The Fondazione Querini Stampalia and Krizia are pleased to announce the solo shows of Giovanni Anselmo Senza titolo, invisibile, le stelle si avvicinano di una spanna in più, oltremare appare verso Sud-Est, e la luce focalizza... and Elisabetta Di Maggio Almost Transparent Nature.
Curated by Chiara Bertola, the exhibitions will be held in the Fondazione Querini Stampalia spaces, respectively in the Area Scarpa and the museum spaces on the first floor, from 10 May to 24 September 2017, during the 57th Venice Biennale.
9 May at 11.30 a.m. official presentation of the projects, artists will be present.
Senza titolo, invisibile, le stelle si avvicinano di una spanna in più, oltremare appare verso Sud-Est, e la luce focalizza...
As is often the case with Giovanni Anselmo’s work, the long title is like a formula, almost a short story, which describes installations that could be considered landscapes to observe while “looking out of the window of our imagination”. His work is like a paradigm that is constantly being recreated and which orients itself differently every time it encounters a new space and dimension: in this case the Carlo Scarpa space at the Fondazione Querini Stampalia in Venice. Anselmo has envisaged a project for the Carlo Scarpa space inspired by the precision and essential rigour that the place itself suggested to him. For this exhibition the route he has created unwinds through four elements-works: one work for each space, to give direction and create a tension towards the exterior. It is a route of trajectories and directions, weights and energies which represent five moments in which a meaning is implied: the visitors become participants.
It is a work in progress because it is lived and lives through the viewer. The viewer also creates a new trajectory while walking through the exhibition.
Elisabetta Di Maggio
Almost Transparent Nature
Elisabetta Di Maggio has spent a lot of time in the Querini Stampalia space/museum to create her site-specific project. Almost Transparent Nature is spread throughout the museum space from the Portico – the place reserved to the public inside the Venetian palace – to the series of private rooms which lie beyond the entrance corridor. In the Museum Portego, the artist’s work invades the space and creates a relationship with past and present time, placing the viewer inside a visual alienation. In her work in the museum, Elisabetta Di Maggio wanted to enter the “secret” room behind the boudoir, just beyond the bedroom, and include this intimate and private space in her project. Elisabetta Di Maggio repeats the rite of life and its inexorable spread both in the large paper surfaces and in the fragile leaves.
As the artist says: “I have based my research on the concept of time inflected in all its forms, to the extent that I have made time itself the real substance of my work.” As always for the artist, the manual gesture is a fundamental part of the work itself, capable of conjoining an artisanal tradition, which has been passed down to us and which has contributed to rendering places unique, with a lengthy creation time, which is an essential and conceptual condition for her.