Group Exhibition
September Issues
June 30 – August 4, 2022
Peres Projects, Milan
Group Exhibition
September Issues
Installation View
June 30 – August 5, 2022
Peres Projects, Milan
Photo: Roberto Marossi Photos
Jeremy
Hero, 2022
Painting - Acrylic, color pencil and gouache on canvas
170 x 120 cm (67 x 47 in)
Shuang Li
Honey, this mirror isn’t big enough for the two of us, 2022
Print – Print on fabric between plexiglass
114 x 169 cm (45 x 67 in)
Jeremy
Untitled, 2019
Painting - Acrylic, color pencil and gouache on canvas
133 x 203 cm (52 x 80 in)
Adam Bilardi
Ton propre fardeau (Your own burden), 2021
Painting - Oil on canvas
130 x 81 cm (51 x 32 in)
Group Exhibition
September Issues
Installation View
June 30 – August 5, 2022
Peres Projects, Milan
Photo: Roberto Marossi Photos
Francesco De Bernardi
Un Romantico a Milano, 2022
Sculpture - Fabric, foam, garments, wig
160 x 22 cm (63 x 9 in)
Group Exhibition
September Issues
Installation View
June 30 – August 5, 2022
Peres Projects, Milan
Photo: Roberto Marossi Photos
Victoria Colmegna
Première Rencontre, 1925, 2022
Knitted Sweater - Hand-knitted with merino and mohair wool
Unique
65 x 53 x 26 cm (25 x 21 x 10 in)
Francesco De Bernardi
Sun Yueh Wen, 2022
Sculpture - Fabric, foam, garments, wig
115 x 20 cm (45 x 8 in)
Miriam Laura Leonardi
We don't need another hero, 2019
Sculpture - Braided cord
250 x 250 x 20 cm (98 x 98 x 8 in)
Group Exhibition
September Issues
Installation View
June 30 – August 5, 2022
Peres Projects, Milan
Photo: Roberto Marossi Photos
Troy Montes-Michie
Ramona (La Pachuca), 2022
Painting - Paper, acrylic, ink, graphite, conté, grease pencil, watercolor, and polyester thread on canvas
183 x 122 cm (72 x 48 in)
Group Exhibition
September Issues
Installation View
June 30 – August 5, 2022
Peres Projects, Milan
Photo: Roberto Marossi Photos
Adam Bilardi
Les bisous du matin sont le plus intimes (The most intimate morning kisses), 2021
Painting - Oil on canvas
34 x 50 cm (13 x 20 in)
Victoria Colmegna
Imaginary Champagne Order, 2017-2020
Collage - Oil pastel on Hahnemuehle velour paper in aluminum, galvanized steel, and tempered glass vitrine with lock and keys
64 x 66 x 8 cm (25 x 26 x 3 in)
Group Exhibition
September Issues
Installation View
June 30 – August 5, 2022
Peres Projects, Milan
Photo: Roberto Marossi Photos
Guendalina Cerruti
The Artless Fit, 2022
Sculpture - Canvas, acrylic paint, highlighter pens, spray paint, photo transfer, pony beads, zippers, fabric piping, aluminium, cotton filling
155 x 100 cm (61 x 39 in)
Victoria Colmegna
Morisot, 2019-2020
Collage - Oil pastel on Hahnemuehle velour paper, graphite on paper, archival photographs, and book jacket in aluminum, galvanized steel, and tempered glass vitrine with lock and keys
66 x 91 x 10 cm (26 x 36 x 4 in)
Group Exhibition
September Issues
Installation View
June 30 – August 5, 2022
Peres Projects, Milan
Photo: Roberto Marossi Photos
Victoria Colmegna
Egoism, 1947, 2022
Knitted Sweater - Hand-knitted with merino and mohair wool
Unique
68 x 55 x 23 cm (27 x 21 x 9 in)
Group Exhibition
September Issues
Installation View
June 30 – August 5, 2022
Peres Projects, Milan
Photo: Roberto Marossi Photos
Jeremy
Fairy Harvest, 2022
Painting - Acrylic, color pencil and gouache on canvas
100 x 80 cm (39 x 32 in)
Francesco De Bernardi
The protagonist of 'The Walk' by Robert Walser, 2022
Sculpture - Fabric, foam, garments, wig
110 x 18 cm (43 x 7 in)
Victoria Colmegna
Volucelle II, 1922, 2022
Knitted Sweater - Hand-knitted with merino and mohair wool
Unique
61 x 48 x 26 cm (24 x 19 x 10 in)
Group Exhibition
September Issues
Installation View
June 30 – August 5, 2022
Peres Projects, Milan
Photo: Roberto Marossi Photos
Adam Bilardi
Il y a toujours un plus et un moins (There is always a plus and a minus), 2021
Painting - Oil on canvas
130 x 81 cm (51 x 32 in)
Group Exhibition
September Issues
Installation View
June 30 – August 5, 2022
Peres Projects, Milan
Photo: Roberto Marossi Photos
Victoria Colmegna
Parade Amoureuse, 1917, 2022
Knitted Sweater - Hand-knitted with merino and mohair wool
Unique
65 x 43 x 24 cm (25 x 17 x 9 in)
Guendalina Cerruti
Unfoldable Chairs, 2017
Sculpture - Stainless steel, burned marks
90 x 55 x 4 cm (35 x 22 x 2 in)
Victoria Colmegna
White Lies, 2019-2020
Collage - Oil pastel on Hahnemuehle velour paper, graphite on paper, archival photograph, and book jacket in aluminum, galvanized steel, and tempered glass vitrine with lock and keys
66 x 91 x 10 cm (26 x 36 x 4 in)
Victoria Colmegna
591, 1938, 2022
Knitted Sweater - Hand-knitted with merino and mohair wool
Unique
72 x 40 x 23 cm (28 x 16 x 9 in)
September Issues
Curated by Mohamed Almusibli
June 30 – August 5, 2022
Opening Thursday, June 30, 2–8PM
Peres Projects, Milan
This exhibition focuses on a new generation of artists who are living and working in a world where traditional media is collapsing, resulting in a landscape where global “issues” have become as deeply personal as those in our private lives and immediate social group. The title of the exhibition refers to the famous Vogue Magazine September Issue which comes out every year. At the same time it refers to “issues” or problems. There’s a saying “That person has more issues than vogue”. At the same time, the notion of celebrity (under Anna Wintour, Vogue was the first fashion magazine to put celebrities on its cover) has also become personalized, leading to a society of branded individuals. This generation of artists are creating work that responds to this unprecedented cultural landscape, constantly oscillating between an aspiration for a given normativity and rebellion in the name of a better future.
In his work, Francesco De Bernardi confronts an ideal that is multiple and which must bear an attitude perceived as an uncontrollable control. With his three sculptures, this attitude can be defined as Sprezzatura. As portrayed by Un Romantico a Milano (2022), Sprezzatura can today be described as an attitude. Epistemologically described as “studied carelessness,” this term suggests a magnificence hidden in its nuances and imperfections, as well as a strength kept in reserve.
Victoria Colmegna illustrates issues affecting young people in general, as well as historical artifacts and futuristic inspirations. Visual cues that serve as imperatives towards a role model or ethos appear to make up one’s identity. The border between social and private erodes smoothly under a corpus of collected pictures that are part of a shared past that we inherited and use as a standard.
An ontology of thingness is exemplified by Miriam Laura Leonardi’s large-scale survival rope employed by preppers. Indeed, in a world where health and political institutions are so precarious, tangible items are grounded within a material continuum shaped by our own fears about the future of a world and existence that both feel so fleeting.
For Shuang Li subjectivity, as well as the attitudes blooming from it, are influenced and controlled through group dynamics. The ability of being able to easily control our appearance is key in this context where it can be used strategically against the imperatives of conformity. Guendalina Cerruti demonstrates this concept in her work, highlighting the importance of appearance and clothing in claiming agency.
Adam Bilardi questions the heteronormative bodies which are meant to be strong and ought to never bend. Bilardi’s paintings are a series of continuous canvases in which he explores the difficulties we have in expressing our emotions. Touching rather than feeling is more common nowadays. He stretches the bounds of intimacy with the most intimate morning kisses, focusing on kinetic connections on which we might dwell from with the fragments of our souls.
The essence of Jeremy’s works is a kinetical paradigm specifically carried by the body in the essence of its physicality. The body is portrayed as a narcissistic subject who is also struggling with heteronormativity’s dogma. In Hero (2022), Jeremy paints a flesh that has several identities while simultaneously being tamed by the pose’s logic. Because everything is so transient, the only traces we leave are those of our own bodies, with all of its splendors and delectable subtleties.
Troy Montes-Michie’s collage piece demonstrates that it is possible to manipulate heteronormativity through the use of clothes. Presenting the body as a space able to convey different identities and which has the power to subvert the norms of patriarchy and whiteness. Thus understanding that the body and its appearance is a threshold between the individual and the imperatives of the culture in which the latter is placed.
The term “generation” refers to the act of creating a language that will serve as an extension and differentiation of one’s own identity, paving the way for future works that will emerge from different experiences and contexts, changing over time and according to the temporality to which they belong. These artists express themselves through their bodies and the kinesics they exude. The context or concept takes precedence over the actual piece of art when modern artworks are designed to convey an aesthetical, sociological, or philosophical setting. The setting is entangled in this way, and it is extremely critical and resistant to conformity.
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