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IL CIELO A CALCI (intro) at Jupiter Woods, London

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_FABIO SANTACROCE_ Mothers, 2017_Cover of George Michael Older album printed on canvas, plastic cable ties, plastic balls, soil
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_OLU DAVID OGUNNAIKE _White Noise, 2016_108 x 108 cm_Beech, Maple, Ash, Dyed Eucalyptus, Bleached Eucalyptus, Dyed Oak, Resin
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_FABIO SANTACROCE_ Mothers, 2017_installation detail
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_OLU DAVID OGUNNAIKE _White Noise, 2016_detail



_Atiéna_soundcloud track on speaker

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_KAREEM LOTFY _km.t_sound installation
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_KAREEM LOTFY _km.t_sound installation
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_ FABIO SANTACROCE_ Mothers, 2017_Cover of George Michael Older album printed on canvas, plastic cable ties, plastic balls, soil
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_OLU DAVID OGUNNAIKE _White Noise, 2016_108 x 108 cm_Beech, Maple, Ash, Dyed Eucalyptus, Bleached Eucalyptus, Dyed Oak, Resin

24.3.17

Atiéna, Kareem Lotfy, Olu David Ogunnaike, Fabio Santacroce

in collaboration with Rosanna Puyol

Jupiter Woods

63rd-77th STEPS

'CRUSH' by Artem Briukhov at CHIRKOV Gallery, Birsk

'Burn the Rain' by Troy Barrett at Smart Objects, Los Angeles

'KALON GLAZ' by Victoria Palacios at Panamax, Liège

'Bodiesbodies', Group Show Curated by Lucrezia Galeotti and Giacomo Pigliapoco at

'la fiebre de las formas', Group Show at Colette Mariana, Barcelona

'Sunsets', Group Show at Everybody, Tucson

'Bushels of Goodness and Warmth' by Jordan Derrien at V.O Curations, London

'Etica, Tecnica e Pathos' by Marco Strappato at The Gallery Apart, Rome

'200 km/h in the Wrong Lane' by Mona Filleul at SIS123, La Chaux-de-Fonds

'Come Hell or High Water' by Rosario Aninat and Simon Shim Sutcliffe at Mutter, A

'PCS: Post Concrete Semiotics' by Skygolpe at Nighttimestory, Los Angeles

'Wardrobing' by Mitchel Cumming at Disneyland Paris, Perth

'Ouverture', Off-Site Show by Karina Azizova, Moscow-Istanbul-Paris

'Millennium Approaches' by Cole Lu at Nir Altman, Munich

'Momenti della verità' by Giulio Paolini at Galleria Massimo Minini, Brescia

'Dead Mall Nails' by Anastasia Sviridenko and Lukas Malte Hoffmann at Formis, Tam

'scaling winter' by Littlewhitehead at Public Gallery, London

There’s the limitation where all marks must be permanent. Michael Bussell in con

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