Preview #3 in Milan

The third edition of the exhibition format Preview took place from the 3 to the 6 of April 2019, coinciding with miart.

Preview is the exhibition format presented by BeAdvisors Art Department in collaboration with Golab, where international galleries are invited to dialogue in an unconventional space having the opportunity to collaborate, share perspectives and visions.
Again, the location where Preview takes place is our office in Milan: a 16th century villa, hidden behind a building in Via Fatebenefratelli, where BeAdvisors and GoLab have been working closely together for years on projects related to the world of contemporary art and communication.

Preview#3 spotlights female artists presented by five international galleries:

  • Kresiah Mukwazhi (Zimbawe 1992) and Simphiwe Buthelezi (South Africa 1996) presented by Smac
  • Débora Delmar (Mexico 1986) presented by Gallleriapiù
  • Zilla Leutenegger (Switzerland 1968) presented by Peter Kilchmann
  • Alejandra Hernández (Colombia 1989) presented by Laveronica
  • Jodie Carey (UK 1981) presented by Edel Assanti

Furthermore, during the Collectors Night on April 5th, BeAdvisors and Artshell launched their partnership.

Artshell is a Milan-based company founded by a team of young collectors, developers and art world specialists aimed at contributing to the digitization of the art industry by promoting best practices for data and artwork archives for galleries, collectors, foundations, museums and art institutions.
BeAdvisors Art Department services will be available to Artshell clients directly through the Concierge section of the platform in order to offer professional art advisory assistance and a more valuable experience to all the users.

Did you lose the exhibition of Preview#3? Watch it virtually! Click on this link and see Artland‘s HD 3D mapping!


Kresiah Mukwazhi (Zimbawe 1992)
Through a careful selection of symbols and objects, there are striking similarities in the ways in which Mukwazhi composes her images and selects her media for her sculptural works. The fragmentation of the human form appears to be a common theme. In her photography, items of clothing or abandoned personal effects speak to a human body, no longer present; in her sculptural works, deconstructed undergarments encase human forms, covering the traditionally fragmented torsos of women’s fashion mannequins with their amputated head and arms, their disembodied legs with pointed toes. Her paintings are like a procession of shadows, suggestive human figures stitched into one another, swirling around each other, scant cutouts of the clothing they would normally wear (or remove).

Simphiwe Buthelezi (South Africa 1996)
Questioning patriarchal notions in relation to the female form, as well as how certain traditional practices reinforce the oppression of women, Simphiwe Buthelezi’s interdisciplinary work considers the dynamics of power through the use of subtle visual tropes. Her artistic practice is a manifestation of her ongoing interest in the endurance of the female form, sites of blackness, tradition and the gendered gaze in relation to family bonds – where, for the artist, melancholic fragility and passive aggressiveness subsist. Buthelezi’s work is instinctive, abstract and minimal – and seeks to express the dynamics of power through both aggression and passivity, focusing specifically on the untold narratives of African women.

Débora Delmar (Mexico 1986)
Débora Delmar’s work explores global consumer culture in the 21st century and corporate aspirational aesthetics impact on everyday life. Delmar frequently creates multi-sensory installations composed of appropriated and solely authored images and intervened everyday objects as well as fabricated sculptures. In her installations, she frequently utilises elements such as scent, sound, and online interventions. Delmar investigates consumer culture, capitalistic lifestyle, and aspirational aesthetic. She is particularly focused on class issues and globalization effects on daily lives, as well as cultural hegemony and gendered, racial and class images used in advertising.

Zilla Leutenegger (Switzerland 1968)
Zilla Leutenegger is foremost known for her signature drawing style, made up of clear, bold strokes and strong color accents. Dried trickles of acrylic paint tell the story of the drawing’s creation, and are often incorporated into the picture. The artist habitually works simultaneously in her various mediums. Therefore, the works on paper and video installation can often be read as single scenes or chapters of a larger whole. The combining element between the various works is often a person, an object, a chair or a library. From the Eames Bird chair to contemporary fashion by Lela Scherrer – design appears again and again in Zilla Leutenegger’s work. The artist celebrates single moments of every-day life, which develop an unexpected poetry when seen separately. Immediacy and spontaneity become apparent in every drawn line and projected plane with which the artist dissects a fictional life.

Alejandra Hernández (Colombia 1989)
From 2017 Alejandra Hernández is working between countries, travelling, researching and living in different contexts. The nomadic journey became a major interest in her practice which is mainly focused in human relationships, relations with the natural world, on the self as well as on  the others, this practice is enriched by getting to know different cultures, religions, traditions, art and crafts, which she often combines, depicting situations in otherworldly realms. On the other hand she has an ongoing project which consists  in painting live portraits of people she meets. This would be the more mundane branch of her work, rooted in experience and in being present with the other.

Jodie Carey (UK 1981)
Jodie Carey’s practice centers around ideas of time, memory and materiality. The focus is on a transitory, ephemeral and corporeal beauty, evoking notions of time passing, memories fading, absence and loss. Materials such as bone and ash become pigments that stain the and mark the works; traces of life simultaneously anonymous and intimate. Many of the substances Carey works with have strong associations with the body. Their presentation evidences a concern with how the human presence leaves a mark on its environment, and the etching of memories into the mind. The use of everyday detritus such as newspaper, coffee, soil and cigarette ash see the artist exploring the corporeal through the domestic and the fragility and vulnerability of human life.