Through April 7, 2018

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An almost common setting, in the sense that this is to be expected from a soirée thrown by insanely wealthy socialites. Not so common in terms of numbers, this is after all the top one percentile. This being said, nothing really out of the ordinary: obscure but tasteful mid- century with a sprinkle of art deco in a three-story penthouse in the 6th arrondissement.

A grand living room with soaring ceilings and paintings covering the walls in abundance, too many in fact, which probably should be considered a bit garish except that the hosts are well known collectors and we all comply. It’s the tail-end of the night and the camera pans the room spotting what appears to be two figures deep in conversation.

Everyone is delusional these days. I mean, I feel delusional for even saying this.

– Not sure what you mean darling.
– Well, even to say “everyone”, I mean who am I to account for anyone?
– Is that a Carol Simon on the wall?
– I think it is.
– I’ve never seen that one, even in a reproduction.
– Anyways baby, you know I barely read the news, I just can’t be bothered, I’d really just rather spend my energy on what’s around me, you know like friends, family, my neighborhood, you.
– There’s this Italian saying, it goes something like, “il mio piccolo orticello”. I think it means “my own little garden”.
– I’ve heard that before, I like it. Oh, I’ve had too many of these, shall we go home?
– This all sounds very apolitical darling, maybe you should eat something.
– What’s the alternative babe?
– Well darling, an infantile madman becomes president and everyone is sexually harassed.
– Haha, ooh these are good, is this Bottarga on top? The young male server responds “yes it is” with a trained smile. Another conversation can be heard in the background
– That’s really bad form, artists can be such sociopaths, I heard Samantha really championed him. And Moretti/Springer isn’t even a good gallery! What a terrible move…
– I know, what do you think of his work?
– To be honest, I don’t know it well enough to have an opinion. The camera follows the server into the kitchen where we catch a glimpse of 10 or so busy workers, all in their twenties.


Backseat of a taxi headed towards the 9th. It’s Saturday night and you can hear the streets in the background, still pregnant with folks drunk on booze and the energy of life in a metropolis.
– Maybe it is just the power structure and not men in particular, I mean doesn’t everyone in positions of power have a tendency to abuse?
– But babe, those power structures are inherently patriarchal, how everything is organized.
– Why would anyone want to be in a position of power.
– Haha, easy for you to say…
– That painting was really interesting.
– Again about the painting? It’s just a Painting baby.
– I know darling, I’ve just never seen it before and there was something about it, just strangely compelling, that shape in the center.
– It looked like a hamburger, or a macaron.
– Or some kind of eye staring back at you and you couldn’t tell whether it was receding or on the surface, like a kind of trompe l’oeil effect but without all the fussiness that usually comes with it. – To be honest babe, I don’t really get painting these days. It just seems so superfluous.
– And the light blueish walls, almost like a frame, framing this arrangement or even mechanism. It’s amazing to think about how many decisions are made in a painting, it’s an entire structure, each painting its own institution. I wonder if by osmosis you can change or even evolve being next to one.
– That sounds ridiculous baby.
– Here’s my stop.
– What? Aren’t we going home babe?

The taxi door opens and a figure swiftly exits and escapes toward the metro entrance, while a figure inside the taxi can be heard calling out.
– Tom! Where are you going? Get back here right now! What are you doing?? The figure halts and briefly looks back to respond before disappearing into the station.
– My name’s not Tom darling.

Collezione Ramo e CASE CHIUSE #07 by Paola Clerico
Galleria Raffaella Cortese, Milan
The exhibition features more than 250 images, many of which are previously unseen, part of an immense archive found by chance by his daughter Silvia in a cellar around 20 years ago. MAXXI, Rome
Portikus, Frankfurt
Galeria Francisco Fino, Lisbon
“I always try to get to the point where there is not just one thing in the painting, one thing shown, but that there is a paradox, an antagonism, a difficulty in the work.” Perrotin, Paris
Despar Teatro Italia, Venice