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Rossana
Picinin
Barbara Taboni
Resi
Girardello
Anna Luisa Dionello
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| Rossana
Picini
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T-shirt-and-blue-jeans
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Presenze-e-assenze
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There is a hint of the coherence of landscape
of exquisitely visual expression in a plastic
language, which is a consequence of research
economy. In that Picinin adopts a material that
is considered as close to the body vs consistency.
Wax this is, if we look closely a difficult
matter particularly due to its historical uses.
If, on the one hand, it leads us back to the
enlivening patinas of classic statues on the
other hand, it reminds of the memorial use (the
funeral mask) or macabre realism of anatomic
theatre.
Picinin makes use of this with knowledgeable
lightness.
The cast, which she uses for her three dimensional
inventions, serves the purpose of banging together
the most varied aspects of the female body:
from the infantile edges to the fullness of
maturity from the nervous flexing of the colored
girt, to the triumphal roundness of an expectant
mother through to the painful folding over on
itself.
The artist does not retire, even when faced
with the crudest antithesis, the harmonious
mother-son symbiosis during pregnancy contrasts
with the triple negation that anorexia causes:
of the mother the daughter and the identification
of the ill woman and her female spirit. Wax
is a truthful witness to all states and statuses,
of all events and happenings, of all possible
connections between primary pulses, which in
existential reality continually surpass each
other. Wax becomes the artist’s precious ally
even when it goes against the constituted order
that gives a hierarchy to things and their meanings,
as in the event of the installation T-shirt
aid blue leans, The which rolls and breasts
spill out from clothing, as in a Magritian work,
taking each other’s places To ask us, once again,
about the meaning of the body and the power
of fetishes.
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| Barbara
Taboni
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Pupette
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Crisalide
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In Barbara Taboni’s work there are various
elements that refer to the human body There
are plaster casts of parts of the body,
symbols of the unique nature of the individual:
for example, casts of feet, all different
and unique just as every individual is unique,
faithful reproductions on which even real
hairs taken from the subject have been applied
(“Standing Feet”, 2005, variable dimensions).
Then there is the manikin, like the ones
in shop windows, which is the exact opposite
of the plaster cast as it refers to an artificial
human body mass-produced and broken up,
a typical expression, according to the artist,
of the times we live in.
Barbara
Taboni’s visual language includes soft outlines,
with barely hinted human features, rather
like rag doll is that have been started
but not finished, which in their vagueness
aloud to immaturity to larval incompletion:
the artist calls them pupae, and explains:
“a pupa is a butterfly before it opens,
symbol of the soul which is the psyche...
Pupa
calls to rein the pupil which reflects everything
around us, the surroundings that give the
name to a doll, in French poupee”.
In
her recent works these symbols are in rewoven:
as in the perturbing semi-humanity that
emanates from the digital photo of two manikins
seen in a shop window with nocturnal lighting,
a camouflaged illusion of reality caused
by the fact that real bodies have become
more and more fake, altered by make-up,
by the surgeon’s scalpel, by digital touching-up
(“Pupae”, 2007); elsewhere (“Psyche”, 2007),
the mutilated and incomplete plaster manikin,
elongated by strong stylization and unreal
proportions, brings to the surface the values
once assumed by De Chirac and by Metaphysics.
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Girardello
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Butterfly
Collection
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Castles
in- the-sky
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The artist Resi Girardello conjugate the delicate
feminine technique of crochet hook with the
strength of a ductile and resistant material
as copper wires are, revealing the patience
and tenacity of a modern Penelope. The myth
is the plot, the warp the tai( the result is
an authoritative consciousness that spring from
“domestic devotions” that are no more domestic.
They are of the unexplored land of freed fantasy
For the psychoanalysis it is the matter of dream,
for the artist it is the matter of creation.
Valerie Mancini Real Girardello interprets the
sculpture with thin irony: wires of iron and
copper; metal plates compose improbable animals,
or they are patiently weaved to compose habits
to don’t be dressed.
Resi Girardello’s production of sculptures has
for typical elements the usage of metallic wires
or stitch and the irony: as the giant fetish—bra
“Grade” (2005), or in the bustier-tower “Decree”
(2006). The magnified dresses became ironical
monuments to the femininity in both operas.
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| Anna
Luisa Dionello
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I-wish-I-were
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video-still-de
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Anna Luisa Dionello is based in London. QinantIy
she makes video works which explore the concept
of loss as a regular presence in human being
life Ad! What man possesses is temporary Objects
fall apart or get lost, people pass away memories
vanish and life itself comes to an end. What
appears substantial/tangible and not ephemeral
to Anna Luisa 0/one/b is the sense of/ass
she perceives incessantly. In her Videos,
pathos flows through the conflict between
the need to regain what is lost and the frustration
of not achieving her art practice is focused
on this limit of man’s awareness. She is in
a way urged to make visible what she calls
“the art of surviving.” She was initially
inspired by the medium of video because of
the powerful and immediate connection it has
with her early morning visions. In fact, many
of her works comes straight from the intangible
territory that lies in between sleep and wake.
Tense moods, rising motions, obsessive gestures
are amplified by combining movement with sound.
These are purposely out of sync to highlight
disconnection between inner and outer time,
between drives and limits.
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ScalaMata
Gallery Ghetto Vecchio 1236 Cannaregio 30121 Venice, Italy
scalamata@gmail.com
Tel/fax: +39 041 5208997
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