ARTVERONA, VERONA 2017
pavillion 12, booth H11-G12
Rudy Cremonini, Aron Demetz, Charlotte Denamur, Julia Frank, Sabine Leclercq
Entrance: Re Teodorico
Viale dell'Industria, Parcheggio P7, Verona Fiere, Verona
VIP Preview, Friday, 13.10 2017 - 11 to 14 (ask for tickets)
Friday, 13.10.2017 from 14 to 19.30
Saturday and Sunday, 15.10.2017 from 11 to 19.30
Monday, 16.10.2017 from 10 to 14
Aron Demetz (born 1972 in Italy)
Aron Demetz is well-known internationally for his resin and carbonised works. But always keen to experiment with new forms and materials, at this show he presents a small sculpture in marble whose body merges with a cast of his own hand. Demetz is constantly concerned with surface, which he subjects to gashes and manipulations. It is this approach that, according to Peter Wiermair, allows him to achieve an expressive quality redolent of the motifs of the medieval apocalyptic tradition. Günther Oberhollenzer
Rudy Cremonini (born 1981 in Italy)
Rudy Cremonini is a vertical painter.Vertical painters are painters who are on close terms with gravity because they expose themselves to a limit that only a force of nature can overcome. Since Apelles depicted a horse frothing at the mouth, painting has been avid for natural forces and decisive animal gestures. Thus, Cremonini seems to think, if petals cannot paint themselves, at least the stem should be generated by a precise, spontaneous force. Hence, as soon as the pigment wears thin, the stems of his flowers, the legs of his flamingos and the branches of his willow trees push downwards to interrupt a flow, that may be either lazy or very fast.Before Cremonini, Cy Twombly too was a vertical painter, conscious of weight and capable of dulling informal gesture with less violent falling, later filtered by Mario Schifano and reduced to a stutter in the teardrops of the milky white veil painted by Gino De Dominicis in 1988.Insofar as it risks killing it and transforming it into pure effect, gravity is a highly dangerous force in painting too. We have learned how captivating the non-finite can be, how easy it is to seduce the eye with drops and splashes and spots. One of the greatest efforts in painting is to act in a state of necessity, while still maintaining control; only through this kind of discipline can imperfections turn into capital. Cremonini is aware of the dangers of standing on this cusp: in this balancing act what falls is the painting, never the painter. Nicola Samorì
Julia Frank (born 1988 in Italy)
Julia Frank graduated in sculpture at the Academy of Arts in Carrara in 2012 and was awarded a prize by the German-Italian Institute for her ONE&ONE project, created in New York and exhibited simultaneously in Bolzano. From 2013 to 2015 she attended a Masters course at the Royal College of Art in London. Her work observes, investigates, and disrupts the social events that take place in public or private places. This confrontation with her environment takes place through an assessment of its cultural, ecological, and urban meaning, which is often converted into time and site specific works. The artist calls into question the mechanisms that move our social systems and asks how aware are we of them really? Experimenting with various media, her work focuses on the issues of development and change. She restyles and reinterprets items from the collective imagination in a renewed and radical format. The roots of Julia Frank’s works are buried deep in popular culture, and pose questions that invite the viewer to identify with or express their opinions for or against this shared space.
Sabine Leclercq was born in 1989 and lives and works in Lyon. Her artistic approach is sculptural and her objects characterized by vibrant colours and fanciful forms. At the centre of the artist's research is always the human, or rather, female form, which she makes out of various pieces arranged into complex assemblages and compositions. Her approach to the image of the body is a symbolic one, and she translates her experiences, memories, and encounters with people and situations into her sculptural works in a sensitive and powerful way. This way of dealing with configurations of material, colour and form is an artistic strategy with deeply playful, anarchic, and also provocative features. The body compositions, in their simultaneously disconcerting and alluring ambience, recall animistic figures which seem to almost acquire a life of their own. Sabine Leclercq addresses the theme of fragmentation of the female body, broached time and again by female artists since the 60s, in a fresh and unbiased way, allowing her figures a playful ease.
Charlotte Denamur, born in 1988, lives and works in Lyon. She produces large format paintings on fabric, which she installs in the space. Through her process she gives thought to issues of recycling, using primarily found and secondhand materials such as bed linen, towels and fabric scraps. Charlotte Denamur also commits herself to the female body, which she represents symbolically on her canvasses. Not in classical painting style, but rather by cutting out and rearranging pieces of the fabric to resemble stencil figures. Also through the materiality of the paint, which the artist pours in a ritual gesture over the fabric spread out on the floor, she succeeds in achieving a sensuous physicality. As the liquid dries, flecks of paint remain encrusted on the surface, lending the works a heaviness and haptic quality. Light plays a significant part in this process, and this is also addressed in the titles of the works. The object-paintings are positioned in a way that they occupy large parts of the room, strung from the ceiling, spanning partition walls or spread expansively on the floor. The combined works of these two artists reveal the evolution of a fresh and open-minded approach to age-old themes of the female form in fine art.