From 05 To February 27 2022
Villa Caldogno – Via Zanella, 3 36030 Caldogno (VI)
Entrance fee: villa and bunker, temporary exhibitions 5€
Reinforced Green Pass required
Organized by Associazione VenetArt and Qu.Bi Gallery.
Recommended to: Lovers of contemporary art; Mythology enthusiasts; people that want to have an active reflection on the acknowledgment of the role of women in contemporary society.
February 17, 2022
The exhibition, inaugurated on February 04, will continue until February 27, 2022, in the basement of Villa Caldogno in Caldogno (VI). Etta Scotti’s solo exhibition is organized by Associazione VenetArt and Qu.Bi Gallery, under the patronage of the Region of Veneto and the Caldogno municipality.
The exhibition is hosted in Villa Caldogno, a Palladian villa located in the center of Caldogno, which often lends itself to events with an artistic and cultural purpose. In the basement, a recent restoration has brought back to life the ancient sixteenth-century system that channeled water for domestic use and the pre-existing late-medieval walls.
Etta Scotti, born in 1943 in Teramo, started painting at a young age and developed her strong artistic aptitude during her studies, first in Padova and then in Venice. In the 1970s, she began her career both as an artist and as a teacher, with awards, exhibitions, publications, research, and in-depth studies. In the same years, she conducted several pieces of research on popular cultures in Paris at the Musée de l’Homme, which were the starting point for her experiences related to mythical masks and heads for the puppet theatre.
In 1992 she organized the exhibition “Qui Vicenza” (here Vicenza). Why consume the world? Ten years of the Vicenza school for the environment inside the Palladian Basilica, coordinating the display of works by eight thousand pupils from primary and secondary schools. She created the sets and costumes for several dance performances held at the Basilica Palladiana and the Teatro Roma in Vicenza. In 1992 she founded A.R.C.A. (Artistic Cultural Research Association). She also dedicates herself to portrait scenes using a veiling technique, immortalizing, among others, theatre actors. She attended archaeology seminars in Tarquinia and Cerveteri, taking an active part in excavations and restorations. She has exhibited in numerous solo and group exhibitions in Italy and abroad (particularly in Sweden, Argentina, and Iraq). Her works have become part of several well-known private and public collections, such as the Magnani Collection, the Sacis RAI Collection, the Intercontinental Insurance Collection, and the Collection of the Italian Embassy in Stockholm.
ETTA SCOTTI. BEHIND THE MYTH: FEMININE FIGURES OF EARLIER TIMES IN TODAY was introduced by Professor Giovanna Grossato, during the opening evening, who gave an in-depth reflection on the female figures of mythology, correlating them with the figures that the artist has taken up in her works. Through the stories of these women’s experiences, we can see how they were confronted with the reality of the time in which they lived and the role assigned to them by their contemporary society. Through Etta Scotti‘s incisive painting, these ancient figures become archetypes reflected in a contemporary everyday life in which female emancipation and awareness of the fundamental role of women seem to have taken only a few steps forward along a still long path.
Etta Scotti’s artworks are inspired by mythical female figures that are reinterpreted through her artistic key. Some of her works have three-dimensional elements affixed to the frame or glued within the canvas that are meant to deepen the portrayed theme. The recurring colors in her works include shades of blue, pink, and red that are declined in contrast or tone-on-tone depending on the aspect of the actual myth that Etta has decided to immortalize. Another interesting feature of her works is the frames: the artist chose this to emphasize the figure or theme addressed, thus forming an integral part of her work and helping the visitors to immerse themselves in the situation portrayed.
The rooms in the basement of the Villa, thanks to their architectural conformation, increase the intimacy of the reflection that develops in the visitors as they enter the exhibition. The perception of the questions that take shape in the figures that animate Etta Scotti‘s paintings arouse a profound reaction in the person who has the opportunity to experience the exhibition. Through the portrayed eyes that are seemingly scrutinizing the viewer from their canvas, the viewer feels questioned not only in his or her knowledge of the actual myth handed down from distant times but also in the role that these stories still play within contemporary society. So much so that we can wonder whether or not we really had outgrown those ancient times when these stories were lived and set as examples.
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