‘Rita Ackermann: Movements as Monuments’, June 22 – September 9, 2018 – Triennale di Milano © Rita Ackermann - Courtesy the artist and Hauser & Wirth - Photo: Lorenzo Palmeri

‘Rita Ackermann: Movements as Monuments’, June 22 – September 9, 2018 – Triennale di Milano © Rita Ackermann – Courtesy the artist and Hauser & Wirth – Photo: Lorenzo Palmeri

English text below

“Movimenti come monumenti” ha indubbiamente un colore dominate: il verde. Un alternarsi di grandi tele, sorte di lavagne dipinte, su cui i segni sono stati sapientemente parzialmente occultati. Affiorano figure femminili che sfumano nella scia bianca della cancellatura, registrazioni di movimenti che diminuiscono d’intensità come i ricordi e le opinioni.
In estrema sintesi, questa la mostra di Rita Ackermann alla Triennale di Milano, curata da Gianni Jetzer.
La prima sala presenta toni diversi, più cupi, ma la parte più coinvolgente è il susseguirsi di questa sinfonia di verde in cui viene immerso lo spettatore. Un’esposizione rilassante, se si pensa che verde è il colore dell’equilibrio. Secondo la cromoterapia, di questo tono dovrebbero essere dipinte le pareti della stanza conviviale della casa. È la nuance del respiro, e internazionalmente è il simbolo del permesso. Tante letture possibili per i Chalk Paintings dell’artista ungherese attualmente residente a New York, le cui opere, riconducibili all’espressionismo astratto, esposte in questo momenti a Milano assorbono anche suggestioni politico sociali.
Vale le pane concludere con una sua dichiarazione, in una conversazione con Josh Smith realizzata recentemente da Bomb Magazine.

JS: Regardless of what viewers might know about me, or art, there’s still something there for them. They can see how the painting was made and feel comfort in understanding that I wasn’t trying to play some kind of trick on them.
RA: Yeah, so it would give something to the viewer—whatever they want to receive from it, right?

Le opere conservano la straordinaria capacità di offrire a chi guarda quello che desidera ricevere, senza imporre definizioni.

Rita Ackermann: Movimenti come Monumenti
22 giugno – 9 settembre 2018
Triennale di Milano

‘Rita Ackermann: Movements as Monuments’, June 22 – September 9, 2018 – Triennale di Milano © Rita Ackermann - Courtesy the artist and Hauser & Wirth - Photo: Lorenzo Palmeri

‘Rita Ackermann: Movements as Monuments’, June 22 – September 9, 2018 – Triennale di Milano © Rita Ackermann – Courtesy the artist and Hauser & Wirth – Photo: Lorenzo Palmeri

‘Rita Ackermann: Movements as Monuments’, June 22 – September 9, 2018 – Triennale di Milano © Rita Ackermann - Courtesy the artist and Hauser & Wirth - Photo: Lorenzo Palmeri

‘Rita Ackermann: Movements as Monuments’, June 22 – September 9, 2018 – Triennale di Milano © Rita Ackermann – Courtesy the artist and Hauser & Wirth – Photo: Lorenzo Palmeri

Rita Ackermann: Movements as Monuments

June 22 – September 9, 2018 La Triennale di Milano
Curated by: Gianni Jetzer
Artistic direction: Edoardo Bonsapetti

From June 22 to September 9, 2018, La Triennale di Milano presents the exhibition of the New York-based artist Rita Ackermann, who melds abstraction and figuration, creating works that seamlessly oscillate between presence and disappearance. For La Triennale di Milano, Ackermann exhibits a selection of highly compelling works from her chalk painting series in the most comprehensive presentation of this group to date. The exhibition includes several multi-part installations such as Aesthetic of Disappearance (2014) and Meditation on Violence (2014). The exhibition is curated by Gianni Jetzer, an independent curator in New York and Curator-at-Large at the Hirshhorn Museum in Washington DC.

In the chalk paintings that Ackermann has developed since 2013, the process of accumulation is countered by a destabilising self-eradication. This tactic marks a new development in a progression of radical artistic breakthroughs that Ackermann has introduced into her paintings over the past years. Neither absent nor present, the painted figure resides in an unstable state. Rather than abandon figuration for abstraction, the artist aims for an ambiguous interstitial zone, literally blurring the lines that divide one from the other.

The paintings, monumental in scale, are based as much upon a bouquet of arabesques as they are upon the underlying presence of ghostlike figures. Meanwhile, large parts of the canvas are left empty. This distinctive approach to composition expands beyond a singular frame, out into several other paintings of the same series. Hanging in pairs, or opposite one another, the paintings form a chapel-like environment and become windows into an abstract world, subtly inhabited by human figures.

 

‘Rita Ackermann: Movements as Monuments’, June 22 – September 9, 2018 – Triennale di Milano © Rita Ackermann - Courtesy the artist and Hauser & Wirth - Photo: Lorenzo Palmeri

‘Rita Ackermann: Movements as Monuments’, June 22 – September 9, 2018 – Triennale di Milano © Rita Ackermann – Courtesy the artist and Hauser & Wirth – Photo: Lorenzo Palmeri

‘Rita Ackermann: Movements as Monuments’, June 22 – September 9, 2018 – Triennale di Milano © Rita Ackermann - Courtesy the artist and Hauser & Wirth - Photo: Lorenzo Palmeri

‘Rita Ackermann: Movements as Monuments’, June 22 – September 9, 2018 – Triennale di Milano © Rita Ackermann – Courtesy the artist and Hauser & Wirth – Photo: Lorenzo Palmeri