Jardino is glad to host “Rhapsody in Gold”, Michelle Gagliano’s first solo show in Milan curated by Julia Rajacic.

New York City, Aeolian Hall on a snowy Thursday afternoon of 12th February 1924 : George Gershwin is about to perform for the first time “Rhapsody in Blue”, his jazz concerto that will later on become one of the most important American musical works of the 20th century. The 26-year-old composer is sitting in front of a packed audience gathering renowned composers, concert managers, vaudevillians, symphony and opera stars. Despite the stakes of this world premiere, Gerschwin decides to leave his piano solo unwritten and to let the inspiration of the moment guide his performance that would be mostly improvised. Thus, this iconic performance has remained a suspended and unique moment in time, and it is still unknown exactly how the original rhapsody sounded that afternoon…
Although improvisation is at the root of jazz music and gave birth to numerous famous standards, it remains a daunting practice for many musicians. For improvising requires a voluntary surrender of control, it can feel frightening. Jumping into improvisation is believing that the alchemy of freestyle can achieve something even better than when following a pre-established plan.

   “Rhapsody in Gold” is an exhibition that celebrates the role of improvisation within Michelle Gagliano’s practice. As a jazz performer, Gagliano deliberately invites on her canvas elements that she can’t really control. Fascinated by nature and it’s ever-changing shape the artist will often paint outdoors and invites natural events to interfere with her work. If a rain starts to fall, she will allow it to blend with the layer of paint she has just applied. If the wind starts to blow, she will let it modify the stream of her composition.
Moved by a profound respect to nature and a quest for coherence, the artist centers her whole artistic direction around an eco-friendly approach. This intentionality fueled her elimination of all toxic materials from her practice, while introducing ground pigments, oils and solvents based in nuts and lavender, and handmade gessoes instead. Through such ecological approach, she wishes to inspire a new generation of artists to create without polluting the environment that surrounds them.



Julia Rajacic

Art critic & curator