...The theoretical premises of her working method, which has always been on the cusp of art and design, need to be related to the lively climate of post-radical rupture in relation to orthodox modernist functionalism as embodied by Alchimia from the late 1970s and intellectually very close to Alessandro Mendini: i.e. to an idea of design that restores ornamentation and profound (liberated) creativity to the very foundations of the project, viewed as a sentimental swirl of forms, colours and actions that place people and their atavistic needs at the focus of attention, even before the tangible ones...

Cristina Miglio, Inventario 06

In front of Anna Gili’s works, with their eeriness and amidst such blatant fun, one of the dreams of the bourgeois society disintegrates: the dream of the autonomous work of art.

The borgeois longing to exist somewhere in a still happy beyond, to be removed from humiliating life, still Otherness, precisely the artefact as an art and therefore an image opposed to the borgeoisie, and thus venerated by them out to be a dazzing ruin. Yet, as a hopeful now vanishes, as well as a critique of the bourgeoisie, according to which still warrants that bit of radical resistance and utopia still left amidst the everyday trauma.

With Anna Gili’s works – as with other works the new generation – as a result of the work of art is revealed as a vital falsehood in borgeois life, since here that such is eliminated with a barely conceivable blatancy. Because of the boundaries between free and applied arts, between what is serious and delightful, rational and emotional, between the act of viewing and of using now disappeared. So now everithing converges in a lively empiricism.

 

Prof. Michael Erloff, Anna Gili Mental Body book

...The theoretical premises of her working method, which has always been on the cusp of art and design, need to be related to the lively climate of post-radical rupture in relation to orthodox modernist functionalism as embodied by Alchimia from the late 1970s and intellectually very close to Alessandro Mendini: i.e. to an idea of design that restores ornamentation and profound (liberated) creativity to the very foundations of the project, viewed as a sentimental swirl of forms, colours and actions that place people and their atavistic needs at the focus of attention, even before the tangible ones...

Cristina Miglio, Inventario 06

In front of Anna Gili’s works, with their eeriness and amidst such blatant fun, one of the dreams of the bourgeois society disintegrates: the dream of the autonomous work of art.

The borgeois longing to exist somewhere in a still happy beyond, to be removed from humiliating life, still Otherness, precisely the artefact as an art and therefore an image opposed to the borgeoisie, and thus venerated by them out to be a dazzing ruin. Yet, as a hopeful now vanishes, as well as a critique of the bourgeoisie, according to which still warrants that bit of radical resistance and utopia still left amidst the everyday trauma.

With Anna Gili’s works – as with other works the new generation – as a result of the work of art is revealed as a vital falsehood in borgeois life, since here that such is eliminated with a barely conceivable blatancy. Because of the boundaries between free and applied arts, between what is serious and delightful, rational and emotional, between the act of viewing and of using now disappeared. So now everithing converges in a lively empiricism.

Prof. Michael Erloff, Anna Gili Mental Body book