NEWS. “IL SEGNO OPPOSTO” l’arte femminile ed il femminile nell’arte di Selene Bozzato | “The Opposite Sign” Feminine Art And The Feminine In Selene Bozzato’s Art

PAINTING EXHIBITION

Courtesy Image by Selene Bozzato | Il Segno Opposto. L’arte femminile e il femminile nell’arte.

From 06/03/2022 To 20/03/2022
Villa Pisani – Riviera G. B. Belzoni 22, Monselice
Free entrance
Reinforced Green Pass required
In collaboration with the Municipality of Monselice, the Department of Culture and Villa Pisani

Free entrance.

Find out what we think about this exhibition >> IL SEGNO OPPOSTO. L’arte femminile e il femminile nell’arte |The Opposite Sign. Feminine Art And The Feminine In Selene Bozzato’s Art


INTRO BY SELENE BOZZATO

The exhibition is spread across three rooms, in one of which I have decided to pay tribute to four female artists and describe them with my sensitivity.
With my works I will talk about Camille Claudel, Jeanne Hébuterne, Dora Maar and Niki de Saint Phalle.

Three of them had to surrender to patriarchy and machismo, while the last one used that pain and abuse to make her art explode, in the true sense of the word.

The artists’ common thread is “madness”, for which they were condemned and paid with their art.
This common thread also brings us back to the objective promoted by the association Punto Virgola Lo scrigno (Semicolon – The casket) of which I am a co-founder: the association aims to raise awareness and support for mood disorders mental illnesses.

The other two rooms will narrate my research on femininity and its expression in art and the everyday world.

In collaboration with Comune di Monselice, Assessorato alla cultura and Villa Pisani.

Free entrance.


TELLING THE STORY OF WOMEN

A journey of love and art by Selene Bozzato and Emanuela Mazzotti Biondani

Telling the story of women through art in all its expressions: from theatre to poetry and painting, a journey that unfolds through the inner gaze of a woman who knows the silent and dark sorrow of loneliness that finally finds expression in the gesture of tracing the sign, modeling the color. 
Selene Bozzato loves to combine painting with theatre and writing; author of a book on psychological discomfort, La luna nel bosco (The Moon in the Woods), from which she adapted a play, she is co-founder of the Punto e virgola – Lo scrigno (Point and Comma – The Casket) association. This exhibition, held in the beautiful frescoed rooms of Villa Pisani, entitled “Il segno opposto” (The opposite sign), promoted by the Culture Department of the Municipality of Monselice, provides an opportunity to take stock of her work after a commitment that has now lasted almost twenty years.

Courtesy Image by Selene Bozzato | Il Segno Opposto. L’arte femminile e il femminile nell’arte.
Maddalena.
Tecnica mista su tela. 50×50
Selene Bozzato

Twenty-seven works in charcoal, oils on canvas, and mixed techniques with women as their protagonists. Women in art and women’s art, or rather the female figures who are silent and often too secluded protagonists of all-male art, as a “thing for men”. Tracing the biographies and artistic history of some of them is a tribute to great female figures, at the same time a refined interpretative reading of their personal history and the fate they shared. An instantaneous empathy is established between us and them, who speak the same language of silent yet unequivocal signs, lost as we all are in the meanders of a separate and fragmentary life, unchangeable in the same solitude.

Rusalka

dedicated to Jeanne Hebouterne

Looking at them like this, one after the other, these works speak of melancholy, of wounds of the soul but also of rebirth and above all redemption. One of the paintings stands out in particular: Rusalka, dedicated to Jeanne Hebouterne, the companion of the great Modì, who committed suicide when she was very young. The girl floats in the water as if she were a goddess, her body supple and her eyes closed, abandoned. Rusalka is a wave, an ancient myth that enchants and fascinates, but as in Klimt’s “Ondine” it tells of the impossibility of belonging to a man. Pure nature of water and light, Rusalka belongs to the lake and to the night and will remain here forever. The words of Ada Merini, the great contemporary poet, come to mind. She fears loneliness more than any other evil, as Selene’s own words define it: “an acid that corrodes, nothing more to say, nothing more to tell“.

tarlo

dedicated to dora maar

The background is constructed with intense yellow and black brushstrokes: “Tarlo” is a whirlwind of color in the foreground and the sudden appearance of a face, eyes erased by dint of scratches, without identity. No one knows this woman’s inner fear, her fear of looking and being looked at. Everything has been taken from her. It is a metaphor for forced abandonment, loss of self, and artistic inspiration. It tells of the impossibility of giving art a voice if the artist is emptied, impoverished. Dora Maar, to whom this painting is dedicated, is an example of this “suffering” of art when desire is extinguished and the creative force is muted. 
The creative force is often mistaken for madness, and many, especially women, have been subjected to terrible segregation without understanding their extraordinary artistic innovation and dedication to creative work.

refer to camille claudel

The body is often the site of art. This truth has only been appreciated in relatively recent times with body art or the performances of well-known artists such as Marina Abramovic. The body and its temptations and frustrations: “Hell is overburned” or “Who will remember your name?” show the flame that burns inside the mind, that illuminates and consumes. Against a dark red background, marked by black brushstrokes that cut out the nude, the female figure is caught in a gesture of desperation. Selene immortalizes a strong and fragile woman at the same time, aware of her tragic destiny translated into a sign that “cuts” the space like a knife and freezes it in a still image. It is easy to glimpse in this almost sculptural painting of human, feminine sensibility that recalls the story of the sculptress Camille Claudel, the pupil of the great Rodin, considered by his master as the “genius of France” and then brutally locked up by her family in an asylum for a question of misunderstood “social convenience”.

The demonstration that art can be a means of salvation and redemption from one’s own pain, and a tool for changing the profile of history, finds reason in works where the female protagonist, portrayed in profile or three-quarter view, occupies space as if suspended, hovering in the air with her profile facing upwards or in full light. These subjects speak of a new equilibrium achieved by the artist, both in form and content, opening the door to an awareness of herself and of art as a spokesperson for the misunderstood and alienating realities that invade the female universe. These works represent a step forward in recognizing a hypothesis of possible happiness: “Selene’s skies“, “In the light” thus become the point of arrival of a personal and recognizable style.

lilith

dedicated to niki de saint phalle

It is no coincidence that Selene’s admired artists include the effervescent Niki de Saint Phalle, who was able to transform her weakness into strength, sublimating the pain of her terrible childhood into creative energy against the tide. Using art as a sort of picklock, the French artist shook the international art of the 1960s out of its “old-fashionedness” and academic rules, devoting herself to free self-expression with instruments and means that were unusual for the art of the time. “Lilith” is the symbol of a visionary woman who is free from conventional schemes, far from the roles traditionally imposed on her. Her long, fiery red hair frames the face of the figure who stands like a statue dominating space. Her gaze is sure, no uncertainty or second thoughts, a red circle encloses the tempting snake: a magical circle is a perfect form and at the same time the place of action of the “witch” who unites the mystical and the carnal. 
The negative sign cemented in ancestral rules of Lilith as a demonic being takes on a positive value as an explosive sign of redemption and freedom to exist. The artistic freedom was finally won by Selene.

Critical comment by Emanuela Mazzotti Biondani.

Free entrance.


Courtesy Image by Selene Bozzato | Il Segno Opposto. L’arte femminile e il femminile nell’arte.
Rusalka. 2022
Tecnica mista su su tela 130×80
Selene Bozzato

WHEN?

From 06 To 20 March, 2022
OPENING HOURS
Monday – Tuesday – Thursday: 9.00 – 14.00
Wednesday and Friday: 9.00 – 17.00

Official opening on March 6 at 16.00. With the artist’s presence.
You’ll also have the possibility to attend a guided tour.

Free entrance.


WHERE?

Villa Pisani – Riviera Giovanni Battista Belzoni 22, 35043 Monselice PD

Free entrance.

ANTI COVID-19 measures

Anti-Covid-19 measures will be taken and all national and regional regulations in force at the time of the event will apply.
A strengthened Green Pass is required to enter the exhibition halls and visit the exhibition.

Ingresso gratuito.


HOW TO CONTACT THE CURATOR?

An instantaneous empathy is established between us and them, who speak the same language of silent but unequivocal signs, lost as we all are in the meanders of a separate and fragmentary life, unchanging in the same solitude.

IL SEGNO OPPOSTO l’arte femminile e il femminile nell’arte |
Critical comment by di Emanuela Mazzotti Biondani.

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Find out what we think about this exhibition >> IL SEGNO OPPOSTO. L’arte femminile e il femminile nell’arte |The Opposite Sign. Feminine Art And The Feminine In Selene Bozzato’s Art

Graphic Project by Michele Ricciardi

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