Terry Atkinson @ Galleria Six, Milan

Terry Atkinson

Galleria Six, Milan

12 April - 14 June 2025

TERRY ATKINSON

FRONTISPIECE

© Terry  Atkinson

Courtesy of Galleria Six, Milan

Galleria Six presents a solo exhibition by TERRY ATKINSON.

For his third exhibition at Galleria Six, a new cycle of works entitled FRONTISPIECE is presented and exhibited together with Terry Atkinson's works from the late 1970s and 1980s. A dialogue between a present and a past that comes alive again.

The initial elements of the new series of works, which is still ongoing, are two books. The first is From Humanism to Hobbes: Studies in Rhetoric and Politics by Quentin Skinner, published in 2018. The second is Christopher Hill's The World Turned Upside Down: Radical Ideas During the English Revolution, published in 1964. 

These two stimuli are quickly followed by a third, triggered by the fact that Terry Atkinson introduced a portrait of himself from 1964 as a recurring motif in some of the works in the series. 

"The works are a mix of certain what I consider to be relevant words and images relevant to the task in hand. The words are frontispiece, portal, threshold, hubris, and maybe some others to come as the series move on. The images , thus far, are photocopies of my two daughters when they were young on a visit to German concentration camp at Natzwiller-Struthof  in the Vosges, images from Goya, a portrait of myself, Hobbes’ frontispiece for Leviathan, and a number of other images.

I attempt to construct the works not least through resonating the words inscribed on the tableaux  - Portal, something you see through or view from; Threshold, something you cross; Hubris – in this case an attempt to maneouvre the concept of the artist as an extreme self-assured projection, the model of the artist as a self-confirming centre of truth.  And so on …"

Terry Atkinson April 2nd, 2025

TERRY ATKINSON (1939, Thurnscoe, UK). Lives and works in Leamington Spa. An English visual artist and theorist, in his long career he has challenged the traditional conception of aesthetics in art, criticising the conventions of artistic production and fruition. 

‘If the work I have made over the last 40 years,’ says Terry Atkinson, ’has one characteristic that runs through it, it is a concern to make a critique of art rather than a celebration of it.

After studying at the Slade School of Fine Art in London, he emigrated to New York in 1967 where he met minimalist, conceptual and land artists such as Sol LeWitt, Dan Graham, Carl Andre and Robert Smithson. In 1968 he founded the conceptual collective Art & Language together with Michael Baldwin, Harold Hurrell and David Bainbridge, together they exhibited at documenta 5 (1972) curated by Harald Szeemann. He left the group in 1974 to pursue a solo career. He exhibited in 1984 at the 41st Venice Art Biennale. In 1985 he was a finalist for the Turner Prize. 

GALLERIA SIX 

Piazzale Gabrio Piola, 5 - 20131 Milano 

www.galleriasix.it

Gianluca Codeghini Exhibition @ Galleria Six, Milan - "Baciare, toccare e urlare a distanza"

Gianluca Codeghini

Baciare, toccare e urlare a distanza

Galleria Six, Milan

March 23 - Mai 4, 2024

GIANLUCA CODEGHINI

The aftershave victory, diptych, 2023

Ceramic and pongo sculpture, photo print

In this third solo exhibition at Galleria Six, GIANLUCA CODEGHINI reduces all his conceptual and formal certainty to the minimum, he cancels every possible landing place - to the point of leaving the viewer with the uncertainty of being elsewhere, as he likes to say.

"It is an exhibition about the body, about matter, about desire but also about feeling, because the search for pleasure and freedom is there and evident. To do this, I relate three different works: a sound performance for voices (Tale corner: Brothers in Art, 2012), on the wall we find a silent image of dust on which to rest our gaze (Lying void of pleasure, 2019) and a work that acts on two different expressive planes, the sculptural and the photographic (The aftershave victory, 2023)... the question of time is a relevant element, because it is to be understood as a process in which something happens between a moment before and one just after. ... his focus falls on the series The aftershave victory... at a certain point between the idea, the production and the documentation something unexpected happened, I found myself without realising it in front of and within the same scene, told with different morphologies and functions... it is that approaching of the instant in which we will be perceived in an indissolubly simultaneous way..." - Gianluca Codeghini

Gianluca Codeghini juxtaposes very different interventions, put in relation they take on an autonomous rather than allusive or emotional role. The connection is there but cannot be seen, it is felt but not so well, we find it but it is not very evident, it leaves a trail. These are relations between being thought and becoming action that cause a detachment between things, they lose adherence and take the distance between a before and an after.

The asymmetry, collapse, dust, cavity, error, noise, interference and the rest constitute performing components from which events ensue that, in turn, drag the evolution of things from one side of reality to the other - 'to the point', again, 'of leaving in the memory the doubt of having touched at a distance or of not having kissed or shouted at all'.

GIANLUCA CODEGHINI (1968) lives and works in Milan.

From his first musical and performance projects of the eighties as in his subsequent installations Conservare fuori dalla portata (1992), La patologia del benessere (1996) and as in the most recent works Crudeltà inaudite (2007), Pezzetti e bocconi (2009), A slow movement between my fingers (2012) and Platone di esecuzione (2019), Gianluca Codeghini activates concepts and processes in which the relationship with and between the public becomes fundamental in the production of short circuits, tensions and discrete, undisciplined provocations. Contraptions prepared with acute care and a meticulousness so thorough, instigating doubt in the mind of ever having practiced something else or not having practiced at all.

Gianluca Codeghini it is about resorting to a diversity of disciplines to include in the idea: videos, installations, paintings, sculptures, artist books, texts, actions, performances, compositions musical or curatorial (Warburghiana, Poe.mi, Laciecamateria, Riscrizioni di mondo). 

Gianluca Codeghini has been exhibiting in Italy and in other countries since 1990. Recently at: ASSAB ONE Milan; MAN Museum, Nuoro; Red Bull Music Accademy, Rome; ViaFarini, Milan; MART Museum, Rovereto Trento; GAMEC Museum, Bergamo; NEON, Bologna and Milan; MUDIMA Foundation, Milan; MLAC Museum Laboratory "la Sapienza" University, Rome; Baruchello Foundation, Rome; Prometeo Gallery, Milan; Pomodoro Foundation, Milan; ALT Leggeri&Radici Foundation, Alzano Lombardo Bergamo; RCM, Paris; SIX, Milan...

GALLERIA SIX 

Piazzale Gabrio Piola, 5 - 20131 Milano

www.galleriasix.it

Luca Rossi Exhibition @ Galleria Six, Milan

Luca Rossi

Galleria Six, Milan

16 décembre 2023 - 18 janvier 2024

LUCA ROSSI

If you don’t understand something search for it on YouTube, 2023

53x90 cm, reproduction of Leonardo Da Vinci's 'Lady with an Ermine' 

purchased online, pre-spaced in red on its own box 

© Luca Rossi, Courtesy Galleria Six

The exhibition at Galleria SIX presents the development of three project lines that LUCA ROSSI has been working on constantly since 2009. 

The first series of works represents the development of the project Luca Rossi presented in 2019 on the occasion of his first solo exhibition at Galleria Six. Some iconic works from the history of art are confronted with their own "empty box" in an exciting dynamic between ancient, modern, postmodern and the current "altermodern" phase (c.f. Nicolas Bourriaud, The Radicant, Postmediabooks, 2014). 

The second series of works, complementary to the first, still focuses on the "management of information" as a central element of contemporaneity: some works where three modern and contemporary artists meet are exhibited "hidden" and with only the possibility of seeing the three names in the work. This choice 'protects' the work of art from a chaotic and hyper-digitalised present where our imagination, like the values of expectation and surprise, are systematically stifled and anaesthetised. 

The third series of works presents a large collective action organised by Luca Rossi in Kassel in 2022 and in conjunction with the Documenta 15 event. The project, still in progress, opens up to a transcendent and mysterious dimension whereby our screen becomes a sort of "amulet" and "pagan idol" to which we are asked to "believe" or "not believe".

Since 2009 "Luca Rossi", artist,  open collective, blogger, critic, curator, controversial figure in the art system, has been trying to stimulate more critical discussion on a daily basis in the field of contemporary art, as a subject that could play a fundamental role in our present. Luca Rossi has been described by Fabio Cavallucci as the most interesting artistic personality in Italy. 

In 2014, Giacinto Di Pietrantonio, interviewed in Artribune, referred to Luca Rossi as the future promise of contemporary art.  

Luca Rossi's critical reflections, which have reached 900,000 people on social media in the last 12 months, conducted for years with unwavering faith, have led him to an unconventional artistic practice, also characterised by popularisation and training projects with the creation in 2016 of the 'Luca Rossi Art Academy' (www.documenta.live). 

Despite some "critical nodes" being extremely well known in the art system (identified and disclosed by Luca Rossi as "Evolved Ikea", "Young Indiana Jones Syndrome" "Grandparents Parents Foundation", etc.), Luca Rossi still lives a condition of ostracism in a system that struggles to accept some of his "uncomfortable" reflections and alternative strategies, which are increasingly necessary and urgent. 

In 2014, the famous art critic Angela Vettese declared that since reading Luca Rossi's texts, she has decided to no longer dedicate herself to the practice of art but only to theory.

GALLERIA SIX

Piazza Piola 5, 20131, Milano

www.galleriasix.it

Ange Leccia @ Galleria Six, Milan & Venice - Cars, Marble and Cinder Block

Ange Leccia 

Cars, Marble and Cinder Block 

Galleria Six, Milan & Venice 

March 26 - June 25, 2022 

Galleria Six presents ANGE LECCIA's solo exhibition, Cars, Marble and Cinder Block. This is his second show at the gallery after Ange Leccia: Girls, Ghosts and war (2018-2019).

The exhibition focuses on both sculptural and installation works. The pieces are concerned with the constant relationship between light and image: an image that disorients our gaze, our thinking and leads us to question the subtle relationship between man, technology and identity.

In this exhibition the photographic works, Arrangement, are related both formally and conceptually to the sculptures on display. 

In fact the construction of an enigmatic space placed between the proximity of two or more objects, seems to constitute 'the original gesture' upon which the artist leads us to reflect.

For the occasion a work by Ange Leccia is exhibited in the new space in Venice at Calle de la Vida San Marco 2530.

For the Musée de l'Orangerie, Paris, Ange Leccia has created a video installation, (D') Aprés Monet, which proposes to feel and read the polysemy of Monets Water Lillies from the story of the genesis of this masterpiece. 

Ange Leccia, born in 1952 in Minerviu, Corsica, lives and works in Paris and Corsica. After studying visual arts, he became dually involved as a visual artist and filmmaker, and initiated his research as a resident at the French Academy in Rome. His work has been shown at the Musée d'Art Moderne de la Ville de Paris, the Centre Georges Pompidou (Paris), the Guggenheim Museum in New York, Documenta in Kassel, Skulptur Projekte in Münster, the Venice Biennale, the Seibu Museum, Hiroshima Art Document, among others. Ange Leccia has taught at Geidai Tokyo University of the Arts. He was a resident at Villa Kujoyama in Kyoto. In 2013, he had a solo exhibition at the MAC/VAL, as well as the Palais de Tokyo in 2014, and the HAB in Nantes during the summer of 2016. In 2017, he had a retrospective exhibition at the National Gallery in Reykjavik. In 2018, he participated in Printemps de Septembre in Toulouse. In 2019, he had a solo exhibition at the Abbaye de Jumièges and the Akureyri Art Museum in Iceland. In 2022, he will exhibit his work at the Artizon Museum in Tokyo, the Musée de l'Orangerie in Paris, the Musée des Impressionnismes in Giverny, and the Louvre Abu Dhabi. Ange Leccia has directed numerous films and fashion shows for big names in the fashion world such as Vuitton and Hermès. He recently co-directed the feature film Christophe Définitivement with the artist Dominique Gonzalez-Foerster. It will be released in 2022.

GALLERIA SIX

Piazza Piola 5 - 20131 Milan

Calle de la Vida San Marco, 2530 - Venice

www.galleriasix.it

Ange Leccia @ Galleria Six, Milan - Girls, Ghosts and war - Curated by Elio Grazioli

Ange Leccia 

Girls, Ghosts and war 

Galleria Six, Milan 

20 October 2018  - 26 January 2019 

​Galleria Six presents a solo show by Corsican artist Ange Leccia curated by Elio Grazioli

​In the '80s Ange Leccia became famous for one of the simplest yet most fascinating artistic operations, a sort of double readymade. In fact, he took two copies of an object, of various sizes, even very large, such as the caterpillars at Skulptur Projekte in Münster (1987) or two airplanes or two oil tankers (of which a photographic version is on display), arranged one in front of the other (or next to it) . It was a radical and significant operation as never before, if one thinks that doubling is the basis of a certain idea of postmodernism. One of the most important exhibitions of American art of the period was titled Art and his double (1986). Ange Leccia's version was more limpid than the American ones and at the same time unequivocally poetic, suspended and not demonstrative . Two identical objects, that were simply juxtaposed, "arranged" as the French say (and it was the title of the works: Arrangement), as if they were a reflection of one the other, or as if they were kissing, as an encounter, but also as a confrontation . Because a relationship between two parties is the simplest but also the most paradigmatic one: what happens between the two? What unites them and / or separates them? how are they together? But the fact that they are identical gives these questions sort of an enigmatic allure, as in the case of twins: something flows between the two, unity is the whole, no longer the single, or other.

​In the '90s Ange Leccia went on to make more and more videos - he had already shot them before, but never shown before, and they are back now. Sometimes he put two projections of the same video next to each other, but gradually Ange Leccia goes from identical subjects to other forms of relationship . Therefore the video can now either be alone or inserted into complex video installations. It is as if instead of looking at the two objects now Ange Leccia looks rather at the space between them, the one in which they touch, while remaining separate: something happens there, something special. Videos are a particular medium: the shooting first, with its face to face with the subject that is shot, and the projection then, with that peculiar device that is the screen, seem to contain the two from the beginning , the doubling and the relationship. But Ange Leccia also goes in search of subjects that make this new and different doubling clearer: the explosion, the wake of the ship, the shore, the lightning, the intermittent light. There, in threshold spaces, all sorts of mixing or tensions take place, of turbulences or contacts. All ever-changing visual forms.

​Elio Grazioli

GALLERIA SIX

Piazza Piola 5 - 20131 Milan

www.galleriasix.it