Verónica Vázquez and Laura Renna at Marignana Arte, Venice
Verónica Vázquez “The Struggle for Raw”
Continuing to seek out and propose contemporary artists, Marignana Arte wishes to announce the first solo show in an Italian gallery devoted to Verónica Vázquez (Treinta y Tres, Uruguay, 1970). Its opening will be on 23 September 2017.
A sculptress to whom the international scene is paying a great deal of attention – we recall recent solo shows at the Zona Maco Mexico Contemporary Art Fair, Mexico, and the National Museum of Visual Arts (MNAV) in Montevideo, Uruguay, under the title “La naturaleza de las cosas”. Verónica Vázquez directs her research on found materials, such as iron, fabric, cardboard, paper, threads of varying thicknesses. Visual elements that with care and passion she interweaves, interrogates, and makes dialogue, doing and undoing their original forms until she obtains vibratile webs, welcoming installations, small or large theaters of a private, intimate story, stirred by recollections and secrets.
Matter and memory; muscular gesture and poetic lightness; violence of metal and patina of time; the fil rouge of all her enquiry – not only metaphorical but also “real” that often is used to sew her works – is a continuous, passionate challenge to the laws of Nature and Art, a struggle to keep the purity of things, materials, and truth of sculpture alive.
The exhibition, in addition to offering a sculpture tour of the highest esthetic value and deeply committed to empathy, is also an important opportunity for the public to approach the sculpture idioms of Central America.
In this sense Verónica Vázquez is the “spiritual daughter” of a vibrant art history that remains to be discovered by the Western public: in Uruguay she studied Drawing, Painting, Sculpture, Engraving, Ceramics, Weaving, and Tapestry, Art History. She frequented at length the Fundación Pablo Atchugarry, dialoguing with its founder, the sculptor Pablo Atchugarry, and other members of the South American scene, like Octavio Podesta, Henrique Broglia, and Miguel Angel Battegazzore; she attended Luis Robledo’s workshops at the “Casa de la Cultura” at Maldonado, and in Buenos Aires studied terracotta with Jorge Fernández Chiti. To these essential roots Verónica added her constant attention to sculptors such as Jorge Oteiza, Eduardo Chillida, Germán Cabrera, Richard Serra.
After Brazil, Turkey, and the USA, the arrival of her work in Venice at Marignana Arte in a rich solo show will be an important opportunity to discover a figure belonging to one of the most fascinating cultural geographies, steeped in passion and energy, purity and vigor.
at Marignana Arte, Venice
until 23 December 2017
Laura Renna “Between us”
Simultaneously with the inauguration of Verónica Vázquez’s first solo show in an Italian gallery, Marignana Arte launches the Project Room with Between us, offering to the research performed by Laura Renna (San Pietro in Vernotico, Brindisi, 1971. Lives and works in Modena) the honor of opening it to the public.
The project’s title, Between us, does not just describe Laura Renna’s creative process, but above all expresses what a Project Room means: entrusting the space to an artist, letting her dwell in it with her sensibility, arranging her work with the delicate care and unmistakable personality with which she lives in her own home and her own studio. Opening it to whoever will wish and know how to venture in it, inhabiting it in another time, in other ways.
Renna’s interdisciplinary and poetic research, endowed with a refined and at times excruciating elegance, explores the potentials of gesture and material: a delicately weightless doing and undoing that flows and lingers from one medium to another without ever yielding to an excess of form. At times steely, mysterious, obscure, her iconography ranges from the metallic foliage that becomes Shade #1, where the photographic memory of Nature lurks in a disenchanted space; it is echoed by two works, Queen Alexandra and Delphinium dubium. If visually they are photographs, they comprise a process of sculpture and composition of the poor material with this vegetal one that recalls old card games, made with a childish passion that does and undoes with a brazen wonder. Something mysterious and yet welcoming reverberates throughout the process that for Laura is often expressed in an overflowing efflorescence of images – sought, sewn, finally heaped one upon another in a fantasy of experiences. This is so in the stainless steel wool Trifolium that echoes an Arte Povera nature, alchemical, adamantine, and bewitching in which Man remains entangled, in a metamorphosis of grace and grief, amazement and fate. This is so in the anonymous faces that Laura frames with the benevolence of a woman of olden times. In this love that is both a manual recovery and a fertile rebirth of things, the dialogue with Verónica Vázquez is compelling and astonishing.
at Marignana Arte, Venice
until 28 October 2017