Artissima 2026
White Hall - Stand 9-10
For Artissima 2026, Raffaella Cortese expands its presence at the fair with a larger booth, bringing together works across different generations and media. The presentation explores how bodies, images, objects, and spaces shape our experience of the world around us.
Liliana Moro
Yellow construction site boards, umbrellas, plastic chairs, concrete
Environmental dimensions
Polyplat, mirrored plastic, yellow adhesive plastic, tin casting, iron base
20 × 30 × 20 cm; 125 x 24 x 33 cm (Metal table)
Liliana Moro’s Quattro Stagioni occupies the center of the booth with construction boards, parasols, plastic chairs, and concrete. The work creates a space to be experienced through the body, inviting visitors to pause, meet, and exchange, while making their presence an integral part of the work itself.
Liliana Moro was one of the three artists invited to represent Italy at the 58th Venice Biennale in 2019. Her work has been presented at institutions including MAXXI Rome, PAC Milan, Kunstmuseum Liechtenstein, GNAM Rome, Castello di Rivoli, Moderna Museet Stockholm, and MoMA PS1 New York. She also participated in documenta IX and the Venice Biennale in 1993
Marcello Maloberti
Marcello Maloberti explores the ability of images to change meaning. In IN SEARCH OF THE MIRACULOUS, a nineteenth-century Madonna is shown from behind, supported in space by a metal structure. Removed from the frontal logic of devotional imagery, the figure returns as an unexpected presence, capable of redefining the relationship with the viewer.
Maloberti has worked with Raffaella Cortese since 1999. Institutions that have devoted solo exhibitions to the artist include PAC – Padiglione d’Arte Contemporanea Milano, MAXXI Rome, Triennale Milano, Kestner Gesellschaft Hannover, MACRO Rome, Generali Foundation Vienna, and GAMeC Bergamo.
19th Century Madonna statue, polychrome plaster, galvanized steel brackets
183 × 72 × 43 cm
Marker on paper, steel binder clips
102 × 72 cm; 134 × 96 × 10 cm framed
Gabrielle Goliath
With the Bearing series, Gabrielle Goliath explores through drawing the meanings of carrying and sustaining. The Black, brown, femme, and queer bodies at the center of the series challenge the Eurocentric grammar of the nude, asserting new possibilities of presence and representation.
Goliath presents Elegy at the Chiesa di Sant’Antonin during the 61st Venice Biennale; the project is currently on view at Ibraaz, London. She has presented major projects at institutions including MoMA PS1, New York; PinchukArtCentre, Kyiv; Kunsthaus Baselland; Musée d’Art Moderne de Paris; and MUDAM Luxembourg.
Oil pastel on paper
100 × 143 cm; 110 × 157 × 5 cm framed
Monica Bonvicini
Monica Bonvicini investigates the power dynamics inscribed in architecture and art history. In the works dedicated to catastrophes, the built environment appears as an unstable structure; in Fleurs du Mal, the reference to Marcel Duchamp’s Bottle Rack is reworked through blown-glass forms that are phallic yet emptied of power, calling historically male-coded structures into question.
Monica Bonvicini’s work has been presented at major institutions including the National Gallery of Denmark, MAXXI L’Aquila, Art Sonje Center Seoul, Centro Pecci Prato, OGR Turin, and Museo del Novecento Milan, as well as in numerous international biennials and museum exhibitions.
tempera and spray paint on Fabriano paper
200 × 150 cm; 218 × 168 × 5,5 cm framed
Single casted, cold worked glass, textile
26 × 14 × 20,5 cm
Silvia Bächli
Gouache on paper
144 × 204 cm; 150 × 210 × 5 cm framed 4 parts (72 x 102 cm each)
SB8246
Silvia Bächli brings drawing into a physical and spatial dimension. Lines move across the sheets through variations in rhythm and distance. The mark records the movement of the hand and extends beyond the individual sheet, connecting gesture, surface, and space.
Silvia Bächli represented Switzerland at the 53rd Venice Biennale in 2009. Her work has been presented in solo exhibitions at institutions including Museo Morandi Bologna, Centro Botín Santander, Kunstmuseum Winterthur, Kunsthalle Karlsruhe, Frac Franche-Comté, and Pinakothek der Moderne Munich.
Francesco Arena
For Francesco Arena, measurement becomes a means of connecting personal experience and space. A thread as long as the perimeter of the artist’s home runs through a bronze tube and unfolds within the environment, transforming a private measurement into a variable form.
Arena has presented works in institutional contexts including Fondazione Nicola Del Roscio Rome, Palazzo Borromeo Milan, Frac Champagne-Ardenne, Museion Bolzano, and Art Basel Unlimited. In 2013, he participated in the Italian Pavilion at the 55th Venice Biennale.
Carrara marble; Frankenstein by Mary Shelley
20,5 × 20,5 × 20,5 cm
Barbara Bloom
With Under a sky of flawless blue. (Gide), Barbara Bloom explores the relationship between language, object, and perception. A quotation by André Gide is translated into Braille across the surface of a hand-tufted wool carpet, taking on a material form that engages the body beyond visual experience alone.
Bloom has had solo exhibitions at institutions including MoMA New York, the Jewish Museum New York, Martin-Gropius-Bau Berlin, Carnegie Museum of Art Pittsburgh, Serpentine Gallery London, and Stedelijk Museum Amsterdam.
Hand tufted woollen carpet with carved Braille text
274,3 × 182,88 cm
Offset/digital litography and Braille on paper, mounted beneath cut Plexiglass
83,2 × 63 × 3 cm framed
Franco Vimercati
Franco Vimercati’s works focus on everyday objects. Removed from their function and observed through repetition, these objects acquire an autonomous presence. Photography becomes a way of questioning time and the way we look at what is familiar.
Vimercati’s work has been presented in exhibitions at institutions including Galleria Nazionale d’Arte Moderna e Contemporanea Rome and the Italian Cultural Institute in Madrid. Recent presentations include The World in a Grain of Sand at GNAM Rome in 2023 and Ad Reinhardt & Franco Vimercati at Oriole, Hamburg, in 2024–25.
Gelatin silver print
21,8 × 18,3 cm; 36,5 × 33 × 3 cm framed
Gelatin silver print
18,7 × 22,9 cm; 47 × 42,5 × 3 cm framed
Martha Rosler
Martha Rosler examines the ways images, media, and everyday space shape our perception of the present. Her practice connects the domestic sphere with public space, revealing the political and social tensions embedded in what appears familiar.
Rosler has had solo exhibitions at Schirn Kunsthalle Frankfurt, The Jewish Museum New York, Kunstmuseum Basel, MACBA Barcelona, MoMA New York, and Centre Pompidou Paris. She has also participated in documenta, the Venice Biennale, Skulptur Projekte Münster, and exhibitions at Tate Modern and the Whitney Museum of American Art.
Photomontage
50,5 × 49,5 cm; 52,5 × 51 × 3,5 cm framed
Inkjet Print
60,5 × 50 cm; 61,5 × 51 × 3,5 cm framed
Inkjet Print
60,5 × 50 cm; 61,5 × 51 × 3,5 cm framed
Edi Hila
Edi Hila observes landscape and architecture as expressions of social transformation. Urban spaces and suspended scenes register the changes of a society and the forms these take within the built environment.
Hila has had solo exhibitions at Moderna Museet Malmö, Hamburger Kunsthalle, Secession Vienna, the Museum of Modern Art in Warsaw, and the National Gallery of Arts Tirana. He participated in documenta 14 and represented Albania at the 48th Venice Biennale.
Miroslaw Bałka
Miroslaw Bałka intertwines personal and collective memory through images reduced to essential marks. In his drawings, figures drawn from myth and religious iconography re-emerge as traces, bringing into the present images sedimented in history and cultural identity.
Bałka has participated in major international exhibitions including the Venice Biennale, documenta IX, and the São Paulo Biennale. In 2009, he presented How It Is for the Unilever Series at Tate Modern, London; he has recently participated in Manifesta 16 Ruhr.
