marina frattaroli is a brilliant intriguing and mysterious woman
marina frattaroli is a brilliant intriguing and mysterious woman who has always had a fine sense of humor. She is also a woman who knows how to make herself known. She has the sense of humor to play on the conventions of the room, and she knows how to take advantage of the fact that, while the space is bare, the walls are bare. The fact that the room is bare also suggests that the artist is trying to evade a certain kind of authority. That is one of the reasons that she makes a joke of them. It also suggests that she is trying to challenge some of the conventions of the room, and, by doing so, to shake off the authority of the formal rules that have dominated her work for the past twenty years. Her humor is made both witty and darkly humorous, suggesting a number of things that are probably not intended. There is the suggestion that the artist, as a performer, is concerned with the literal relationship between the spectator and the work. She is interested in the play of light on the spectator and in the distinction between the work of art and that of a joke. And then there is the suggestion that the work is also a joke. And she is also interested in the relationship between the spectator and the objects that she is shown with. Her object of focus is the room itself, and the space she inhabits is made up of objects that she often walks through. In the room, as in the street, the viewer is made to feel that she is part of the situation. In the work of art, the audience becomes part of the work and becomes the spectator to that audience. And the audience is made aware that there is a work of art that is being exhibited in the space and that its object is also a work of art. With the objects that she presents, the artist is also the audience. But then she also turns the audience around. It is as if she were the artist and the viewer were the viewer.
who always looks at the world in a fresh way. Even though she has an age of 78, she continues to develop her gifts and her personality.
marina frattaroli is a brilliant intriguing and mysterious woman . . . the most daring person in Italy today, an artist whose genius lies in her ability to redefine art within a complex network of relations and connections between the various cultural, political and social forces that define our times.Clement Greenberg and Leon Golub were prominent among the first to introduce new forms of modern art in Italy, and it is a pleasure to see the magnificent Ravels work in its new home, the Palazzina della Sorbonne, located in the beautiful garden of the Achenbach House. At the same time, a timely exhibition in the Palazzina delle Romana, Milan, of Clement Greenbergs speculations about the problem of identity in modern art, curated by his daughter Sonia, emphasized the continuity of the work of this crucial leader in a time when identity politics continues to play a role in politics today.At the Casa dArtista Spaziale (Sala de Artista Spaziale, or Self-Solid Art Gallery), the work of Franz Marc and Mira Schendel, among others, was presented in the exhibition Eternal Torment (All works 1993) and Eternal Torment (All Works 1993), respectively. Marc, who was born in Germany and died in 1991, was born in the south of France in the days of the Franco regime and participated in the formation of the faite regime. In the midst of the unrest that swept the country, he was arrested by the Gestapo and later sentenced to fifteen years in prison. Schendel, who lived through the worst of the conflicts in the region, had her first solo exhibition in Italy in 1977, and she continues to make objects and installations that reflect on the contradictions of being both political and artistic, according to the shows curator, Stefano Arienti.
marina frattaroli is a brilliant intriguing and mysterious woman who lives in Paris but lives in London. She can play the role of the guerilla artist, flicking through her notebooks and taking notes in her voice-over. The essay on her is a generous and lively text, but also a bit heavy-handed. I am trying to get past my own bias, but it wasnt easy.The downside to this approach is that it gives the impression that the texts and images are not in the same league as the artworks. The question is: what is the significance of the images in this world? There is a lot of vernacular in this show, but it is art. What is the connection between the vernaculars and the work of art? And what is the connection between the vernacular and the esthetics of modernism? The same questions that dogged, if not all-encompassing, the work of artist and critic Alan Curtis as well as that of curator Paul Dyer (whose own exhibition, which included paintings by Caro, Frankenthaler, and Léger, was also dominated by the vernacular) are raised here. How is it possible to explain to someone who is neither artist nor critic that the esthetics of modern art are often as ugly as the vernacular?The closest thing to a critique of the exhibition might be that, in an attempt to show how we can and should move past the vernacular and the esthetic, we should focus on the legacy of Abstract Expressionism. If, however, we follow the logic of the work of art, we have to recognize that the esthetic, though it can no longer be considered a trace of reality, still takes place within the history of art. And to suggest that we can move past all this is to say more about the legacy of art as an expression of a belief than about the work itself.
—a creature of the art world. Her work is a mixture of naturalism and technic, as in her drawings of insects or birds; it is also highly graphic, with its lines, grids, and patterns, as in her drawings of carbon, for example. The technical precision of her drawings and the complexity of her works bring to mind the work of Marcel Duchamp, and it is not hard to imagine her as a female Navigator.The exhibition consists of 19 paintings, all from 1987, and a few sculpture. And although many of the paintings are associated with works by Schütte and Van Gogh, it is in them that the artist has put her greatest power. The paintings are, in a sense, abstractions, and they lack, for the most part, the stylistic qualities of those artists. But the painterly qualities are strong enough in them that the works, though small and modest in size, stand out as big and powerful. They have a strength that all abstract artists lack. They are the perfect vehicles for Schüttes visions, for the mysticism of the Eastern Mediterranean and for the power of the spirit.