...The theoretical premises of her working method, which has always been on the cusp of art and design, needs to relate 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. The 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

Looking at Anna Gili’s work, with its eeriness and amidst such blatant fun, one of the dreams of the bourgeois society disintegrates: the dream of the autonomous work of art.

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

With Anna Gili’s work – as with other work of the new generation – the dream is shattered, the autonomy of the work of art is revealed as a sheer vital falsehood in bourgeoisie life, since here that tale is eliminated with a barely conceivable blatancy. Because the boundaries between free and applied arts, between what is serious and delightful, rational and emotional, between the act of viewing and of using have now disappeared. So now everything 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, needs to relate 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. The 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

Looking at Anna Gili’s work, with its eeriness and amidst such blatant fun, one of the dreams of the bourgeois society disintegrates: the dream of the autonomous work of art.

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

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

Prof. Michael Erloff, Anna Gili Mental Body book