Micol Assaël solo exhibition at HangarBicocca.

In Featured Events / January 30, 2014

From 31 January to 4 May 2014, Pirelli HangarBicocca presents a solo exhibition of works by Micol Assaël (Rome 1979), one of the most original voices in international art. Her works have been shown at important biennials and in many museums, including the Palais de Tokyo in Paris and the Kunsthalle in Basel. Micol Assaël’s works create a dialogue between art and science, rationality and imagination, past and future, taking us on a totally immersive journey and inviting us to venture into unusual physical environments and into alienating and at times extreme states of perception.

With its intentionally mysterious title, ILIOKATAKINIOMUMASTILOPSARODIMAKOPIOTITA, the exhibition is curated by Andrea Lissoni. Occupying over 1800 square metres of Pirelli HangarBicocca, it includes four of the artist’s most significant works. The project will take viewers on a physical and mental journey through environments in which extreme conditions are created, with disturbing sounds, smells and electrical tensions.

Assaël is particularly interested in the scientific theories and instruments of the past, and she brings out their more appealing and disturbing aspects. She has always been fascinated by physical and electrical phenomena and she makes her works like experiments, with human beings and their limits as their unit of measure. Micol Assaël thus brings into play the cognitive and sensorial aspects of the viewers, who are subjects in situations that are at once stunning and menacing, in places inhabited by bare electrical circuits, powerful air funnels, cooling chambers, and magnetic and electrostatic fields.

Some of the artist’s key works, covering the period from 2003 to 2009, will be shown together for the first time in the ILIOKATAKINIOMUMASTILOPSARODIMAKOPIOTITA exhibition. The exhibition space at Pirelli HangarBicocca is being transformed, as the artist herself puts it, into “a sort of pulsating engine room of a ship, or an ideal studio.”

Mindfall, 2004. Installation view, “With all due intent – Manifesta 5”, curated by Massimiliano Gioni, Donastia-San Sebastian, Spain, 2004. Courtesy of the artist, Johann Koenig, Berlin and ZERO…, Milan.
Mindfall, 2004. Installation view, “With all due intent – Manifesta 5”, curated by Massimiliano Gioni, Donastia-San Sebastian, Spain, 2004. Courtesy of the artist, Johann Koenig, Berlin and ZERO…, Milan.

Untitled (2003), which was shown at the Venice Biennale in 2003, is a room made entirely of iron, through which powerful currents of air are blown. It is furnished with a table, bed and cupboard, all of which are suspended about 4 cm from the floor. Beneath them run high-voltage cables from which sparks fly. Physical and electrical phenomena have been at the heart of Micol Assaël’s artistic research since 2001, when she made the first version of Vorkuta, working on her memories of a journey to the Vorkuta gulag in Siberia. In this exhibition we see the version revised in 2003 for a show at the Smart Project Space in Amsterdam. Vorkuta (2003) is a refrigerated cell set to -30°C, with an electrical power panel and a chair maintained at a constant temperature of 37°C.

Mindfall (2004-2007), which was shown at Manifesta 5, consists of 21 motors placed on tables in a room/office inside a container. Turned on alternately, they generate an almost deafening noise, with smoke filling the air with a perceptible smell of fuel.

432 Hz, a work from 2009, is a setting with a series of frames of various sizes and heights, arranged on fir-wood walls. Each frame contains a back-lit wax drawing and a sound track, which reproduces the hum of bees whenever the visitor moves through the space. The frequency chosen for the title of the work, 432 Hz, is that of the “scientific tuning fork” with which musical instruments are tuned, and which is produced naturally by bees humming.

Collaboration, which is a key aspect of Micol Assaël’s work, is evidenced in the process of designing and creating the projects, during which the artist seeks advice from research institutes, scientists and expert technicians.

 

Biography of the artist

Micol Assaël (Rome, 1979) currently lives and works in Greece. After studying philosophy, she began travelling the world (Iceland, Germany, Russia and Greece). Taking inspiration from her experiences, she created works which started out as drawings in faraway places but which she then worked on in the everyday routine of her studio. These early works include Inner Disorder (1999-2001), a series of 450 drawings in pencil and pen and ink, which she created after staying in Siberia and Iceland, and Nyidalur (2000).

Highly appreciated internationally, Micol Assaël’s works have been shown during the past decade at the Secession in Vienna, at the Kunsthalle in Basel and at the Fridericianum in Kassel. In Italy, there was a solo exhibition of her works  at Museion in Bolzano.

She took part in the Venice Biennale in 2003 and 2005, in Manifesta (2004), the Moscow Biennale (2005) and the Berlin Biennale (2006), and she has shown works in group exhibitions including After Nature curated by Massimiliano Gioni (New Museum, New York) (2008), and Chasing Napoleon (Palais de Tokyo, Paris, 2009). She was also one of the 4 finalists of the third Premio MAXXI, promoted by the Museo Nazionale delle Arti del XXI Secolo.

 

Also on at HangarBicocca

ILIOKATAKINIOMUMASTILOPSARODIMAKOPIOTITA can be seen together with the sweeping anthology of works by Dieter and Björn Roth, which will be open until the 9th of February, and then with a solo show by Cildo Meireles, which opens on the 27th of March. It thus first interacts with the works of a great master, Dieter Roth, and then enters into a generational and cultural dialogue with Cildo Meireles on different ways of interpreting installations.

 

Pirelli HangarBicocca

Pirelli, whose fundamental values have always included innovation, the promotion of talent, and interaction between disciplines, has created and designed HangarBicocca as an institution for contemporary art in order to reflect its own corporate culture. Pirelli’s commitment to universal free access to a programme of such a high level is in keeping with its 140 year long tradition of dedication to culture, research and innovation.

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