TOTAH | COSMIC CONNECTIONS

Courtesy TOTAH.

Cosmic Connections October 6–December 18, 2016 TOTAH 183 Stanton Street New York NY 10002 Hours: Wednesday–Sunday 11am–6pm T +1 212 582 6111 info@davidtotah.com www.davidtotah.com TOTAH presents Cosmic Connections, opening October 6, with works by Agnes Martin, Aleksandar Duravcevic, Alighiero Boetti, Andrea Marescalchi, Brian Wills, Bruce Conner, Charles Ross, Dan Walsh, David Austen, Ed Ruscha, Edward Hopper, Ernesto Caivano, Eugene Delacroix, Frank Walter, Gilles Bensimon, Gino de Domenicis, Giorgio De Chirico, Heinz Mack, Jose Antonio Suarez Londoño, Jane Logemann, Josaku Maeda, Joseph Cornell, Juan Miro, Julio González, Kara Rooney, Kenny Scharf, Lisa Beck, Luca Pancrazzi, Mara De Luca, Marsha Cottrell, Matt Chambers, Max Ernst, Mel Bochner, Nathlie Provosty, Oscar Dominguez, Osvaldo Licini, Peter Doig, Phil Wagner, Piero Pizzi-Cannella, Ray Johnson, Roberto Matta, Saul Steinberg, Victor Brauner, Wallace Berman, Wim Wenders, Wols and Yves Tanguy. In the Orphic cosmogony, history began when the Greek god Chronos begot Aether (Light) and Chaos. Chronos planted a silvery egg in the divine Aether and from within sprung Hydros and the first generation of gods. They called their world the Kosmos, a term the ancient Greeks extended to praise any exquisitely ordered, harmonious object, bearing the qualities of elegance and grace. The artists presented in Cosmic Connections are united by this singular quality—the essential grace that connects one with the universe in a strange, intense light. Descartes describes this elemental virtue as that of the Muses, derived from the Greek verb that signifies to "Explore with Desire," going so far as to declare that desire "opens the difficult Locke of all Arts and Sciences." In these "cosmic" artists is manifest an Axis Mundi, a funnel, a tunnel, a ladder or tree, a line traced—like dragon veins running down from the sky into the mountains and along the earth—that bridges the misty penumbra between actuality, fantasy and future. In the 13th century, Saint Thomas Aquinas too sought to define this quality between time and eternity. Aquinas wished to revive the aevum, the time of the angels. In Cosmic Connections there is a profound alchemy, a superconscious creation, in the works of the artists presented. This alchemy unites physical and immaterial domains, treating these not as divorced, but rather soul mates or kindred spirits, friends that shape each others' rhythms, colors and forms. These artists are heirs to ancient signals. They tell the epic tale of our veiled immortality, the paradox of humanity's bizarre power anchored in our vulnerability. They evoke the aevum, suspending us between eternity and the now, erasing time and reminding us of our mortality all at once. About TOTAH TOTAH is a lower east side gallery dedicated to reengaging the alchemy between artist and gallerist. We align artist, practice, thought, and audience, presenting emerging and established talent in solidarity with a culture of authentic expression. TOTAH is a nexus for creativity rooted in uncompromising vision. Media contact Sarah Lehat, Director of Communications: sarah@davidtotah.com, T +1 310 806 1551

ART BRUSSELS 2017

Courtesy Art Brussels.

Art Brussels 2017: From Discovery to Rediscovery Applications now open April 21–23, 2017 Preview & vernissage: Thursday, April 20, 2017 Application deadline: October 25, 2016 Tour & Taxis Avenue du Port 86C BE-1000 Brussels www.artbrussels.com Applications for Art Brussels 2017 are open, through Tuesday, October 25, 2016. With its 35th edition ahead, next year's fair promises to be a festive, not-to-be-missed rendez-vous. Spectacular location & optimized floor plan For the second time, Art Brussels 2017 will take place in the beautiful Tour & Taxis landmark building, located in the centre of Brussels. This 1904-industrial building offers indirect natural daylight, enhancing the presentation of artworks. The floor plan will be optimized with improvements for visitor circulation, stand location, catering areas, etc… From Discovery to Rediscovery Quality above quantity! In 2016, we reduced the size of the fair from 190 to 140 galleries. According to surveys, this improvement turned out to be a major success for both galleries and collectors. In line with the fair's profile, From Discovery to Rediscovery, galleries are encouraged to play with the element of surprise by presenting either new work, or underestimated historical work, in the following sections: DISCOVERY, young, emerging and lesser-known artists showing recent works (2014–17) PRIME, established artists from modern to contemporary. Possibility to extend the stand with a SOLO presentation REDISCOVERY, art from 1917 to 1987, living or deceased artists who are under-recognised, underestimated or forgotten; possibility to extend with a presentation in SOLO Selection committees International Selection Committee The International Selection Committee members select the participating galleries in PRIME & REDISCOVERY and the SOLO presentations. Art Brussels is pleased to welcome Tania Doropoulos (Timothy Taylor, London) as a new member.  Augusto Arbizo: Eleven Rivington (New York) / Albert Baronian: Galerie Albert Baronian (Brussels) / Michael Callies: dépendance (Brussels) / Claudia Cargnel: Bugada & Cargnel (Paris) / Simon Devolder: Xavier Hufkens (Brussels) / Tania Doropoulos: Timothy Taylor (London) / Rodolphe Janssen: Galerie Rodolphe Janssen (Brussels) / Thomas Krinzinger: Galerie Krinzinger (Vienna) / Andrew Renton: Marlborough Contemporary (London) DISCOVERY Committee The DISCOVERY Committee, for the selection of the DISCOVERY section, consists of a group of international curators and gallerists. Art Brussels is pleased to welcome Eva Birckenstock, Director, Kunstverein für die Reinlande und Westfalen, Düsseldorf. Eva Birckenstock: Director, Kunstverein für die Rheinlande und Westfalen (Düsseldorf) / Michael Callies: dépendance (Brussels) / Aaron Cezar: Director Delfina Foundation (London) / Zoë Gray: Senior Curator, Wiels (Brussels) / Nikolaus Oberhuber: KOW Gallery (Berlin) Apply now! For more information, please contact Nele Verhaeren, Head of Gallery Relations:nele.verhaeren@easyfairs.com / T +32 2 740 10 21

ESKER FOUNDATION | CEDRIC & JIM BOMFORT

Esker Foundation

Jasmina Cibic, Show the Land in Which a Wide Space for National Progress is Ensured, 2015. Detail of the performance, wallpaper, gold paint, dimensions variable. From the exhibition Tear Down and Rebuild, 2015. Photo: Boris Burić.

Fall 2016 exhibitions September 17–December 18, 2016 Opening: September 16, 2016, 6–10pm Esker Foundation 444, 1011 9th Ave SE Calgary, AB www.eskerfoundation.com Cedric & Jim Bomford: The Traveller The Traveller takes early settler infrastructure as its foundation; in particular, the eccentric machines and technologies that were designed to perform a specific task, and which would often be discarded or recycled into something else once the job was complete. Integral to Cedric and Jim Bomford's process is a performative building process, which incidentally replicates (and critiques) the absurdity of building machines to build, or move, or make more machines. The ingenuity and improvisational nature of early Canadian infrastructure offers a productive space to reflect on, and actively contribute to, conversations about nation building. Cedric Bomford would like to thank The Canada Council for the Arts and the British Columbia Arts Council for supporting the production of The Traveller. Jasmina Cibic: Tear Down and Rebuild Working between London and Ljubljana, Jasmina Cibic is among a new generation of Slovenian artists whose practice, although acutely conscious of a specific national political, cultural, and artistic lineage, creates a very distinctive language of its own. Cibic's work focuses on the mechanisms that assist in the creation of (trans)national myths. Esker Foundation is pleased to present several works of Cibic's, including Tear Down and Rebuild (2015) and The Land In Which a Wide Space For National Progress Is Ensured (2015). Bringing together film, sculpture, performance, collage, and installation into complex and multilayered projects, the core of Jasmina Cibic's practice addresses how visual language, art, architecture, and political rhetoric are deployed and instrumentalised by political regimes as soft power strategies in the enterprise of nation building. Larissa Fassler: CIVIC. CENTRE. For Larissa Fassler, observing, describing, and naming are strategies to make different realities visible, an approach she believes leads to a deeper understanding of a place, or that counters assumptions, blindness, or even refusals to see reality. For the past ten years, Fassler has been making map-drawing hybrids and objects of urban spaces that comfortably exist between models, sculptures, and relational actions. Her work is developed using a self-mapping exercise, walking, counting, and note taking, often charting the same territory multiple times, which generates a series of interpretations of the same space that differ in precision, dimensions, and proportions. These notations are then transcribed or modeled to activate each layer of architectural detail, advertising slogan, conversation, action, or census-like observations of highly complex public sites. CIVIC. CENTRE. brings together four bodies of work: Les Halles, where fragments of Paris's Le Forum des Halles (1979–2011) are rebuilt in miniature with its stains, scratches, dark corners, and empty storefronts replicated with precision; Gare du Nord, a number of paintings and sculptures that examine the migration, regulation, and architectural legacy of Paris's Gare du Nord train station; Palace/Palace, an investigation into the demolition of the Palast der Republik and the planned reconstruction of the Berlin Stadtschloss, and a new series developed out of Fassler's observation of the public and semi-public zones of Calgary's civic downtown. This is Larissa Fassler's first major exhibition in Canada. In the Project Space Caitlin Thompson: Dandy Lines July 25–October 23 Dandy Lines is an exhibition of cosmic country embroidery that references Western fashion through the cyclical, transformative theories of craftwork and animation. It revisits the histories of the decorative and brings to the surface tensions between labour and identity, the body and the psyche. Decoration and surface adornment also act as an extension of the boundaries of the body: designs and symbols project outward and reflect an interior identity. By combining the Romantic era dandy of nature and individualism with the New Romantic notion of the unnatural, Western identity is here presented as a mythic space of continual transformation. Contact Aeryn Twidle: atwidle@eskerfoundation.com, T +1 (403) 930 2499 Facebook / Instagram / Twitter

MIMMO ROTELLA | CARDI GALLERY

Mimmo Rotella, Black-Blank Cynar 2, 1980. Blank on canvas, 54.33 x 38.07 inches. © Fondazione Mimmo Rotella Photo: Bruno Bani. Courtesy Cardi Gallery.

Mimmo Rotella. Blanks September 20–December 22, 2016 Opening: Monday, September 19, 7pm Cardi Gallery Corso di Porta Nuova 38 20121 Milan Hours: Monday–Friday 10am–7pm T +39 0245478189 T +39 0245478120 mail@cardigallery.com www.cardigallery.com Facebook / Twitter / Instagram Cardi Gallery, Milan is glad to present Mimmo Rotella. Blanks, an exhibition dedicated to a selection of works produced by Mimmo Rotella from the beginning of 1980s. If with the décollages, realized by tearing posters taken directly from the street, the artist had discovered the infinite possibilities of the popular image, with the blanks (also called "coperture") he set out to explore the temporal and linguistic limits of this mode of communication. The street and the city were once again sources of inspiration for the artist that, wondering around Milan, discovered that the posters were covered up by monochrome pieces of paper when the time of their display on the city walls was over. Fascinated by the hidden message, obliterated by a quite anonymous paper, he started to create the blanks: a procedure that cancel the chaos, the disorder, the superimposition shown with the décollage covering them with a new skin made up of monochrome tissue paper revealing the infinite possibilities of colour, of transparency and of the essential act. The majority of the blanks were created in the beginning of 1980s by sticking large monochrome—black, white and coloured—sheets of paper onto old and disused advertising hoardings. Right at the beginning of that decade Rotella left Paris and moved for good to Milan. He had a new studio and began to forge new links with the city and its streets. The "coperture" were the starting-point for his subsequent research, marked by for a return to the image through an approach influenced by the graffiti language. The blanks were shown for the first time in Milan in January 1981. Since then these works have been exhibited on very few occasions. So Cardi Gallery is trying to fill this gap and presenting to the public a little-known but crucial aspect of Mimmo Rotella's production. The catalogue which accompanies the show is the first publication that is devoted entirely to this subject and is an excellent point of departure for future studies of this series of works. The exhibition Mimmo Rotella. Blanks is part of "Mimmo Rotella 2016" an initiative linked to the tenth anniversary of the passing of Mimmo Rotella. It involves a number of galleries and institutions in Milan, witnessing the relationship between the artist and the city where he worked and lived in his last years. The initiative is realized in collaboration with Mimmo Rotella Institute, set up in 2012 by Inna and Aghnessa Rotella with the aim of compiling the catalogue raisonné, improving understanding of the figure and the art of Mimmo Rotella and promoting his work at the national and international level. The Mimmo Rotella Institute is directed by Antonella Soldaini with the scientific support of Veronica Locatelli. With this show Cardi Gallery confirms once again its interest for national and international historical artists. Mimmo Rotella (Catanzaro, 1918–Milan, 2006) is an artist renowned internationally for the invention, in 1953, of the technique of décollage. During his long career, he experimented with multiple artistic techniques, broaden his own linguistic and formal horizons: besides the décollages, he realized retro d'affiches, collages, photographic reproductions, artypos, frottages, effaçages, blanks, sovrapitture and sculptures. Restless and histrionic, in the first years of the 1940s he moved to Rome where he emerged in the environment linked to the new abstract avantgarde. In 1960 he took part in the group of the Nouveaux Réalistes. After participating in the Venice Biennale in 1964 with a personal room, he decided to move to Paris, where he interwove important relationships with critics and artists. In 1968 he lived for a brief period in the Chelsea Hotel in New York; once back in Europe he started travelling to India and Japan. In 1972 his first autobiography was published Autorotella. Autobiografia di un artista. In 1974 Tommaso Trini edited the first in-depth monographic book on the career of the artist. Back in Milan in 1980, he started to create the blanks or "coperture." In 1984 he went back to figurative with the series of works on acrylic on canvas and, in 1986, of the sovrapitture. In the first years of the 1990s he made some sculptures and went back to décollage that began to reach monumental dimensions. In the 1990s and 2000s he received recognitions and national and international awards. In 2000 he established the Fondazione Mimmo Rotella, currently chaired by Rocco Guglielmo and directed by Piero Mascitti; in 2005 he opened his home-museum in Catanzaro, called "Casa della Memoria." Still in full activity, he died on January 8, 2006 in Milan. Press contacts: Maddalena Bonicelli, press office "Mimmo Rotella 2016": maddalena.bonicelli@gmail.com Elena Bodecchi: elena@cardigallery.com

XU ZHEN | JAMES COHAN GALLERY

Xu Zhen, Under Heaven -- 2808TR1601 (detail), 2014. Oil on canvas, aluminum, 70 3/4 (diameter) x 5 1/2 inches.Produced by MadeIn Company.

Xu Zhen September 8–October 8, 2016 Opening: Thursday, September 8, 6–8pm James Cohan  533 W26 Street New York www.jamescohan.com James Cohan is pleased to present a solo exhibition by the multi-disciplinary Chinese artist Xu Zhen. The show will be on view from September 8 to October 8, 2016 with an opening reception from 6 to 8pm on Thursday, September 8. In 2009 Xu Zhen subsumed his individual artistic identity and transformed into MadeIn—an "art creation company." Subsequently in 2013, MadeIn launched a brand—Xu Zhen, redundantly making Xu a product of his own corporation. Xu works within many different media and thematic structures, making him an enigmatic yet groundbreaking figure in Chinese contemporary art—a role that he gleefully accepts. Of his work, Hans-Ulrich Obrist, director of the Serpentine Galleries, London, writes, "Xu's sociopolitical appraisals distance him from the herd of contemporary Chinese artists. And the breadth of his practice, in all its seeming spontaneity and surprising inflections and turns, only complicates the attempt to pin him down to any single position within his country's art scene—or, indeed, within cultural production at large." The works in this exhibition examine the human experience of pain, pleasure and desire as well as the aesthetic manipulation of consumers in late capitalist societies. The exhibition will present a large-scale sculpture from the Eternity series, Xu's 1998 film Rainbow, selections from his Under Heaven paintings and a new wall installation, Corporate – (Erected), produced this year. Xu's oeuvre questions the validity of an East-West dichotomy with great skepticism. Xu's Eternity sculptures are a mash-up of Hellenistic and Buddhist statuary, creating three-dimensional, transcultural exquisite corpses. The result is a deftly composed work that carries the weight of history, yet acts as a sly statement about global similarities and differences. Eternity allows the sacred and the profane to exist in the same space, denying neither an ultimate importance.  In Rainbow, which premiered at the 49th Venice Biennale in 2001, a bare back fills the screen and is repeatedly slapped until the skin turns an alarming shade of red. Although the slapping is audible, the hands themselves were removed through editing. The result is a visceral, aestheticized portrait of pain and endurance. In contrast to Rainbow, the paintings from Xu's ongoing "Under Heaven" series are a voluptuary dream. He applies a thick layer of oil paint to a canvas and then forms delicate petals and flowers using a cake decorator. The resulting impasto creates a striking relief, tempting the viewer to touch or even taste. The expansive title, "Under Heaven," is a literal translation of a Chinese word meaning "the whole world." The sumptuous surfaces as well as the allusive title make the works an intense sensual experience. Corporate – (Erected) is a large-scale wall sculpture incorporating ready-made S&M paraphernalia. From afar, the work appears to be an exercise in gothic formalism; however, upon closer inspection it becomes clear that it is an assemblage of leather accessories and erotic toys. Xu intends the viewer to project his or her own cultural associations onto the sculpture and experience its meaning and associations in a very subjective way. Rarefying these salacious objects in a fine art evokes the idea of sexual pleasure—perhaps to an uncomfortable extent. The works in this exhibition, united in their lush, eye-catching aesthetics, are representative of three primal human sensations—pain, pleasure and desire—and reveal how these emotions are consistently manipulated by the images that surround us. Born in 1977, Xu Zhen has been the subject of solo exhibitions at the Kunsthaus Graz, Austria (2015); Long Museum, Shanghai, China (2015); Ullens Center for Contemporary Art, Beijing, China (2014); the Minsheng Museum, Shanghai, China (2012); Kunsthalle Bern, Switzerland (2011); and S.M.A.K., Gent, Belgium (2009). He was also included in the 49th Venice Biennale (2001), and the 51st Venice Biennale (2005). He lives and works in Shanghai.

GALLERYS AND ARTISTS AT ARTISSIMA 2016

Artissima

Design: Tassinari/Vetta.

Participating galleries and artists 2016 November 4–6, 2016 Preview and opening: November 3 Artissima  Oval, Lingotto Fiere Turin Italy info@artissima.it www.artissima.it Artissima, Italy’s leading contemporary art fair, will return to the Oval in Turin from November 4 to 6, 2016. Renowned for its focus on the most innovative artistic research and rediscovered avant-garde, Artissima 2016 will feature seven sections—three of which curated—a renewed performance section, seven important awards, an improved fair layout, an involving programme of collectors and curators-guided tours, a new remarkable exhibition with the city’s public and private collections and a surprising parallel project at Turin Airport. Furthermore, the presence of renowned international curators—among the most important protagonist of the contemporary art world—will be even more active: a great opportunity we wish to offer to our galleries. As usual Turin will be at its best in November! With its outstanding network of museums and foundations, this year the city will host shows by Ai Wei Wei. Ed Atkins, Thomas Bayrle, Joseph Beuys, Josh Kline, Carol Rama, Wael Shawky, Rosemarie Trockel. Main Section The most representative established galleries on the international art scene 401contemporary, Berlin; Luis Adelantado, Valencia, Mexico City; Sabrina Amrani, Madrid; Rolando Anselmi, Berlin, Rome; Apalazzo, Brescia; Art Bärtschi & Cie, Geneva; Artericambi, Verona; Alfonso Artiaco, Naples; Enrico Astuni, Bologna; Piero Atchugarry, Pueblo Garzon; Aural, Alicante; Báro, Sao Paulo; Bendana | Pinel, Paris; Laurence Bernard, Geneva; Boccanera, Trento; Isabella Bortolozzi, Berlin;Thomas Brambilla, Bergamo; Brand New Gallery, Milan; Braverman, Tel Aviv; Gavin Brown’s Enterprise GBE, New York, Rome; Bugada & Cargnel, Paris; Cabinet, London; Luciana Caravello, Rio de Janeiro; Cardelli & Fontana, Sarzana, Santo Stefano Di Magra; Charim, Vienna; Chert, Berlin; Continua, San Gimignano, Beijing, Boissy-le-Châtel, Havana; Copperfield, London; Raffaella Cortese, Milan; Guido Costa Projects, Turin; Curro, Guadalajara; Ellen de Bruijne, Amsterdam; Monica De Cardenas, Milan, Zuoz, Lugano; de' Foscherari, Bologna; Tiziana Di Caro, Naples; Umberto Di Marino, Naples; Dvir, Tel Aviv, Brussels; Frittelli, Firenze; Christophe Gaillard, Paris; Rhona Hoffman, Chicago; In Arco, Turin; Antonia Jannone, Milan; Georg Kargl, Vienna; Christine König, Vienna; Eleni Koroneou, Athens; KOW, Berlin;Tomio Koyama, Tokyo; Magazzino, Rome; Norma Mangione, Turin; Primo Marella, Milan; Marso, Mexico City; Massimodeluca, Mestre-Venice; Gabrielle Maubrie, Paris; Mazzoleni, Turin, London; Mario Mazzoli,Berlin; Mendes Wood DM, Sao Paulo; Eva Meyer, Paris; mfc-michèle didier, Paris; Francesca Minini, Milan;Massimo Minini, Brescia; MLF|Marie-Laure Fleisch, Rome, Brussels; moniquemeloche, Chicago; Monitor,Rome; Franco Noero, Turin; Lorcan O'Neill, Rome; Otto, Bologna; P420, Bologna; Alberta Pane, Paris;Alberto Peola, Turin; Rafael Pérez Hernando, Madrid; Giorgio Persano, Turin; Photo&Contemporary, Turin;Francesca Pia, Zurich; Pinksummer, Genova; Podbielski Contemporary, Berlin; Gregor Podnar, Berlin;Anca Poterasu, Bucharest; Progettoarte elm, Milan; Prometeogallery, Milan, Lucca; Proyectos Monclova,Mexico City; Repetto, London; Revolver, Lima; Ribordy, Geneva; Michela Rizzo, Venice; Rizzutogallery,Palermo; Lia Rumma, Milan, Naples; Richard Saltoun, London: Aurel Scheibler, Berlin; Sfeir-Semler,Hamburg, Beirut; Smac, Stellenbosch, Cape Town, Johannesburg; Sommer, Tel Aviv; SpazioA, Pistoia;Sprovieri, London; Taik Persons, Berlin, Helsinki; Tega, Milan; Caterina Tognon, Venice; Tucci Russo, Torre Pellice; Isabelle van den Eynde, Dubai; Vistamare, Pescara; White Rainbow, London; Hubert Winter,Vienna; Jocelyn Wolff, Paris; Z2o Sara Zanin, Rome; Zak | Branicka, Berlin, Krakow; Martin Van Zomeren,Amsterdam Dialogue A new section of curated booths featuring one to three artists in dialogue 22,48m2, Paris; Samy Abraham, Paris; Alma, Riga; Amt_Project, Bratislava; Annex14, Zurich; BWA Warszawa, Warsaw; Car Drde, Bologna; Carbon 12, Dubai; Collicaligreggi, Catania; Vera Cortês, Lisbon; Ex Elettrofonica, Rome; FOLD, London; Iragui, Moscow; Laveronica, Modica; Antoine Levi, Paris; Luce, Turin;MA2Gallery, Tokyo; Ani Molnár, Budapest; Operativa, Rome; Piktogram, Warsaw; Pm8, Vigo; Gabriel Rolt,Amsterdam; Studio SALES di Norberto Ruggeri, Rome; Federica Schiavo, Rome, Milan; Semiose, Paris;The Gallery Apart, Rome; Vitrine, London, Basel; Waldburger Wouters, Brussels; Walden, Buenos Aires;Workplace, Gateshead, London New Entries Emerging galleries participating at Artissima for the first time Ab/Anbar, Tehran; Beers London, London; Between Art Lab, Shanghai, Beijing; Cavalo, Rio de Janeiro;Doppelgaenger, Bari; Dürst Britt & Mayhew, The Hague; Ermes-Ermes, Rome; F2, Madrid; Fuoricampo,Siena; Future, Berlin; Nathalie Halgand, Vienna; Loom, Milan; MadeIn, Shanghai; Madragoa, Lisbon; Daniel Marzona, Berlin; Ribot, Milan; Sketch, Bogotá; Untilthen, Saint Ouen Present Future Solo shows by 20 young artists curated by Luigi Fassi (coordinator), Anne Faucheret, Hicham Khalidi, Sohrab Mohebbi and Wim Waelput. Igshaan Adams, Blank, Cape Town; Nazgol Ansarinia, Raffaella Cortese, Milan + Green Art, Dubai; Body by Body, Chateau Shatto, Los Angeles; Iñaki Bonillas, ProjecteSD, Barcelona; Julien Creuzet, Dohyang Lee,Paris; Cécile B. Evans, Barbara Seiler, Zurich; Francesca Ferreri, Alberto Peola, Turin; Luca Frei, Barbara Wien, Berlin; Gluklya, Natalia Pershina - Yakimanskaya, AKINCI, Amsterdam; Rodrigo Hernàndez, P420,Bologna; Eric van Hove, Voice, Marrakech; Nadira Husain, PSM, Berlin; Paul Leitner, unttld, Vienna; Renato Leotta, Fonti, Naples + Madragoa, Lisbon; Pauline M'barek, Thomas Rehbein, Cologne; Agnieszka Polska,Zak | Branicka, Berlin, Krakow; Miljohn Ruperto & Ulrik Heltoft, Koenig & Clinton, New York; Kelly Schacht,Meessen De Clercq, Brussels; Beto Shwafaty, Luisa Strina, Sao Paulo; Rosha Yaghmai, Kayne Griffin Corcoran, Los Angeles Back to the Future 19 museum-quality solo shows dedicated to the rediscovery of the 1970s and ‘80s curated by Eva Fabbris (coordinator), Gary Carrion-Murayari, Krist Gruijthuijsen and Cristiano Raimondi Thomas Bang, KANT, Copenhagen; Renate Bertlmann, Richard Saltoun, London; Jay DeFeo, Frank Elbaz,Paris, Dallas; Garth Evans, Johannes Vogt, New York; Lars Fredrikson, In Situ - Fabienne Leclerc, Paris; Anna Bella Geiger, Aural, Alicante; Jef Geys, Air de Paris, Paris ; Paolo Gioli, Galleria del Cembalo, Rome; Thomas Lawson, Anthony Reynolds, London; Klaus Lutz, Rotwand, Zurich; François Morellet, Catherine Issert, Saint Paul De Vence; Sadamasa Motonaga, De Primi, Lugano; Pat O'Neill, Monitor, Rome; Gianfranco Pardi, Cortesi, Lugano, London; Michel Parmentier, Loevenbruck, Paris; Carlos Pazos, ADN, Barcelona; Patrick Saytour, Bernard Ceysson, Luxembourg, Paris, Geneva; Philippe van Snick, Tatjana Pieters, Gent;Michele Zaza, Giorgio Persano, Turin Per4m A programme of performances curated by If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution (Frédérique Bergholtz and Susan Gibb) Mounira Al Solh, Sfeir-Semler, Hamburg, Beirut; Juliette Blightman, Isabella Bortolozzi, Berlin; Dina Danish,Barbara Seiler, Zurich; Tim Etchells, Vitrine, London, Basel; Dora García, Ellen de Bruijne, Amsterdam; The Mondrian Fan Club, Enrico Astuni, Bologna; Ruth Proctor, Norma Mangione, Turin; Marinella Senatore,Laveronica, Modica Art Editions Colophonarte, Belluno; Dilecta, Paris; Editalia, Rome; El Astillero, Barcelona; L'arengario S.B., Gussago;Giorgio Maffei, Turin; Danilo Montanari, Ravenna; Multipleart, Zurich For the complete list of all curators involved in juries and taking part to other projects of the fair seewww.artissima.it We look forward to welcoming you in Turin for a mesmerising experience! Artissima is a brand of Regione Piemonte, Città Metropolitana di Torino and Città di Torino. Artissima is organised by Artissima srl, a company founded in 2007 to manage the fair’s artistic and commercial relationships and is owned by Fondazione Torino Musei, established by the Città di Torino to support, manage and enhance the artistic and museum-based heritage of the city. The twenty-third edition of Artissima is being put on with the support of the brand-owning authorities, jointly with Compagnia di San Paolo, Fondazione per l’Arte Moderna e Contemporanea CRT and Camera di commercio di Torino. The event involves the collaboration of: Main partner: UniCredit Partners: illycaffè, K-Way, Lancia, Lauretana, Leica, Mutina, Owenscorp, Reda, Fondazione Sardi per l’Arte, Torino Airport | Sagat In-kind sponsors: GL Events Italia – Lingotto Fiere, FR Costruzioni, Guido Gobino, Nemo Lighting, Carloangela Official carrier: Gondrand Cultural partners: Alliance Française, Goethe Institut Media partners: La Stampa, AD, Vogue Italia Media coverage: Sky Arte HD In-kind online partner: Artsy