La galleria Il Gabbiano 1968 - 2018
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Giosetta Fioroni works from 1960s to 2000sJust a few weeks away from her 90th birthday, the exhibition pays homage to Giosetta Fioroni, one of the most important Italian artists of the second half of the 20th century, by means of a project which retraces her substantial career: from the ‘60s experiences linked to the Scuola di Piazza del Popolo, up to the present day.
Giosetta Fioroni was born in Rome in 1932. Hers was a family of artists: her mother was a puppeteer and her father a sculptor, while her grandfather had connections with various poets, including Vincenzo Cardarelli. She was admitted to the Fine Arts Academy of Rome, where she studied under Toti Scaloja, and her first paintings were shown at the 1955 Quadriennale. In this period her works were created with industrial paints, aluminium and gold, and they featured signs, writing, symbols and common objects such as hearts, lamps and watches/clocks. The following year she began to work as costume designer for the TV and hung out at the Caffé Rosati, taking part in the Scuola di Piazza del Popolo with Tano Festa, Mario Schifano, Franco Angeli and other artists such as Cesare Tacchi, Jannis Kounellis, Mario Ceroli, Mimmo Rotella and Umberto Bignardi. From 1958 to 1962, Fioroni lived in Paris, and when she returned to Rome she began work on the cycle of the Argenti. Giosetta Fioroni’s Argenti are paintings created by projecting photos onto canvases, and then tracing their outlines with industrial colours, particularly silver, hence the name of the cycles. In these paintings Fioroni represents various subjects, including numerous women. In the ‘60s she frequented the artistic environment of the galleries La Salita and La Tartaruga of Rome. Here she got to know Willem De Kooning, Robert Rauschenberg and Cy Twombly. In 1964, she met the Venetian writer Goffredo Parise, with whom she began a long relationship which particularly influenced her artistic style. Like Tano Festa, Giosetta Fioroni also reworks images from art history, particularly Botticelli, Carpaccio and Martini, extrapolating a detail from an image. An example of this is the work Liberty, of which she made several versions. In those years Fioroni’s paintings had a Pop Art style which reflected the dictates of American Pop Art, but she did not paint the typical themes of this movement. Her work in fact concentrated on the analysis of the feelings common to all human beings. In 1968 she created the performance La Spia Ottica (The Optical Peephole) and the following year the Teatrini (Puppet theatres), little wooden boxes which contained a series of miniature objects conceived as toys for adults. In this period she collaborated with writers and poets to create books and graphic works, and she also made films in 16mm and Super8. In the ‘70s Giosetta Fioroni moved to the Veneto region to live with her partner, Goffredo Parise. Here she created a large cycle of country wrecks, later mounted in collages and drawings, but above all she dedicated herself to the reading of Frazer’s Golden Bough and Propp’s The historical roots of the fairytale. These two books notably influenced her works. She began to paint elves, spirits and woods, which became the symbol of her reflection on human feelings. From this period come the cycles of the Spiriti Silvani, drawings in Indian ink, and Le Teche, wooden boxes in which the artist put found objects from the woods and countryside. In the same years she also created L’Atlante di medicina legale, a register of images of fatal accidents. For each photo the artist created a caption in which she recounted the causes of death (mainly autoeroticism, fetishism and murder). Between 1980 and 1986 Fioroni created a series of pastels inspired by the frescoes of Gian Domenico Tiepolo in Villa Valmarana in Vicenza. 1986 was the year of Parise’s death, a dramatic event which led Fioroni to rethink her style and devote more space to a personal artistic investigation. Thus she created richly colourful works with a textured effect; also cycles of watercolours, one of the most famous of which is the 2005 Movimenti Remoti, 16 drawings inspired by Parise’s book of the same name. In 1993 Giosetta Fioroni began to make pottery works which she exhibited in the cycles Case, Teatrini, Steli and Vestiti. The sculpture Giosetta con Giosetta a nove anni, a symbol of introspection and change, was made in 2002, and in the same year Fioroni collaborated with the photographer Marco Delogu on a project addressing the theme of old age, Senex. The two artists collaborated again in 2012 with a project dedicated to identity, L’Altra Ego. In 2009, Germano Celant dedicated a monograph to Giosetta Fioroni, and in 2013 homage was paid to her also by the Drawing Center of New York. The portrait of Marilyn Manson was done in 2008. It re-examines the theme of change originally interpreted in 2002. In 2014 Fioroni made a video for the Valentino brand, and in the same year she made the painting Ramo d’oro, exhibited in this solo show, inspired by Frazer’s book and which marks a return to the theme of fables. CREDITS Exhibition promoted by and produced by in collaboration with with the contribution of curated by critical text in the catalogue technical and scientific coordinator registrar design project press office CSArt Comunicazione per l'arte |
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October 8, 2022 / February 26, 2023 |
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Exhibition produced by
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Municipality of La Spezia |
and produced by |
CAMeC Centro Arte Moderna e Contemporanea |
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