This exhibition at the Hangar Bicocca was assembled with the utmost care and the layout of works amassed by sifting through the sand – four of the most important works exhibited by the artist between 2003 and 2009 (the Vorkuta refrigerator cell, 2003; her Untitled room filled with wind, 2003; the container-office Mindfall, 2004-2007; and the beehive of 432Hz, 2009), as well as a new production created in collaboration with the Polo Industriale Pirelli at Settimo Torinese and the chemical laboratories in Milan (Sub, 2014) – has the precision and harmony of an pitch-perfect musical arrangement. If I close my eyes and imagine it, I see a landscape preserved in salt, unknowable, and with a rather picturesque patina. Stepping into it is like ascending a ship’s gangway: you are caught up in that same sense of exalting suspension. “Just try and tune into it”, suggests the curator Andrea Lissoni in a cadenced voice as he accompanies visitors into the bows of the museum – the so-called Shed, formerly used to produce parts for locomotives and farm machinery – as if they were sleepwalking. Here, it is clear, you are more in need of antenna than roots.
Until 4 May 2014
Micol Assaël ILIOKATAKINIOMUMASTILOPSARODIMAKOPIOTITA
via Chiese 2, Milan