Francesca Minini, Milan

Jan 23 – March 9, 2019

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In his career Robert Barry (New York, 1936) has experimented and crossed a multitude of languages, always coherent with the line of research undertaken by the artist in the sixties. It is then that he began his experience in the art world with the first minimalist paintings, exploring the relationship between painted space and empty space, between absence and presence of form, on the wave of minimalist painting of the period. A line of experimentation that the artist will then take to extremes, reaching the field of immateriality.

On display papers, canvases, painted wooden panels. Words and parts of text that widen, broaden and always push the meaning of work beyond the immediacy of the work. A concise vocabulary composed of a few distilled words, which evoke situations, which refer to an elsewhere and which provoke in each observer a different, intimate and personal reaction. An artist who opens our perception of the world to new meanings with words that become colors and figures, metaphors and metonymies.

The paintings with words seem to combine the pictorial beginnings with the subsequent phase of research on language. The glasses and mirrors are an evolution of this work and testimony of its constant investigation of the media involved, reaching to engage the surrounding space. And this is exactly what happens in the second room, where the protagonist will be an installation of colored words that will flood the room from the window to the floor.


Courtesy the artist and Francesca Minini, Milan
Photos by Andrea Rossetti


The artist takes into consideration some well-known artists of the last decades, insinuating doubt into certain dominant narratives, forcing us to look differently at or adjust our focus on existing works. At Istituto Svizzero, Milan
In the 19th and early 20th centuries, artists like Cézanne and Matisse took up this motif to express evolving notions about the body, changing ideas about pleasure, one’s relationship to nature, and how the longing for the new (in art) potentially renews a broader and more inclusive understanding of what it means to live with or against societal changes. Greene Naftali, New York
Antoine Levi, Paris
Galerie Perrotin, Paris
Peres Projects, Berlin
(MERIEM) Ok Mom. So you’re going to play yourself, but as if you existed inside the world of the CAPS. You don’t really have to be in character. I wrote this monologue for your interview scene that we’re going to shoot at the pharmacy. It’s just there to give you ideas but you don’t have to stick to any script as long as you make us believe you’re on the CAPS island in the future (...) At C L E A R I N G, New York
HangarBicocca, Milan
The Horses exemplifies Appriou’s remarkably expressive style and will invite the public into an imaginative world where figuration and mythology meet. PUBLIC ART FUND, New York