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IL GIORNO DELLA FINE NON TI SERVIRA’ L’INGLESE
TEXT BY CORNELIA MATTIACCI | MARTINA SIMETI | MILANO 2023
TO SITUATIONS NEW
CURATED BY JENN ELLIS | LAMB ARTS | LONDON 2021
Tangram (Lying Down Cat), 2015, h 224 x w 170 cm
Nanunan, 2021, h 74 x w 56 cm
Two Winter Socks, 2020, h 54 x w 37 cm
Scan, 2019, h 60 x w 42 cm
APPOCUNDRIA
CURATED BY MARTA CEREDA | CASA TESTORI | NOVATE MILANESE 2019
ARTISSIMA
WITH JUVENTUS | ARTISSIMA JUNIOR | TURIN 2018
Luisito Monti, I, 2018, h 100 x w 70 cm
Luisito Monti, II, 2018, h 70 x w 60 cm
GROUP SHOW
FRUTTA | ROME 2018
Tangram (Colibri), 2018, h 255 x w 185 cm
EXIT
CURATED BY ADAM CARR | RODOLPHE JANSSEN | BRUSSELS 2017
Tangram (Seal), 2015, h 211 x w 231 cm
L’IMPERO DELLE LUCI
SOLO SHOW | FRUTTA | ROME 2017
Starry Sky, 2015, h 98 x w 93 cm
Camel, 2015, h 98 x w 91 cm
Open, Come in, 2015, h 92 x w 73 cm
A FEW RECOMBINANT LAYERS | Chris Fitzpatrick
That matter cannot be destroyed, only redistributed, holds true in the work of Alek O. Her practice is often one of distillation and in which she unsentimentally de-constructs significant objects to create new ones. In a previous work, a brass corkscrew, which has been passed down through four generations of the artist’s family, was reconstituted into a flat rectangular form of raw material (Corkscrew, 2010).
FRIEZE ART FAIR
FRUTTA | LONDON 2014
Tetris (Santo Stefano Ticino), 2014, plastic shutters, framed, h 217 × w 152 cm
Tetris (Cantù), 2014, plastic shutters, framed, h 217 × w 152 cm
ALTRI TEMPI, ALTRI MITI
CURATED BY CRISTIANA PERRELLA | 16a QUADRIENNALE D’ARTE | PALAZZO DELLE ESPOSIZIONI | ROME 2016
E' già mattino, 2016, blueback posters, h 60 x w 420 cm
ENNESIMA. AN EXHIBITION OF SEVEN EXHIBITIONS ON ITALIAN ART
CURATED BY VINCENZO DE BELLIS | TRIENNALE DI MILANO | MILAN 2015
Tina, 2015, stretched fabric from outdoor curtains, h 270 x w 500 cm
Untitled (Umbrellas), 2015, polyester fabric from found umbrellas, h 223 x w 198 cm
IF THERE IS A LAST SUMMER MORNING
SOLO SHOW | FRUTTA | ROME 2014
Tangram, 2014, stretched fabric from curtains, h 160 x w 270 cm
Oltrepò Pavese, 2014, stretched fabric from curtains, h 233 x w 150 cm
TIME GOES BY SO SLOWLY
SOLO SHOW | JEANINE HOFLAND | AMSTERDAM 2016
Marisa, 2016, stretched fabric from outdoor curtains, h 235 x w 255 cm
Zig Zag, 2016, broken and cut mirrors on wood, h 76 x w 69 cm
Tangram (Cat), 2011, stretched cotton fabric from a parasol, h 233 x w 128 cm
Untitled (Foot), uncooked clay, 2014
Álvar Núñez Cabeza de Vaca, 2011, framed embroidery, h 110 x w 184 cm
HISTOIRE D'O. | Luca Lo Pinto
The first time I heard of her, it was the name which intrigued me most: Alek O. With a dot after the O as she makes a point to specify. Whether it is her real name or a pseudonym I have yet to work out, but I don’t mind the idea of remaining in this particular state of limbo. After hearing of her, I was lucky enough to put a face to the name through two works: Self-portrait without glasses (2007) a conceptual homage to the famous Rembrandt self-portrait and Self-portrait with long hair (2010).
Jonathan Monk, 2012, embroidery on canvas, d 35 cm
Red, 2013, embroidery on canvas, h 68 x w 85 cm
Blue, 2010, embroidery on canvas, h 61 x w 52 cm
Yellow, 2013, embroidery on canvas, h 73 x w 61 cm
Zig Zag, 2015, framed broken and cut glass, h 38 x w 27 cm
Zig Zag, 2014, framed glass, h 49 × h 37 cm
Zig Zag, 2016, framed broken and cut mirrors, h 42 × h 30 cm
The Doors (London, 27 November 2011), 2012, silkscreen on paper, h 100 x w 70 cm
Roberto, 2010, h 149 × w 110 cm
Moka, 2015, aluminium sand casting, w 15 x h 15 cm
Who killed Cock Robin?, 1935, 2008, Video paused at 1 min 26 sec
Untitled, 2007, Super 8 mm, 1 min 1 sec
Self-Portrait With Long Hair, 2010, B&W print on baryta paper, h 62 x w 52 cm
If there is a last summer morning, 2009, silver shells and chain