Fondazione Prada

Views
#76
Lion Attacking a Horse , 4th century BCE, pentelic marble. © Roma, Sovrintendenza Capitolina ai Beni Culturali. Courtesy: Archivio Fotografico dei Musei Capitolini, Rome

Lion Attacking a Horse, 4th century BCE, pentelic marble. © Roma, Sovrintendenza Capitolina ai Beni Culturali. Courtesy: Archivio Fotografico dei Musei Capitolini, Rome

Breaks Down into Many Times

The third exhibition in a research series on Greco-Roman antiquities at Fondazione Prada, Milan, uncovers the tears, sutures, and grafts of capital-H History.

Views
Exhibition view of “Lizzie Fitch | Ryan Trecartin: Whether Line”, Fondazione Prada, 2019 Photo Andrea Rossetti. Courtesy Fondazione Prada Lizzie Fitch | Ryan Trecartin, Neighbor Dub, 2019 15 channel sound, Iron, epoxy powder paint, PVC, wood, stanchions

Exhibition view of “Lizzie Fitch | Ryan Trecartin: Whether Line”, Fondazione Prada, 2019
Photo Andrea Rossetti. Courtesy Fondazione Prada

Neighbor Dub, 2019
15 channel sound, Iron, epoxy powder paint, PVC, wood, stanchions

Lizzie Fitch & Ryan Trecartin at Fondazione Prada, Milan

Jeppe Ugelvig reviews the duo’s latest multimedia-installation ”Whether Line”. Produced in rural Ohio, the ambitious project explores post-Trump American folklore through their neurotic and bewildering lens.

Discourse

NOW ZERO: THE PRADA CODE

This month Ella Plevin slides her way in and out of “thin places” and finds that there’s plenty of nothing to think about (except the number sixty-four).  

Views
#54
Gelitin Fumami (2017)

Gelitin
Fumami (2017)

Gelitin at Fondazione Prada

By Barbara Casavecchia

Views
#49
Edward & Nancy Reddin Kienholz Jody, Jody, Jody , 1993–94   Installation view Fondazione Prada, Milan  Photo: Delfino Sisto Legnani Studio Courtesy Fondazione Prada

Edward & Nancy Reddin Kienholz
Jody, Jody, Jody, 1993–94
 

Installation view Fondazione Prada, Milan 

Photo: Delfino Sisto Legnani Studio
Courtesy Fondazione Prada

View

Joanna Fiduccia on "Kienholz: Five Car Stud" at Fondazione Prada in Milan

Discourse
The Dadaists audience: themselves,  Berlin 1920 Opening with Hannah Höch, Otto Schmalhausen, Raoul Hausmann, John Heartfield mit Kind, Otto Burchard, Margarete und Wieland Herzfelde, Rudolf Schlichter, Ludwig Mies van der Rohe (?), Unbekannt und Johannes Baader

The Dadaists audience: themselves, Berlin 1920

Opening with Hannah Höch, Otto Schmalhausen, Raoul Hausmann, John Heartfield mit Kind, Otto Burchard, Margarete und Wieland Herzfelde, Rudolf Schlichter, Ludwig Mies van der Rohe (?), Unbekannt und Johannes Baader

The Professionals

The field of art is considered to be free, open and accessible to everyone. In reality, no outsiders have been spotted here for a long time. Does “art audience” today really only mean people who have an (economic) interest in the art world? Is anyone immune to the half-drunk advances of its warped social economy? Are we all alone? With these questions in mind, our reporter Elvia Wilk went from Berlin to Venice to the hotspots of this summer's art viewing and asked people.