spatial\, spiritual\, and emotional—through which Choisne imagines her practice as a means of healing\, connection\, and balance. They honor the Yanomami and Indigenous peoples as guardians of land and breath\, and they align with human and spiritual forces working toward freedom\, peace\, and repair. Across both sites\, breathing itself becomes form: a disciplined pacing that involves care\, attention\, and reciprocity — an invitation to breathe with\, and for\, one another.
URL:https://kaufmannrepetto.com/exhibition/gaelle-choisne-exhaleinhale/
LOCATION:Kaufmann Repetto Milan\, Milano\, Milano\, 20132\, Italy
ATTACH;FMTTYPE=image/jpeg:https://kaufmannrepetto.com/app/uploads/2025/11/GAELLE_CHOISNE_01-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20251120
DTEND;VALUE=DATE:20260226
DTSTAMP:20260313T111624Z
CREATED:20260303T180324Z
LAST-MODIFIED:20260313T111624Z
UID:27826-1763596800-1772063999@kaufmannrepetto.com
SUMMARY:Thea Djordjadze: Back facing Front
DESCRIPTION:kaufmann repetto is pleased to announce Back Facing Front\, Thea Djordjadze’s fourth solo show with the gallery\, opening in Milan on November 20. The site-specific installation brings together newly conceived structures and reconfigured existing works. Interventions operated by the artist in-situ transform each element in a force with tendencies of its own\, leaving it open to dissolve and then to be re-constituted in different\, future activations. \nFor Djordjadze\, the exhibition space solicits potential relationships between its architecture and the materials and forms that inhabit it for the duration of the show. Engaging with the symmetrical layout and minimalist features of the Milanese gallery\, the artist conceived a wooden structure that runs along the perimeter walls\, while wedge-shaped aluminum elements\, originally devised for Djordjadze’s recent solo show at the Hamburger Kunsthalle\, are positioned along the window front. The rectilinear volumes of transparent cuboids hover on top of the concrete floor\, and a bright red carpet on a slightly higher level sets off the more domestic territory of a small\, adjacent chamber. The modularity of the sculptural interventions recalls the display devices encountered in museums\, but their meanings and functions are undermined by unexpected associations and hybrid employments. Elements that at first sight seem to evoke a purely formal function as supporting structures for something else – shelves\, pedestals\, vitrines – reveal themselves as sculptures in their own right. Their clean\, essential outlines and geometric shapes are countered by the highly subjective physicality of objects that transpire manual manipulation or bear the artist’s bodily intervention\, like the scratched surface of a plaster wall relief\, or the gestural traces on aluminum sheets\, bent by the artist’s own body into sculptural forms. The rejection of permanent and stable meanings and functions is part of Djordjadze’s critical scrutiny of contemporary art making and its institutional reception\, which she undermines by process-driven\, provisional interventions that respond to the physicality of the specific spatial and temporal frame of an exhibition.
URL:https://kaufmannrepetto.com/exhibition/thea-djordjadze-back-facing-front/
LOCATION:Kaufmann Repetto Milan\, Milano\, Milano\, 20132\, Italy
CATEGORIES:Gallery Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://kaufmannrepetto.com/app/uploads/2025/11/01-1-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20251120
DTEND;VALUE=DATE:20260226
DTSTAMP:20260311T153528Z
CREATED:20260303T174427Z
LAST-MODIFIED:20260311T153528Z
UID:27808-1763596800-1772063999@kaufmannrepetto.com
SUMMARY:Gaëlle Choisne: Exhale/Inhale
DESCRIPTION:kaufmann repetto is pleased to present Gaëlle Choisne\, Inhale/Exhale and Exhale/Inhale\, two mirrored exhibitions opening at kaufmann repetto New York on November 7 and at kaufmann repetto Milan on November 20. Conceived as a diptych\, the projects take the movement of breathing as structure and motif\, moving between interiority and openness. \nIn New York\, Inhale takes its cue from the words “I can’t breathe” not just as a slogan but as a measure of the air we share\, evoking the physical\, social\, and political suffocation caused by police violence\, notably the death of George Floyd in 2020. In a world that has become unbreathable for many\, Inhale creates a place of respite and reconnection. In the words of the artist\, “breathing has become a luxury\, a spiritual wealth too often denied to those living under oppression or fear.” In Milan\, Exhale carries this attention outward\, proposing a meditative letting-go that returns attention to the body and to others. \nBorn in France to a Haitian mother and Breton father\, Gaëlle Choisne draws on Caribbean lineages\, oral traditions\, and Creole cosmologies\, bringing them into conversation with contemporary social and environmental urgencies. Rooted in this Haitian ancestry and diasporic knowledge\, Inhale/Exhale bridges cultures and temporalities\, proposing breath as a shared practice of repair and a way of linking communities. Together\, the exhibitions trace a single arc of purification\, a modest rite for learning again to move through the world with awareness and reciprocity. \nChoisne’s environments gather sculpture\, image\, scent\, and found matter into charged constellations that oscillate between the domestic and the cosmic. At the core of Inhale in New York\, a large Charm for Humanity folds lavender\, coarse salt\, and dried herbs into textiles\, reactivating materials historically used for cleansing and protection\, while a family of ceramic Boudoirs nearby offers small\, contemplative zones for stillness and repair. Historically\, boudoirs were spaces of gathering and exchange among women\, sites of intimacy and resistance; here they serve as open sanctuaries for vulnerability\, care\, and reflection. Cigarettes appear occasionally like quiet provocations\, a pointed note on toxicity and the illusion of release. A hand-built brass mesh\, Corps Éthérique\, draws a visible yet passable line through the space\, it runs through the room as a porous threshold: a filter for perspectives and energies\, a line that conducts rather than divides. \nAcross both Milan and New York\, new works from Safe Space for a Passing History develop the artist’s collaged “scrap-paintings\,” where photographs\, talismans\, and textual fragments are layered onto reclaimed wooden panels\, repurposed from the shipping crates of her earlier installations. These surfaces operate like moodboards for thought\,sites where disparate histories and memories converge. Rather than illustrating a single narrative\, they hold multiple temporalities at once – anti-colonial and abolitionist histories\, Indigenous guardianship of knowledge\, and popular culture as a communal balm – mapping networks of resilience and transformation. Profoundly influenced by the work of British author and critic Ekow Eshun and Pan-Africanist Nioussérê Kalala Omotunde\, Gaëlle Choisne is also driven by a desire for reparation: “I connect with an energy\, I channel messages from other worlds to create new temporal lines of healing and make our planet healthier.” \nIn Milan\, the sequence centers on the diptych Safe Space for a Passing History – Ère du Verseau 999 (Long Story First)\, first presented at the Centre Pompidou in 2024 on the occasion of Choisne’s Marcel Duchamp Prize\, where her installation explored astrological imaginaries as engines for rupture. The Boudoirs ceramics recur in both cities; the Milan iterations were developed during the artist’s 2025 residency at Scuola Piccola Zattere in Venice\, where production was embedded in local craft networks. In the same context\, Choisne collaborated with Venetian glassmakers on I hear my heart in your ear\, a lamp inspired by the city’s iconic lampposts — folding neighborhood know-how\, daily rhythms\, and material vernacular directly into the exhibition’s meditative cadence. \nIf Inhale turns inward\, Exhale releases that charge into motion\, tracing the delicate continuum between tension and rest. The two chapters form an ecology of gestures—spatial\, spiritual\, and emotional—through which Choisne imagines her practice as a means of healing\, connection\, and balance. They honor the Yanomami and Indigenous peoples as guardians of land and breath\, and they align with human and spiritual forces working toward freedom\, peace\, and repair. Across both sites\, breathing itself becomes form: a disciplined pacing that involves care\, attention\, and reciprocity — an invitation to breathe with\, and for\, one another.
URL:https://kaufmannrepetto.com/exhibition/gaelle-choisne-exhaleinhale/
LOCATION:Kaufmann Repetto Milan\, Milano\, Milano\, 20132\, Italy
CATEGORIES:Gallery Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://kaufmannrepetto.com/app/uploads/2026/03/GAELLE_CHOISNE_01-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20251108
DTEND;VALUE=DATE:20260427
DTSTAMP:20260127T151329Z
CREATED:20260127T151301Z
LAST-MODIFIED:20260127T151329Z
UID:27390-1762560000-1777247999@kaufmannrepetto.com
SUMMARY:Nicolas Party | FRUITY!
DESCRIPTION:Juicy\, crisp\, sweet\, in the most dazzling colors\, full of vitamins and sunshine – the world of fruits impresses with its diversity. \nThe exhibition “Fruity!” presents over 40 works\, all sharing a common motif: fruit. The selection comes from the specialized private collection of Heidelberg entrepreneur Dr. Rainer Wild.\nIt includes renowned artists of the 20th/21st century; the focus of the selection for Offenburg is on contemporary art in the collection.\nThe exhibition is a multifaceted journey of discovery\, exploring native and exotic fruits from apples to lemons\, as well as artistic techniques ranging from painting and drawing to sculpture\, installation\, and video. Even within this seemingly “light” theme\, social commentary can be found. Thus\, the thematic exhibition offers a colorful and sensual\, yet also profound\, insight into the artistic exploration of this subject.
URL:https://kaufmannrepetto.com/exhibition/nicolas-party-fruity/
LOCATION:Die Städtische Galerie Offenburg
CATEGORIES:Museum Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://kaufmannrepetto.com/app/uploads/2026/01/Städtische-Galerie-Offenburg-fruchtig-Nov-25-79-1-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20251108
DTEND;VALUE=DATE:20260130
DTSTAMP:20260422T162525Z
CREATED:20260409T160419Z
LAST-MODIFIED:20260422T162525Z
UID:28467-1762560000-1769731199@kaufmannrepetto.com
SUMMARY:Vivian Suter: Disco
DESCRIPTION:vivian suter: disco \nThe exhibition Disco by Vivian Suter was organised by MAAT\, Lisbon and Palais de Tokyo\, Paris.\nIt benefits from the support for artistic production and partnership of ArtWorks. \nOpening: Friday November 7th\, 2025 at 6pm \nCurator: Hélène Audiffren \nVivian Suter works daily in her garden in Panajachel\, Guatemala\, where she has lived since the 1980s. She incorporates external factors such as humidity\, light\, flora and fauna into her painting\, thus documenting her living environment. The forces and textures of Guatemala’s lush subtropical nature are recorded in the artist’s gestural and colourful painting. \nThe works\, which are untitled and undated\, can then be hung in any direction within proliferating installations. Visitors literally walk through Vivian Suter’s paintings until they are physically immersed in a dense work whose atmosphere is composed of shapes\, colours and traces left by the weather. \nCarré d’Art – Museum of Contemporary Art will present the exhibition Disco by artist Vivian Suter from 8 November 2025 to 29 March 2026\, previously unveiled at MAAT in Lisbon and the Palais de Tokyo in Paris. As with each iteration of the exhibition\, the hundreds of canvases created in recent years are rearranged in a free and spontaneous manner according to the architecture of the venue. They accumulate and overlap across the entire height of the walls\, float in mid-air\, are suspended from structures or pile up on the floor. In Nîmes\, the canvases interact with Norman Foster’s architecture to offer viewers a new immersive experience. \nA series of collages by Elisabeth Wild\, the artist’s mother (1922-2020)\, completes the exhibition. \nThe exhibition is the subject of a monographic book in four languages\, published by JRP éditions. \n\nVivian Suter was born in Buenos Aires in 1949. She moved with her family to Basel at the age of twelve. There she studied art at the School of Arts and Crafts. Between 1962 and 1982\, she lived in Switzerland and travelled throughout Africa\, Europe and North America. She produced drawings\, collages and large sheets of brightly coloured paper\, which she exhibited in various Swiss galleries during the 1970s. In 1982\, she travelled to Latin America and in 1983 settled in Panajachel\, Guatemala\, where she still lives today. It was in this subtropical environment that she replaced paper with canvas.
URL:https://kaufmannrepetto.com/exhibition/vivian-suter-disco-carre-dart-musee-dart-contemporain-nimes/
LOCATION:Musée d’art contemporain\, Nîmes
CATEGORIES:Museum Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://kaufmannrepetto.com/app/uploads/2026/04/vivian-suter_disco_nimes_2025-1-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20251107
DTEND;VALUE=DATE:20251221
DTSTAMP:20251112T122345Z
CREATED:20251107T184230Z
LAST-MODIFIED:20251112T122345Z
UID:26673-1762473600-1766275199@kaufmannrepetto.com
SUMMARY:Gaëlle Choisne: Inhale/Exhale
DESCRIPTION:kaufmann repetto is pleased to present Gaëlle Choisne\, Inhale/Exhale and Exhale/Inhale\, two mirrored exhibitions opening at kaufmann repetto New York on November 7 and at kaufmann repetto Milan on November 20. Conceived as a diptych\, the projects take the movement of breathing as structure and motif\, moving between interiority and openness. \nIn New York\, Inhale takes its cue from the words “I can’t breathe” not just as a slogan but as a measure of the air we share\, evoking the physical\, social\, and political suffocation caused by police violence\, notably the death of George Floyd in 2020. In a world that has become unbreathable for many\, Inhale creates a place of respite and reconnection. In the words of the artist\, “breathing has become a luxury\, a spiritual wealth too often denied to those living under oppression or fear.” In Milan\, Exhale carries this attention outward\, proposing a meditative letting-go that returns attention to the body and to others. \nBorn in France to a Haitian mother and Breton father\, Gaëlle Choisne draws on Caribbean lineages\, oral traditions\, and Creole cosmologies\, bringing them into conversation with contemporary social and environmental urgencies. Rooted in this Haitian ancestry and diasporic knowledge\, Inhale/Exhale bridges cultures and temporalities\, proposing breath as a shared practice of repair and a way of linking communities. Together\, the exhibitions trace a single arc of purification\, a modest rite for learning again to move through the world with awareness and reciprocity. \nChoisne’s environments gather sculpture\, image\, scent\, and found matter into charged constellations that oscillate between the domestic and the cosmic. \nAt the core of Inhale in New York\, a monumental charm\, Charm for Humanity\, folds lavender\, coarse salt\, and dried herbs into textiles\, reactivating materials historically used for cleansing and protection\, while a family of ceramic Boudoirs nearby offers small\, contemplative zones for stillness and repair. Historically\, boudoirs were spaces of gathering and exchange among women\, sites of intimacy and resistance; here they serve as open sanctuaries for vulnerability\, care\, and reflection. Cigarettes appear occasionally like quiet provocations\, a pointed note on toxicity and the illusion of release. A hand-built brass mesh\, Corps Éthérique\, draws a visible yet passable line through the space\, it runs through the room as a porous threshold: a filter for perspectives and energies\, a line that conducts rather than divides. \nAcross both Milan and New York\, new works from Safe Space for a Passing History develop the artist’s collaged “scrap-paintings\,” where photographs\, talismans\, and textual fragments are layered onto reclaimed wooden panels\, repurposed from the shipping crates of her earlier installations. These surfaces operate like moodboards for thought\,sites where disparate histories and memories converge. Rather than illustrating a single narrative\, they hold multiple temporalities at once – anti-colonial and abolitionist histories\, Indigenous guardianship of knowledge\, and popular culture as a communal balm – mapping networks of resilience and transformation. Profoundly influenced by the work of British author and critic Ekow Eshun and Pan-Africanist Nioussérê Kalala Omotunde\, Gaëlle Choisne is also driven by a desire for reparation: “I connect with an energy\, I channel messages from other worlds to create new temporal lines of healing and make our planet healthier.”
URL:https://kaufmannrepetto.com/exhibition/gaelle-choisne-inhale-exhale/
LOCATION:Kaufmann Repetto New York\, New York\, United States
CATEGORIES:Gallery Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://kaufmannrepetto.com/app/uploads/2025/11/DSF6996-Pano-Edit-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20251016
DTEND;VALUE=DATE:20260108
DTSTAMP:20251104T113112Z
CREATED:20251022T160541Z
LAST-MODIFIED:20251104T113112Z
UID:26319-1760572800-1767830399@kaufmannrepetto.com
SUMMARY:Bice Lazzari. I linguaggi del suo tempo
DESCRIPTION:
URL:https://kaufmannrepetto.com/exhibition/bice-lazzari-i-linguaggi-del-suo-tempo/
LOCATION:Palazzo Citterio\, Milano
ATTACH;FMTTYPE=image/jpeg:https://kaufmannrepetto.com/app/uploads/2025/10/cm251017_8915-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20251013
DTEND;VALUE=DATE:20251205
DTSTAMP:20260422T163132Z
CREATED:20260409T122311Z
LAST-MODIFIED:20260422T163132Z
UID:28280-1760313600-1764892799@kaufmannrepetto.com
SUMMARY:Vivian Suter: Tintin Nina
DESCRIPTION:vivian suter: tintin nina \nCreated en plein air in the Guatemalan rainforest where she lives\, the works of Swiss-Argentine artist Vivian Suter (Buenos Aires\, 1949) emerge from her intimate bond with natural elements. Rain\, soil\, humidity\, dog prints\, traces of plant and animal life leave their mark on the canvases\, blending with vibrant paint brushes\, brilliant colors\, and abstract forms. Suter acknowledges nature as playing a crucial role in the completion of her work\, allowing chance and unpredictability to shape the final result. Installed in an immersive manner—evoking the lush visual richness of the tropical environment in which they are created—these works remind us that human beings are part of a broader\, interconnected world. Expressing an ecological sensitivity\, they invite us to “care for our common home” (Encyclical Laudato si’\, Pope Francis\, 2015). \nVivian Suter’s installation is part of the 2025 program of Conciliazione 5\, the new space for contemporary art of the Dicastery for Culture and Education of the Holy See. \nThe exhibition continues at another venue: the Monumental Greenhouse of the nearby Botanical Garden of Rome\, located at Largo Cristina di Svezia 23A.
URL:https://kaufmannrepetto.com/exhibition/vivian-suter-tintin-nina/
LOCATION:Orto Botanico\, Rome
CATEGORIES:Museum Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://kaufmannrepetto.com/app/uploads/2026/04/20251010_Conciliazione_5_Suter_0456-scaled.jpg
END:VEVENT
END:VCALENDAR