Gino de Dominicis

The opening exhibition at MAXXI, Rome’s national contemporary art museum designed by Zaha Hadid, is a survey of Gino de Dominicis, organized by Achille Bonito Oliva and on view until November 7th.

Reviews from Valentina Ciuffi in Abitare (English excerpt) and Rachel Spence in the Financial Times. Ingrid Rowland on the building. Federica Bueti published an “interview” in ArtSlant. The catalog, published by Electa Mondadori, documents “the first anthological exhibition dedicated to the artist” (ItalianEnglish). Contributors include Massimo Donà, Giovanni Pettinato, Claudio Bartocci, Gabriele Guercio and Italo Tomassoni. A 2008-2009 exhibition at P.S.1 (see Alana Heiss et al.) was reviewed by Roberta Smith in the New York Times.

In Res 55/56 (“Absconding”; Spring/Autumn 2009), Guercio published “Repositories of the unconditional: Gino De Dominicis’ Mirror and the work of art as model of immortality,” pp. 308-320. Also see:

  • Laura Cherubini, “Gino De Dominicis: Perfect Living Object,” Flash Art 260 (May-June 2008), pp. 101-105 [Part 1; Part 2]
  • Massimiliano Gioni, “Into Thin Air: The Strange Career of Gino De Dominicis,” Modern Painters 19:10 (Dec.  2007-Jan. 2008), pp. 82-85
  • Carolyn Christov-Bakargiev, “Gino de Dominicis: Making Mind and Matter Proceed Together,” Flash Art 39 (May-June 2006), pp. 114-17
  • Italo Tomassoni, “Cronologia dell’immortalità,” Storia dell’Arte 104/105 (2003), pp. 161-77
  • Craig Burnett, “Gino de Dominicis,” Frieze 79 (Nov.-Dec. 2003)
  • Nicolas Bourriaud, “Gino de Dominicis: On the Trail of Gilgamesh,” Flash Art 153 (Summer 1990), pp. 135-6