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Curated by Paola Galio
Opening September 29, 2011 to October 10, 2011
Spazio Morris
Via Crivelli angolo Via Luigi Anelli 8
20122 Milano

SHORT VISIT and Spazio Morris present: Annette Wehrhahn, Munro Galloway, Pat Palermo and Paul Branca, the founding members of SOLOWAY, an artist run gallery in Williamsburg Brooklyn, NYC. For this exhibition, the artists will export the creative atmosphere of their space in Brooklyn to Spazio Morris in Milan, featuring individual projects by each of the gallery members as well as a curated group exhibition of artists that SOLOWAY has exhibited since opening its doors in August of 2010: Tomer Aluf, Rebecca Watson Horn, Michael Stickrod, Keith McCulloch, Jessie Stead, Bjorn Copeland, and Pam Lins.

Traveling to Italy to realize their work, the four artists have the opportunity to respond to the character of Spazio Morris (a former apartment turned gallery) and Italian culture in their respective installations. Annette Wehrhahn begins her collaboration with Puccini's song Nessun Dorma, installed in a former bedroom and visiting the ideas of sleeplessness and mis-interpretation through translation, Pat Palermo bases a series of hand-painted postcards on the adolescent detritus left behind in the former bedroom of a teenage girl, while Paul Branca's painting installation specifically made for the gallery's kitchen, toy
with Italian language and Giorgio de Chiricio's metaphysical biscotti, and Munro Galloway's collage prints riff on magazine cut-outs, classical sculpture and decorative patterning.

In Spring 2012 SOLOWAY will host an exhibition by the artists of SHORT VISIT completing the circle of cultural exchange.



Annette Wehrhahn

Collaborating with Puccini's famous rendition of Nessun Dorma, Annette Wehrhahn's project follows an interpretation of this title (in English: None Shall Sleep) through a maze of logic to various coordinates. A series of monoprints, some using text, mix together the English and Italian translations freely, Sometimes becoming entirely illegible. An animation of a figure swimming into an increasingly colorful and hypnotic environment metaphorically refers to the journey from wakefulness to a sleep state, or as the bright colors suggest, the delirium of insomnia. The ambience in the bedroom is one of night, the room lit only by theflickering projection of the video and the individual lights illuminating the monoprints. In the nearby bathroom a "dream machine" (invented by Brion Gyson and once celebrated as the drugless high) plays Nessun Dorma while creating a hypnotic strobe effect.

Munro Galloway
For several years Munro Galloway worked as a freelance production designer for magazines-The New York Times Magazine, Time Out, Travel and Leisure, and W magazine. His interest in magazines extends to their tactile quality as objects and also to the printed palette of color, texture, patterns and forms. For these collages Galloway worked predominantly with images from fashion spreads, including many Italian designers, and also images of classical and non-western sculpture. The resulting prints are super-imposed images of cut-outs.

Pat Palermo
"Whatever style or medium I'm employing at a given moment, I'm always mimicking something. Thereseems to be such a dense personal history to every object and every space... I want to access these histories but they're not transparent, you can't easily observe them. And when you engage an object too directly, you just sort of pile on top of its history, you sort of deface and obscure it. So when I mimic something, it's my way of riding along parallel with an object or space that interests me, an effort to re-enact its contours without touching or deforming it... it's an attempt to empathize with an object without vandalizing it."

Paul Branca
Influenced by Italian 1960s outdoor commercial street signs, often plastic and with personalized fonts, Paul Branca creates his C-U-C-I-NA, a multipanel work consisting of text and image. While doing military service in Ferrara during the first World War, Giorgio de Chiricio was impressed by the strangeness of the biscotti and breads found in this former city of the Este dynasty. He went on to include them in his metaphysical compositions, creating an odd mixture of non-logical space with abstract snacks. Branca enjoys this interplay of munching on biscotti and crispy breads while painting, merging the noun cucina with various elements of de Chirico's oeuvre. Always interested in word games, Branca treats C-U-C-I-N-A as separate letters which can be reassembled, for example, one can also arrange it as I C-A-N C U, alluding to Branca's rendering of de Chirico's elements into comical faces.