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Martedì 12:00 - 20:00 Mercoledì 12:00 - 20:00 Giovedì 12:00 - 20:00 Venerdì 12:00 - 20:00 Sabato 15:00 - 20:00

CARLOCINQUE GALLERY

Casa
Italia
Milan
CARLOCINQUE GALLERY

CARLOCINQUE GALLERY

11/12/2025

CLOSING SOON

Wainer Vaccari
Capricci

at until December 19, 2025

arrow or spear aimed at the sky
low on a ceiling from whose center
everything begins once again

Unlike a tamed Ophelia, the woman in Vaccari’s Untitled (1990) stands defiantly in water; and unlike Narcissus, her gaze is fixed not upon herself but upon a frame: a threshold into which a genderless figure crawls. In Capriccio 73 (1996) a man kneels over to kiss a person, both on the verge of metamorphosis. Without precedent or antecedent, Wainer Vaccari arrests moments in media res. The figures melt into each other and themselves, resisting observation, while revealing a turbulence of interpretations. Though, at times, Vaccari’s Capricci recall ancient literature, Honoré Daumier’s exhausted figures, De Chirico’s barren piazzas – their figures occupy a no-man’s-land, unmoored from chronology, and untethered from place.

Vaccari, a self-proclaimed lover of the symbolist Arnold Böcklin, shares his ability to humanize ancient mythology. The humanity he affords them deflates their heroism and drama into mundane scenes, bringing the nymphs, fauns, gods, and heroes out from myth to hide “behind the corners of houses in our cities”. Thus, spawning uncanny figures, at once recognizable yet unplaceable.

Text excerpt by .borges.campos

Installation view: Joanna Wilk

21/11/2025

CARLOCINQUE GALLERY is pleased to share a selection of images from Wainer Vaccari — Capricci, currently on view at in Berlin.
The exhibition opened on 14 November and remains accessible to the public until 19 December 2025.
For this project, curated by Barbara Borges Campos, the gallery has loaned 21 works from the Capricci series (2023) — a corpus that embraces the suspended, metamorphic dimension central to Vaccari’s practice: liminal figures, theatrical landscapes, and an imagery that moves between irony, unease, and allegory.
We are proud to see this significant group of works engaging with the space of LEVY Galerie and with the Berlin public, contributing to the international visibility of Wainer Vaccari’s painting.

Nov 15 - Dec 19, 2025
Opening: Nov 14, 2025, 6-9pm

12/11/2025

Visitare Logica Predicativa significa entrare in uno spazio che chiede tempo.
Le opere di Percival Everett non si lasciano possedere a colpo d’occhio: resistono all’urgenza della lettura, obbligano a sostare. È una pittura che non concede scorciatoie, che non offre un messaggio già pronto, ma che costruisce un terreno fragile e complesso su cui muoversi.

In questa resistenza nasce la forza della mostra: il rifiuto dell’immediatezza diventa invito a un ascolto più lento, a un confronto che non termina nello sguardo ma lo oltrepassa.

06/11/2025

details

Percival Everett, “Irony”, 2025 Oil on cardboard, 76,2x101,6 cm

31/10/2025

Percival Everett, “Irony”, 2025 Oil on cardboard, 76,2x101,6 cm

23/10/2025

“People find their truth in art whether it’s music or painting or literature. They bring their world to the work and find what they need. They’re not trying to figure out, and they shouldn’t be trying to figure out, what I meant.
One should never appeal to an artist about any truth or wisdom in the world.
We’re facilitators and when the audience comes to it that’s when the magic happens.”

clip from the conversation between and for the

23/09/2025

Logica Predicativa di Percival Everett continua il suo percorso in galleria.
La mostra è stata prorogata fino al 2 ottobre 2025: più tempo per attraversare le soglie e le tensioni della sua pittura, più tempo per sostare davanti a opere che resistono all’immediatezza e si aprono solo nello spazio della durata.
Vi aspettiamo.

17/09/2025

“When I finished the novel, I realised that I wasn’t done with the subject.”

As well as being an award-winning writer, Percival Everett is also an accomplished artist. On the surface, his novel The Trees, Dua’s for September, reads like a murder mystery. But look deeper and it’s a fearless interrogation of America’s unfinished history of lynching.

In their conversation for the , Percival explains to Dua: “Painting is far more emotional and visceral to me than writing…There’s a standing away from it, and so it can be a less intellectual and a lot more emotional.” After completing the novel, Percival created a series of paintings, ‘Once Seen’. Each work is named after a victim of lynching, echoing the devastating roll call of victims from Chapter 64 of The Trees. The exhibition catalogue juxtaposes Percival’s paintings within a reproduction of an issue of The Crisis magazine from 1921 that focused on lynching, reinforcing the message that racially motivated murder remains present but is continuously ignored.

The catalogue for ‘Once Seen’ and a copy of The Trees can be bought together as a bundle at the link in bio.

Artwork courtesy of Percival Everett, ,

repost

11/07/2025

Ogni dettaglio dello spazio è pensato per non spiegare, ma suggerire.
Per lasciare che il senso emerga, lentamente, senza costrizioni.
Un invito alla sospensione.

📍CARLOCINQUE Gallery, Milan
🗓️ until August 2nd 2025

Indirizzo

Via Dell'Annunciata, 31
Milan
20121

Orario di apertura

Martedì	12:00 - 20:00
Mercoledì	12:00 - 20:00
Giovedì	12:00 - 20:00
Venerdì	12:00 - 20:00
Sabato	15:00 - 20:00

Telefono

+390291558394

Sito Web

http://www.carlocinquegallery.com/

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