ATP: Inaugurerà il 18 gennaio 2013 alla FaMa Gallery di Verona una mostra tutta la femminile con le artiste Paola Angelini, Elenia Depedro,  Sara Enrico,  Mariangela Levita,  Silvia Mariotti e Giusy Pirrotta. Perché la scelta di fare una mostra con sole donne?

Andrea Bruciati: La scelta di sole donne nasce dal fatto che volevo creare un cordone ombelicale con la storia della galleria e nello specifico con la giovane proprietaria Masha Facchini e un’artista con cui ha molta sintonia, Sissi. Mi sembrava un riconoscimento importante per il lavoro appassionante e lucido che entrambe stanno portando avanti da anni.  

ATP: Il titolo – Le figlie di Eva – è una citazione o una dichiarazione di intenti?

AB: E’ una dichiarazione di intenti: mi piace promuovere chi cerca di radicalizzare il proprio linguaggio e questa ascendenza biblica nel titolo la trovavo opportuna.

ATP: Hai colto nella loro pratica artistica dei punti di contatto sia  a livello espressivo che concettuale?

AB: Non c’è un comune denominatore concettuale o espressivo; anzi credo nella ricchezza dei linguaggi e nel proporre messaggi anche molto diversi negli enunciati formali. Credo altresì che tutte le artiste invitate abbiano un atteggiamento forte, generoso e consapevole del proprio operare e quello del coraggio intellettuale è sicuramente un punto che le accomuna.

ATP: Pensi che le artiste donne, soprattutto nel panorama italiano, siano penalizzate? Perché?

AB: Non credo che siano penalizzate più dei colleghi e non ho mai selezionato gli artisti per genere ma per qualità delle proposte.

ATP: A mio parere, invitare solo artiste corrobora l’idea che vadano protette, accudite e aiutate. Non sarebbe più proficuo lanciarla in stretta relazione con artisti, in modo tale che, se confronto ci deve essere, avvenga sullo stesso terreno e con gli stessi strumenti?

AB: Il confronto avviene comunque sullo stesso terreno e non è necessaria una guerra fra uomini e donne per avviare una discussione fertile, proprio nella sua problematicità. Il fatto di accudire, proteggere e promuovere è poi parte integrante del mio ruolo curatoriale e l’avrei fatto comunque a prescindere dal sesso degli invitati.

ATP: Hai scritto di recente che  “il sistema dell’arte, sempre più concentrato nell’assegnare premi e stilare classifiche, ratifica ciò che appartiene al sentimento del tempo piuttosto che metterlo in discussione.” Ci consigli un modo per non assecondare il ‘sistema’ ma renderlo effettivamente funzionale ai giovani talenti?

AB: Ritengo che un artista debba sempre essere rigoroso con se stesso e non debba mai dimenticare le motivazioni autentiche che l’hanno spinto ad intraprendere questa strada.

 

Giusy Pirrotta Reversed light, 2011 mixed media installation, diapositive medio formato, light box, dimensioni variabili

On Friday 18th January 2013 FaMa Gallery is opening the new exhibition curated by  Andrea   Bruciati ,   LE FIGLIE DI EVA   / EVE’S DAUGHTERS .  The protagonists are six young Italian female artists –  Paola Angelini ,   Elenia Depedro ,   Sara Enrico ,   Mariangela Levita ,   Silvia Mariotti ,   Giusy Pirrotta  – and the exhibition is articulated in some heterogeneous artistic practices, like painting, performance, photography, video and installation. The project is not intended to reawaken a vintage post-feminism, but to highlight the validity of a creative practice characterized by a sensoriality referable to the form, by the open variables in the language and by the expressive force of the medium used.

In today’s context – where also words are images and artists have arrived to a point of no return to postulate a new and different alphabet, free from emotive compromises – the project  LE FIGLIE DI EVA  / EVE’S DAUGHTERS – highlights and, at the same time, raises problems on some media practices like video, painting and performative practice, with new imaginative solutions suggested by the female artists of the project.

As the curator Andrea Bruciati underlines,  “the invited artists are not interested in capturing reality but they want to create it according to new reconstructive hypothesis. They are not interested in representing but in ‘presenting’ a language through mimetic modes adhering to the never-ending research of identity. Actually, as Louise Bourgeois used to say, ‘I do is an active state’, it is a positive affirmation, where you move forward, toward a goal, a wish or a desire. All the six artists want to discover a different syntax which may give voice to the details and body to the plot, intended as relationship, attention and existence. Every work of art is an exercise of sensitivity and it is not considered as a sign of loss but as a possible area to create an alternative dimension. Actually space does not exist and it is always a metaphor for the structure of our existence. Any solution suggested by the artists always leads to a plot mediated by personal experience – easy or terrible that it might be – apparently fragile but not inevitably cruel and authentic”.

 In  Paola Angelini’s approach (San Benedetto del Tronto, 1983) the use of painting makes it possible to give shape to her intimate experiences – the starting point of her work. Moving from the observation of photographs, the artist calls into question their deceptive power to represent objects and she regains possession of reality thanks to a process of subtraction so that, through painting and drawing, the real essence of reality is grasped.

Sara Enrico’s research (Torino, 1979) moves from painting too, and in particular from canvas and oil colours – basic terms for this practice – to experiment with a new reading of the surrounding reality. Her canvas – painted, covered, cut, but also transformed into sculpture – are evidence of an artistic practice that moves forward through intuition and that – far from aiming at representing the real – follows an aesthetic research in constant evolution.

 Though in a different way, also  Elenia Depedro’s work (Breno, 1976) develops around a radical redefinition of reality. Her artistic practice – based on performance but also on other different languages, like painting, photograhy and video – meets the need to give shape to the invisible side of world. The performative act – immaterial, unique and unrepeatable – is for Depedro the authentic artistic gesture and it can create an exchange of ideas and energy with the public.

Silvia Mariotti’s photographs (Fano, 1980) often depict a bleak and desolate reality. Foggy landscapes and silent ruins – which seem to have lost any human trace but actually hide unknown stories – men and women unnaturally static and motionless, apparently unrelated to the surrounding context. Mariotti’s work seem to disclose a sort of deception, describing – through images – reality as it is and putting the viewer in front of the truth of an artificial and precarious world that seem to belong to distant truths.

In a sort of similar way,   Giusy Pirrotta (Reggio Calabria, 1982) starts – for the creation of her video works – from the study of the representation codes and from the manipulation of images to investigate their ephemeral nature. In her works, the structure of the moving images is studied and created in relation to the exhibition space, thus giving life to films and videos – often obtained with multi-channel installation – which aim at breaking up the absoluteness of what is represented. This is reached through the analysis of those elements which make up the images themselves, like light and film language.

Finally,   Mariangela Levita (Aversa, 1972) is well-known for her important public works, both in Italy and abroad – like the wall-paintings for the Palermo Pavilion at the Cardarelli Hospital and the installation for the Don Bosco Bridge, both in Naples. Painting is at the centre of her research and she moves toward a new definition of its role in contemporary society, calling into question painting itself and its linguistic codes. Starting from a comparison with tradition – more or less explicitly present in most of her works – the artist gives shape to a fascinating and complex universe of composition, made up of colours and geometrical patterns.