Inauguration of the Fall exhibition by Marie Matusz, from 16 September at the Swiss Institute of Milan.

In her solo exhibition Fall (as 'Autumn' and 'Fall'), Marie Matusz presents a series of new works - sculptures and a video work - that are freely articulated around Samuel Beckett's series of poems Mirlitonnades, sometimes almost laconic rhymes , sometimes ironic, sometimes melancholy that the poet wrote on calendar pages, time margins or napkins in 1977.

Marie Matusz is not only interested in the linguistic potential of these rapid rhymes, but also in the moments of obscuration or estrangement that hide behind the word 'mirliton': in French, the term indicates simple and flat rhymes, but at the same time it refers also to a trumpet, an instrument that alienates the human voice on a stretched sheet. With Fall , the artist conceives a room-sized installation that incorporates aspects of rhythm, repetition, composition and distortion or, as Marie Matusz puts it, of the 'visual mask'.

As a spectator, I find myself in an open labyrinth of semi-transparent plexiglass display cases and mirrored surfaces. In an attempt to fully grasp the objects placed in the windows - the teeth of a shark or the rhizomatous mesh of a Victoria Amazonica from the botanical garden of Basel -, I am constantly faced with a reflection of myself.