Discover Matylda Krzykowski’s show, Marsèll Paradise Milan


‘You don’t want space; you want to fill it’: Milan exhibition

Debuting during Milan Design Week 2022 at Marsèll Paradise, a new exhibition by Matylda Krzykowski explores how we approach the space we live in (until July 15, 2022)

A large blue-toned sign, resembling a giant cartoon bubble straight out of a comic strip, welcomed visitors via Privata Rezia 2, where a thin neon sign prefigures Marsèll Paradise, the brand’s multidisciplinary Milanese space of Venetian shoes Marsèll. During Milan Design Week 2022, the brand unveiled Matylda Krzykowski’s latest site-specific project (to be discovered at Marsèll Paradise until July 15, 2022).

Matylda Krzykowski at Marsèll Paradise

Installation view of ‘Alcôve’ by Matylda Krzykowski, with artwork by Miriam Wierzchoslawska

Born in Poland but raised in Germany, the artist teaches, plans, designs and writes about physical and digital space.

His most recent project, an investigation into the perception of space in contemporary culture, is also the first to occupy the entire surface of Marsèll Paradise: “You don’t want space; you want to fill it’, is an exhibition, an installation and a social space.

Installation view of ‘Bedroom’ by Matylda Krzykowski

Careful planning seems to call into question, or at least challenge, the precise method of displaying the Milan Design Days. According to the exhibition guide, works by contemporary and transdisciplinary artists, designers, performers and musicians who oscillate between the visual and the performative, the natural and the artificial, the human and the animal, touch and sound are included. Phillip Schueller, Collo Awata & Delfiné, Lisa Ertel & Jannis Zell, and Mirka Laura Severa, with help from Miriam Wierzchoslawska, are involved.

As soon as you enter, a sort of piñata filled with confetti in the shape of a work by Dalí awaits you on the right, suspended from a blue rope – the color blue dominating the whole environment. A painted pigeon peeks over a trompe l’oeil bookcase, long hands with raised fingers roam the rooms, stacks of blue pizza boxes lined with the exhibition title appear in angles, and a neon and transparent curtain reproduces a lobster and a cloakroom at the same time.

Installation view of ‘Dancefloor and Changing Room’ by Matylda Krzykowski with works by Collo Awata & Delfiné and Philipp Schueller

Some furniture comes directly from Krzykowski’s house. A young girl sits on a blue bench at the side of a room called “Alcove,” surrounded by organically shaped spikes in gray, beige, and black, looking at the plans for the exhibit. Two friends take a selfie in front of a pair of cartoon eyes. A video by Mirka Laura Severa is topped with a cartoon speech bubble that reads: ‘There is an audience’s voyeuristic desire to enter people’s homes and living rooms.’ A loft hosts a large blue upholstered bed resting on a green floor, surrounded by stacks of books and magazines – a copy of Liliana Barchiesi’s photography book Give è bello is left open, next to the imprint of a body on the bedspread, indicating the last visitor.

Installation view of ‘Cabin’, featuring artwork by Lisa Ertel and Jannis Zell

Downstairs, in the space usually reserved for exhibitions, the scenography changes radically; a yellow light dominates everything, and the only link to the upper floor is a blue comic that says: “Do you want to live in a tree, or behind a window across the street?” Lisa Ertel and Jannis Zell, designers and artists, seem to have collected non-human artifacts, or biofacts, during their recurring walks through urban and rural landscapes, and brought them back to their studio to create a growing Wunderkammer, mixing collected memories and raw materials. materials with the interior of the workshop, questioning our habitat. ‘Defensive Shelf’ is a spiked metal shelf that accommodates wood and flowers in one corner. ‘Beaver and its Shadow’ is a reproduction of an orange fruit resting on a trunk section.

‘Can I touch it?’ a young man whispers to his girlfriend, as she cautiously sits on a large, dark sofa that seems carved out of stone. It turns out to be soft and comfortable: “I’m not sure,” she replies. “Nothing here is as it appears.” §

Installation view of ‘Cave’, featuring artwork by Philipp Schueller


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