In his solo exhibition in Milan, entitled Then, Oh Then, Oh Then, Dominic Michel delves into the themes of adaptation and reinterpretation of urban spaces.

With his works he explores the aesthetic and symbolic aspects of industrial machinery, factories and urban landscapes and searches for traces of these social, economic and spatial changes in the topographies that surround us. In this sense, the Swiss Centre, opened in 1952 by the Swiss architect Armin Meili and which today houses the exhibition spaces of the Swiss Institute, is the ideal place to present Dominic Michel's new works developed specifically for the exhibition. Through the use of different materials and techniques, the artist often imitates the mechanical nature of industrial processes, offering a multifaceted exploration of this transformative force.

In the exhibition space, which is over six meters high, the artist presents the installation Charm, chains of spherical objects in translucent plastic illuminated by fairy lights, in which he employs an industrial process called thermoforming, commonly used for the mass production of PVC objects, such as yoghurt pots. In the serigraphs entitled Locomotives, Dominic Michel deconstructs and reassembles images of locomotives in layers, giving life to abstract and symbolic interpretations. Even the exhibition's title, borrowed from a poem by Scottish director and author Margaret Tait, Then, Oh Then, Oh Then, evokes a sense of intermittency, repetition or the rhythmic breathing of a locomotive.

Dominic Michel's work fuses traditional materials with digital elements, creating a dynamic interplay between the tangible and the virtual, inviting viewers to contemplate the nuances of modern and contemporary consumer culture and its imprints on urban spaces.

Curated by Gioia Dal Molin.