gallery gallery
gallery gallery
[gallery ids="14977,14978"]After decades away from Milan, Fabrizio Plessi returns to the city where he lived during a crucial period in his life, for a major exhibition on the Seventies at Fondazione Mudima, showing two of his fundamental works: the “Water Cage” presented at the Venice Biennale in 1972 and the “Crazy Pool – Video installation in an empty swimming pool” from 1977, together with 24 other cages based on the first. But the decisive quality of the exhibition lies in the works on paper, mounted on wood, on graph paper, that have never again been exhibited for forty years. The show is accompanied by a book on this period, edited by Marco Meneguzzo, with a critical essay, an interview with Plessi, a critical anthology of texts from that period, a complete system of appendices and a fine selection of images. www.mudima.net.    
gallery gallery
[gallery ids="14977,14978"]After decades away from Milan, Fabrizio Plessi returns to the city where he lived during a crucial period in his life, for a major exhibition on the Seventies at Fondazione Mudima, showing two of his fundamental works: the “Water Cage” presented at the Venice Biennale in 1972 and the “Crazy Pool – Video installation in an empty swimming pool” from 1977, together with 24 other cages based on the first. But the decisive quality of the exhibition lies in the works on paper, mounted on wood, on graph paper, that have never again been exhibited for forty years. The show is accompanied by a book on this period, edited by Marco Meneguzzo, with a critical essay, an interview with Plessi, a critical anthology of texts from that period, a complete system of appendices and a fine selection of images. www.mudima.net.    
After decades away from Milan, Fabrizio Plessi returns to the city where he lived during a crucial period in his life, for a major exhibition on the Seventies at Fondazione Mudima, showing two of his fundamental works: the “Water Cage” presented at the Venice Biennale in 1972 and the “Crazy Pool – Video installation in an empty swimming pool” from 1977, together with 24 other cages based on the first. But the decisive quality of the exhibition lies in the works on paper, mounted on wood, on graph paper, that have never again been exhibited for forty years. The show is accompanied by a book on this period, edited by Marco Meneguzzo, with a critical essay, an interview with Plessi, a critical anthology of texts from that period, a complete system of appendices and a fine selection of images. www.mudima.net.    
gallery gallery
gallery gallery
[gallery ids="14977,14978"]After decades away from Milan, Fabrizio Plessi returns to the city where he lived during a crucial period in his life, for a major exhibition on the Seventies at Fondazione Mudima, showing two of his fundamental works: the “Water Cage” presented at the Venice Biennale in 1972 and the “Crazy Pool – Video installation in an empty swimming pool” from 1977, together with 24 other cages based on the first. But the decisive quality of the exhibition lies in the works on paper, mounted on wood, on graph paper, that have never again been exhibited for forty years. The show is accompanied by a book on this period, edited by Marco Meneguzzo, with a critical essay, an interview with Plessi, a critical anthology of texts from that period, a complete system of appendices and a fine selection of images. www.mudima.net.    
gallery gallery
[gallery ids="14977,14978"]After decades away from Milan, Fabrizio Plessi returns to the city where he lived during a crucial period in his life, for a major exhibition on the Seventies at Fondazione Mudima, showing two of his fundamental works: the “Water Cage” presented at the Venice Biennale in 1972 and the “Crazy Pool – Video installation in an empty swimming pool” from 1977, together with 24 other cages based on the first. But the decisive quality of the exhibition lies in the works on paper, mounted on wood, on graph paper, that have never again been exhibited for forty years. The show is accompanied by a book on this period, edited by Marco Meneguzzo, with a critical essay, an interview with Plessi, a critical anthology of texts from that period, a complete system of appendices and a fine selection of images. www.mudima.net.    
After decades away from Milan, Fabrizio Plessi returns to the city where he lived during a crucial period in his life, for a major exhibition on the Seventies at Fondazione Mudima, showing two of his fundamental works: the “Water Cage” presented at the Venice Biennale in 1972 and the “Crazy Pool – Video installation in an empty swimming pool” from 1977, together with 24 other cages based on the first. But the decisive quality of the exhibition lies in the works on paper, mounted on wood, on graph paper, that have never again been exhibited for forty years. The show is accompanied by a book on this period, edited by Marco Meneguzzo, with a critical essay, an interview with Plessi, a critical anthology of texts from that period, a complete system of appendices and a fine selection of images. www.mudima.net.    
After decades away from Milan, Fabrizio Plessi returns to the city where he lived during a crucial period in his life, for a major exhibition on the Seventies at Fondazione Mudima, showing two of his fundamental works: the “Water Cage” presented at the Venice Biennale in 1972 and the “Crazy Pool – Video installation in an empty swimming pool” from 1977, together with 24 other cages based on the first. But the decisive quality of the exhibition lies in the works on paper, mounted on wood, on graph paper, that have never again been exhibited for forty years. The show is accompanied by a book on this period, edited by Marco Meneguzzo, with a critical essay, an interview with Plessi, a critical anthology of texts from that period, a complete system of appendices and a fine selection of images. www.mudima.net.     "},{"caption":"
gallery gallery
[gallery ids="14977,14978"]After decades away from Milan, Fabrizio Plessi returns to the city where he lived during a crucial period in his life, for a major exhibition on the Seventies at Fondazione Mudima, showing two of his fundamental works: the “Water Cage” presented at the Venice Biennale in 1972 and the “Crazy Pool – Video installation in an empty swimming pool” from 1977, together with 24 other cages based on the first. But the decisive quality of the exhibition lies in the works on paper, mounted on wood, on graph paper, that have never again been exhibited for forty years. The show is accompanied by a book on this period, edited by Marco Meneguzzo, with a critical essay, an interview with Plessi, a critical anthology of texts from that period, a complete system of appendices and a fine selection of images. www.mudima.net.    
After decades away from Milan, Fabrizio Plessi returns to the city where he lived during a crucial period in his life, for a major exhibition on the Seventies at Fondazione Mudima, showing two of his fundamental works: the “Water Cage” presented at the Venice Biennale in 1972 and the “Crazy Pool – Video installation in an empty swimming pool” from 1977, together with 24 other cages based on the first. But the decisive quality of the exhibition lies in the works on paper, mounted on wood, on graph paper, that have never again been exhibited for forty years. The show is accompanied by a book on this period, edited by Marco Meneguzzo, with a critical essay, an interview with Plessi, a critical anthology of texts from that period, a complete system of appendices and a fine selection of images. www.mudima.net.     "}];
After decades away from Milan, Fabrizio Plessi returns to the city where he lived during a crucial period in his life, for a major exhibition on the Seventies at Fondazione Mudima, showing two of his fundamental works: the “Water Cage” presented at the Venice Biennale in 1972 and the “Crazy Pool – Video installation in an empty swimming pool” from 1977, together with 24 other cages based on the first. But the decisive quality of the exhibition lies in the works on paper, mounted on wood, on graph paper, that have never again been exhibited for forty years. The show is accompanied by a book on this period, edited by Marco Meneguzzo, with a critical essay, an interview with Plessi, a critical anthology of texts from that period, a complete system of appendices and a fine selection of images. www.mudima.net.