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Friedman installation
Tom Friedman, Sun, 2017   video projection, silent

Tom Friedman, Sun, 2017   video projection, silent

Tom Friedman and Antonio Scoccimarro in conversation

Vistamare first opened its doors in Pescara in 2001, headed by Benedetta Spalletti. Despite being in a “peripheral” location, over the years the gallery has earned itself the fame of being one of the most active research spaces in Italy, putting together a series of solo shows by artists from various generations and backgrounds: Getulio Alviani, Giovanni Anselmo, Pedro Barateiro, Rosa Barba, Pavel Buchler, Mimmo Jodice, Joseph Kosuth, Armin Linke, Louise Nevelson, Mai-Thu Perret, Ettore Spalletti and Haim Steinbach, to name but a few. Therefore, the announcement of the opening of a second gallery venue in Milan—Vistamarestudio—came as no surprise, and this time in collaboration with Lodovica Busiri Vici. For the opening show, the two gallerists decided to present a project that in a subtle manner takes possession of the gallery space, highlighting its volumes through a rarefied exhibition built on the very immateriality of light. The apparently empty spaces of Vistamarestudio thus host the light projections that make up Ghosts and UFOs: Projections for Well-Lit Spaces: a solo show by Tom Friedman (previously featured in Milan in a solo curated by Germano Celant in the Fondazione Prada venue in 2002) who for more than twenty years has worked on a witty Pop-conceptualist parody of Minimalism, process art and modernist reflexivity. On the occasion of the opening chapter of this new project, we posed a few questions to Friedman himself.

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