14 December 2016 - 4 February 2017




14 December 2016 - 4 February 2017

Opening: Wednesday 14 December, from 7 pm
The artist will be present


RIBOT gallery
Via Enrico Nöe 23 – Milan


from Tuesday to Friday / from 3 p.m. to 7.30 p.m.
Saturday from 11.30 a.m. to 6.30 p.m.

Also by appointment


RIBOT is pleased to present a solo show by Lorenza Boisi (Milan, 1972): a selection of recent works, oils on canvas and ceramic sculptures, made by the artist specifically for the exhibition.


The title, “Maybe there is a beast… Maybe it’s only us” alludes to a crucial moment in the famous novel by William Golding The Lord of the Flies. In Simon’s remark, the prophesy of Shim’on (he who listens), the shy, inspired, soothsaying boy tries to give both a logical explanation and an interpretation of the possible existence of the “beast” that menaces the survival of the group.


A beast that might exist or not… that could be within the boys themselves: the projection of their dark side, a physical or imaginary embodiment of their fears, their ancestral need to reify the Unknown, and their Loneliness. Times being what they are, Lorenza Boisi hints at a world that is the very home and body of Apprehension. A personal, extensive, social and historical apprehension that is metaphorically close to Golding’s novel. 


The paintings on show tell of the almost sociological possibilities of one or more existential figures, the artist’s alter egos, and narrate, through the use of synecdoche, her universe and its incurable partiality, its subjectivity and, by extension, much more.


The ceramics, sculptures, and installations contain an aesthetic reference to her questioning of the media, of known techniques that the artist keeps her distance from, and the works generate a small segment of life, an indistinct place, by attributing a historical meaning to that vague territory that is tale-spinning memory.


A place of abandonment and desertions, of transits as adolescence. A place of mystification and of undecipherable moral qualities in face of the arrival of irrationality. A generic and/or highly personal place/time where there remains the mystery of the precise nature of narrative aims and dynamics.

Precisely here where the Beast is to be found or not to be found or We, above all, are the Beast.

Harrison Pearce



curated by Edoardo Monti


29 September – 6 November 2021



curated by Edoardo Monti



29 September – 6 November 2021


Opening Wednesday 29 September from 2pm to 9pm


The artist will be present.


Opening hours: from Tuesday to Friday / from 3 to 7.30pm

Saturday from 11.30 a.m. to 6.30 p.m.

Also by appointment

RIBOT is pleased to present Absolute Pressure, curated by Edoardo Monti, the first solo show in Italy of the English artist Harrison Pearce (London, 1986, lives and works in London); with a selection of new works created on the occasion of the exhibition.

Harrison Pearce's artistic practice stems from a personal event: a diagnosis, which took place following various tests, which revealed a brain anomaly.
From this moment the brain, understood as an organ but also as a primordial form, becomes inspiration and starting point for his work. It is a subject to be replicated and investigated, both through drawings and paintings, and through kinetic works: from the simplest to the most complex, and in carefully arranged installations that are almost theatrical.

On show, on the ground floor of the gallery, two kinetic sculptures titled Respite 2 and 3 are displayed in dialogue with the canvases on the walls. The former are works composed of mechanical systems of pistons that strike and modify a silicone shape with features similar to those of the brain. These works investigate aspects that have to do with many disciplines and concepts: medicine, science fiction, philosophy and processes of industrial automation. While the paintings, peculiar in their combination of the classicism of oil on canvas with the representation of forms that recall technological devices, show the development of this research on a two-dimensional surface.

The exhibition continues on the lower floor where the artist has installed Manifold, one of the largest and most complex installations he has ever made, which combines three kinetic sculptures with a symphony, an audio track that determines and “directs” the mechanical—but almost humanoid— movements made by pistons. It is a very suggestive mise en scène, which generates and encourages an emotional response in the viewer, demonstrating Pearce’s capacity to poetically combine opposite principles such as rationality and irrationality, interiority and appearance, humanity and machine.

The exhibition is completed by the Special Project, created ad hoc: an edition of small sculptures in two different versions that refer to the forms explored on a larger scale, and that are activated thanks to human intervention.

Harrison Pearce (London, 1986, lives and works in London). He studied at the City & Guilds of London Art School, Birkbeck, University of London, and the Winchester School of Art. His works have been exhibited in solo and group exhibitions at: Schlossmuseum, Linz, 2020; Baert Gallery, Los Angeles, 2019; Royal Society of Sculptors, London, 2018; The Lightbox Museum, Woking, 2018; Thames-Side Studios, London, 2018. He has also taken part in several residencies: Palazzo Monti, Brescia, 2019; Studio Block M74, Mexico City, 2019; Dulwich College, London, 2017; The Koppel Project Hive, London, 2017; Unit 1 Gallery | Workshop, London, 2017. Prizes include: Young Contemporary Talent Purchase Prize, 2017; Royal British Society of Sculptors Bursary Award, 2017; City and Guilds of London Art School - Prize for Outstanding MA Show, 2016.

Harrison Pearce, Manifold, 2021

silicone, aluminium, steel, pneumatic control system, audio equipment, variable dimensions