The Flat – Massimo Carasi, Milan

3, Via Paolo Frisi (MM Porta Venezia), 20129 Milan, Italy



Hiva Alizadeh (Iran 1989) is a self-trained artist who embarked on his artistic activities with directing experimental films but pretty soon, sculpture took over as the lion’s share of his activities. Layering vividly colored locks of synthetic hair, as if they were veils of oil paint,  he creates new abstractions. Almost intangible, shimmering and vaporous, her wall-mounted locks emerge from the two-dimensionality of the painted surface.

Paolo Cavinato (Italy, 1975) uses different forms of expression to create multi-sensory spaces or meditative places, into which he projects images of reality or imaginary viewpoints.

His research began with an exploration of the concept of concrete, physical space, and has moved in more recent years, towards the notion of absolute space, where the viewer is attracted by and almost absorbed into the works – works which are sometimes synaesthetic, livable places or traversable spaces, sometimes a kind of limbo between finite and infinite, spaces in continuous flux, or simply, a silent void.

Inma Femenìa (Spain, 1985) probes the digital world. More specifically, she investigates how digital reality has changed the way we perceive our world, not to mention the way we experience events, both physical and virtual.  

Technological processes – and their constant evolution – determine and modify our perception of existence. Thus, the artist reveals a world conditioned by the culture of the screen through computerized images capable of modifying and manipulating reality.

Michael Johansson (Sweden, 1975) deals with ordinary objects we all recognize, but in a way far from the ordinary. Driven by the agenda to densify the world, objects are morphed into precisely stacked rectangular shapes, connected to a certain place, where their original purpose are transformed into catalysts of new meanings.

Outdated items within the same colour range are reconstructed into a homogeneous image of a fictional life reinforced by our collective imaginary: the compressed scenery from a time gone by.

Hiva Alizadeh
Untitled (Scenery Series)
2017, Synthetic hair on wood, 150 x 80 x 80 cm.
Inma Femenía
In Tension no..41
2019, UV print on manipulated aluminium and natural rubber, 188 x 200 x 34 cm.
Hiva Alizadeh
Untitled (shadows in Mosque series)
2018, Synthetic hair and wood, 135 x 80 cm.
Paolo Cavinato
Iridescence no.2
2018, Enamel and acrylic on fluorocarbon line, museum glass, wood frame, aluminium background, 40 x 30 x 5.5 cm.
Inma Femenía
Versions no.14
2019, UV inks on PVC, museum glass, metal frame designed by the artist, 100 x 67 cm.
Paolo Cavinato
Wing no.3 (metallic light blue)
2019, Varnished brass, 36 x 36 x 22 cm.
Hiva Alizadeh
Untitled (Scenery Series) no. 4/5
2018, Synthetic hair and wood, 135 x 85 cm. each
Inma Femenía
Liminal no.4
2019, UV print on manipulated aluminium and natural rubber, variable dimensions (installed at gallery, 250 x 450 x 350 cm.)
Michael Johansson
Déjà vu
2018, Black ordinary items, 45.5 x 44 x 42.5 cm.