Leonor Antunes: the last days in galliate at Pirelli Hangar Biccoca, Milan, September 14, 2018 – January 13, 2019

“Pirelli HangarBicocca presents the exhibition the last days in galliate, dedicated to Berlin-based artist Leonor Antunes (born 1972 in Lisbon). Using traditional materials—such as rope, wood, brass, leather, rubber and cork—and employing ancient artisan or manual techniques, Antunes creates elegant sculptures and installations that investigate the significance of everyday objects and the social role of art and design as a means to improve living conditions.

For her first exhibition in Milan, Leonor Antunes presents a new body of work and a site-specific installation for the Shed space. Engaging with the specific local context, Antunes reflects on the Modernist tradition in Milan, and particularly on pioneering architects and designers such as Franca Helg (1920-1989, Franco Albini (1905-1977) and Giò Ponti (1891-1979), who become a source of inspiration for a series of floor, hanging, and standing pieces.

Furthermore the exhibition encompasses a new rearrangement of some exiting works, paying homage to other female figures, such as architects, artists and designers Clara Porset (1895-1981), Anni Albers (1899-1994) and Mary Martin (1907-1967).” — Pirelli HangarBicocca

Leonor Antunes. Exhibition view, “the last days in chimalistac”, Kunsthalle Basel, Basel, 2013. Courtesy of the artist and Kunsthalle Basel. Photo: Nick Ash

Leonor Antunes. Exhibition view, “Leonor Antunes: I Stand Like A Mirror Before You”, New Museum, New York, 2015. Courtesy of New Museum, New York. Photo: Maris Hutchinson

Leonor Antunes, a secluded and pleasant land, in this land I wish to dwell, 2015. Installation view, 8th Berlin Biennial, 2015. Courtesy of the artist and the 8th Berlin Biennial. Photo: Nick Ash

Leonor Antunes. Exhibition view, “the pliable plan”, CAPC musée d’art contemporain de Bordeaux, Bordeaux, 2015. Courtesy of the artist and the CAPC, Bordeaux. Photo: Nick Ash

Leonor Antunes. Exhibition view, “the pliable plan”, CAPC musée d’art contemporain de Bordeaux, Bordeaux, 2015. Courtesy of the artist and the CAPC, Bordeaux. Photo: Nick Ash

Leonor Antunes. Exhibition view, “the frisson of the togetherness”, Whitechapel Gallery, London, 2017. Courtesy of the artist and Whitechapel Gallery, London. Photo: Nick Ash

Leonor Antunes. Exhibition view, “the frisson of the togetherness”, Whitechapel Gallery, London, 2017 Courtesy of the artist and Whitechapel Gallery, London Photo: Nick Ash

Leonor Antunes. Exhibition view, “the frisson of the togetherness”, Whitechapel Gallery, London, 2017. Courtesy of the artist and Whitechapel Gallery, London. Photo: Nick Ash

Leonor Antunes, so then we raised the terrain so that I could see out, 2017. Installation view, 57a Esposizione Internazionale d’Arte, La Biennale di Venezia, Venice, 2017. Courtesy of the artist; Air de Paris, Paris; kurimanzutto, Mexico City and Luisa Strina Gallery, São Paulo. Photo: Nick Ash

Leonor Antunes, so then we raised the terrain so that I could see out, 2017. Installation view, 57a Esposizione Internazionale d’Arte, La Biennale di Venezia, Venice, 2017. Courtesy of the artist; Air de Paris, Paris; kurimanzutto, Mexico City and Luisa Strina Gallery, São Paulo. Photo: Nick Ash

Leonor Antunes, so then we raised the terrain so that I could see out, 2017. Installation view, 57a Esposizione Internazionale d’Arte, La Biennale di Venezia, Venice, 2017. Courtesy of the artist; Air de Paris, Paris; kurimanzutto, Mexico City and Luisa Strina Gallery, São Paulo. Photo: Nick Ash

Leonor Antunes, so then we raised the terrain so that I could see out, 2017. Installation view, 57a Esposizione Internazionale d’Arte, La Biennale di Venezia, Venice, 2017. Courtesy of the artist; Air de Paris, Paris; kurimanzutto, Mexico City and Luisa Strina Gallery, São Paulo. Photo: Nick Ash

The last days in Galliate is curated by Roberta Tenconi.

Images courtesy Pirelli Hangar Biccoca.