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Opening time

Today we are open from 10.30 am to 8.30 pm

Opening time

Today we are open from 10.30 am to 8.30 pm

Nick Mauss
Illuminated Window

1 DEC - 14 JAN 2018

mostre-cover-comte
Entrance
Free
When
Tuesday - Sunday
10.30 am - 8.30 pm
Where
Palazzo della Triennale
Torre Velasca
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Triennale di Milano presents the first solo exhibition in Italy of the American artist Nick Mauss

The display, curated by Milovan Farronato under the artistic direction of Edoardo Bonaspetti, is set up in the atrium of the Triennale and continues through to the Torre Velasca, in the “Acquario” space on the ground floor, hosted by Urban Up Unipol Project Cities.

The construction of sculpted or painted forms, movements, traces and structures, often aimed to allow the surfacing of a historical material in the present, could count as a descriptive introduction to some of Mauss’ most recent works. But these pieces also represent the desire to expand beyond the traditional exhibition frame and alternate his creations— sometimes with works of other artists or with non-works —all of which convene on a single imaginary stage.  For this reason, in Milan, the artist chose to exhibit his presentation beyond the Triennale in order to incorporate a landmark in the city center. Two very distinct modes of fruition of the space take place. On one hand, the institutional one; on the other, the necessity of a public window illuminated all day and all night thanks to its external glass walls. The renewal of the role of the spectator remains another main interest for the artist, and the ability to focus the spectator’s attention on the intangible volumes and atmosphere as well as on the oeuvre itself. The paintings, as large as backdrops, are an example. They are intended as curtains, as paintings that run along automated circuits, programmed to rotate continuously or to open and close at irregular intervals. The artist claims that the interest for theatrical space comes from the desire to have a wider frame, both from the historical perspective and the experience of an exhibition’s audience, or to understand the exhibition itself as a form of expression.

For the Triennale, Mauss realizes a site-specific oeuvre on an ample wall at the building’s entrance: a painting dispersed and/or recomposed in a sort of ceramic mural. The quadrangular and rectangular tiles do not entirely cover the surface of the wall, as in traditional murals, but are arranged as pieces of a puzzle that still has to be defined. At times, they are juxtaposed, other times, they only lightly touch each other, creating a graphic configuration made of recurrent colors. They do not follow a clear grid, and betray it if they do. Each of them maintain traces of a non-unitary design. Illustrated and illuminated by drafted and stratified drawings thanks to the various firing phases of the glazes; the ceramics have been realized in Faenza short before the inauguration of the exhibitions and simultaneously to a big public commission for the Building 66, designed by I.M. Pei in the campus of MIT in Cambridge (MA, USA). Painting on ceramics implies the desire to let the unforeseen emerge: the colors, in fact, are always different after the firing and glue does not protect with precision the underlying drawing.

For the Torre Velasca, Mauss designs a metaphorical stage, a special visual frame for the exhibited works – all made from different materials – as if they were the characters of a mise-en-scene. Some works are illuminated or sustained by an ornamental repertoire realised by the Studio BBPR who designed the tower in the aftermath of World War II. The decor supports and illuminates the work, but also suggests a domestic setting that makes tangible the absence of a human presence. Nevertheless, this glass and metal perimeter also contains the movement offered by two paintings that keep rotating like advertising panels. The paintings, like the tiles displayed at the Triennale, contain motifs that follow each other elsewhere, on hung and intertwined fabric drapes and on the crumpled pile of drawings that irrupt the space. They do not hide but, on the contrary, can be seen from different perspectives. In these reflected surfaces even the reflection of the passing visitors of the tower on the background or on the foreground becomes part of the display. 

 

Credits


A project by Triennale di Milano
realized in collaboration with Urban Up Unipol Projects Cities
with the support of Fiorucci Art Trust di Londra Fiorucci Art Trust London and Galleria Campoli Presti, Paris/London

Curated by
Milovan Farronato

Artistic Direction
Edoardo Bonaspetti, Curator of Visual Arts at the Triennale di Milano

Photo cover
Nick Mauss
Intricate Others
Installation view
22 June – 24 September 2017
Serralves Museum of Contemporary Art, Porto
Courtesy of the artist; Serralves Museum of Contemporary Art, Porto; Campoli Presti, London / Paris and 303 Gallery, New York

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