{"id":66516,"date":"2019-03-05T18:28:10","date_gmt":"2019-03-05T17:28:10","guid":{"rendered":"https:\/\/www.donnecultura.eu\/?p=66516"},"modified":"2019-03-05T20:06:06","modified_gmt":"2019-03-05T19:06:06","slug":"arte-a-milano-inaugura-14-marzo-marianne-viero","status":"publish","type":"post","link":"https:\/\/www.donnecultura.eu\/?p=66516","title":{"rendered":"Arte a Milano – Inaugura 14 marzo – Marianne Vier\u00f8"},"content":{"rendered":"
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Marianne-Vier\u00f8<\/figcaption><\/figure>\n

La ricerca di Marianne Vier\u00f8 mette in atto processi di traduzione dei linguaggi espressivi<\/strong>, estraendo elementi propri a determinati campi e tecniche di lavorazione per innescare sperimentazioni inedite e dare corpo a risultati formali inaspettati. La sua pratica rende difficile, se non impossibile, il definire in maniera definitiva e indiscutibile la natura del suo lavoro, che si presenta invece come un organismo ibrido.<\/p>\n

Nella mostra Figure Bold<\/em>, Marianne Vier\u00f8 presenta tre corpi di opere: stampe a esposizione multipla su carta fotosensibile, litografie su stampe d’archivio a pigmento, sculture o scarabocchi in ceramica. <\/strong>Le prime sono concepite come dei rebus e realizzate in camera oscura esponendo la carta sensibile a proiezioni di luce colorata. Il secondo gruppo di opere presenta astrazioni monocrome stampate a pietra su istantanee in bianco e nero ispirate allo studio del libro “Devenir de Fontana” (1961). infine, una selezione di piccole sculture in ceramica fa da controparte spaziale ai lavori bidimensionali.<\/p>\n

Marianne Vier\u00f8 focuses on processes of translation taking elements from different fields and techniques<\/strong> to make them cohabit and interact in new and never seen before formal results and experiments. Her praxis undermines the possibility of defining, in a certain, definitive and indisputable way the nature of her work, which in turn, presents itself as a hybrid organism.<\/p>\n

In the exhbition <\/strong>Figure Bold<\/strong><\/em>, Marianne Vier\u00f8 presents three groups of works: multiple exposure prints on light sensitive paper, lithography on archival pigment prints and ceramic strokes and doodles. <\/strong>The first results in nonsensical rebus in the form of prints, made in the darkroom and build up from multiple colored exposures on light sensitive paper. The second group of works presents stone printed monochrome abstractions on black and white snapshots of interiors – inspired by the book \u201cDevenir de Fontana\u201d (1961). The third group includes a selection of small ceramic sculptures representing the spatial counterpart of the two-dimensional works.<\/p>\n

La mostra \u00e8 sostenuta dalla Danish Arts Foundation
\nThe exhibition is supported by the Danish Arts Foundation<\/p>\n

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Marianne Vier\u00f8<\/strong>
\nFigure Bold<\/em><\/p>\n

Opening 14 March, 7 pm<\/u><\/span><\/strong><\/p>\n

15 March | 24 April 2019<\/strong><\/p>\n

RITA URSO Artopiagallery
\nVia Lazzaro Papi 2, Milano
\ninfo@artopiagallery.net | artopiagallery.net
\nTuesday – Friday 3.30 pm – 7.30 pm<\/p>\n<\/div>\n

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English version<\/div>\n
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Marianne Vier\u00f8<\/p>\n

Figure Bold<\/p>\n

RITA URSO Artopia Gallery Via Lazzaro Papi 2, Milano<\/p>\n

Opening 14 March, 2019 7 pm 15 March | 24 April, 2019<\/p>\n

RITAURSO Artopiagallery presents the first solo show in Italy by Marianne Vier\u00f8 (1979, Copenhagen), which brings together three groups of works produced by the artist for the occasion.<\/p>\n

Marianne Vier\u00f8 focuses on processes of translation taking elements from different fields and techniques to make them cohabit and interact in new and never seen before formal results and experiments. Her praxis undermines the possibility of defining, in a certain, definitive and indisputable way the nature of her work, which in turn, presents itself as a hybrid organism.<\/p>\n

In the exhibition Figure Bold Marianne Vier\u00f8 presents three groups of works: multiple exposure prints on light sensitive paper, lithography on archival pigment prints and ceramic strokes and doodles. The first is a continuation of a line of work that the artist started in 2015 (presented in 2017 in the solo exhibition \u201cDunk\u201d at Ellen de Bruijne Projects in Amsterdam and at LISTE, Basel) resulting in nonsensical rebus in the form of prints. Made in the darkroom and build up from multiple colored exposures on light sensitive paper, these prints combine projected photoshop files of digitalized brushstrokes with traditional photogram techniques where objects are placed directly on the image surface. The prints are presented in custom-made wood frames with inlaid details on the side of the frame profile. The second group of works, under the title of \u201cDocumentation of Imagined Sculpture\u201d, presents stone printed monochrome abstractions on black and white snapshots of interiors – inspired by the book \u201cDevenir de Fontana\u201d (1961), a monograph curated by Ezio Gribaudo and published by Fratelli Pozzo in 1960, in which one of Lucio Fontana\u2019s sculpture is documented on a b\/w-photo with its area overprinted with gold. Starting from this result in which the base of the work and the background are the elements to be seen while the sculpture is totally obscured and reduced to a flat surface, Marianne Vier\u00f8 works backwards placing each litho-printed monochrome on a base depicted on a b\/w snapshot so that the overall image reads like a representation of a sculpture captured against a sunny background. The third group of works represents the spatial counterpart of the two-dimensional works introduced above, including a selection of small ceramic sculptures that gives volume to the strokes and doodles that like the digitalized brushstrokes are characterized by predetermined details, in this case through marks left by the machine that extrude the clay.<\/p>\n

The translation process activated by Marianne Vier\u00f8, from sculpture to flat surfaces, from these to objects and then again to brushstrokes, creates a circular and never-ending movement of exchanges among the definition of categories themselves. By doing this, the artist reveals the contradictory nature inherent in her work, which seems to belong to a predefined nature but actually is a game of worlds and languages that reinvent itself over and over again.<\/p>\n

The exhibition has been supported by the Danish Arts Foundation.<\/p>\n

Marianne Vier\u00f8 (Copenhagen, DK) has been resident artists at Rijksakademie van Beeldende Kunsten in Amsterdam; Triangle Arts Association in NYC; K\u00fcnstlerhaus Bethanien in Berlin. Recent solo exhibitions include: \u201cCoat Concave\u201d at die Raum, Berlin (2017); \u201cGlyph\u201d at 427, Riga (2015); \u201cGreat Transformantion\u201d (2014) and \u201cDunk\u201d (2017) at Ellen de Bruijne Projects, Amsterdam, followed by the participaton at LISTE Basel. She has participated in group shows at: Future Gallery, Berlin; De Vleeshal, Middelburg; the Philadelphia Museum of Art; e 1857, Oslo.<\/p>\n<\/div>\n<\/div>\n

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RITAURSO | via lazzaro papi 2 | 20135 milano | t +39 02 5460582 | artopiagallery.net | info@artopiagallery.net<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

La ricerca di Marianne Vier\u00f8 mette in atto processi di traduzione dei linguaggi espressivi, estraendo elementi propri a determinati campi e tecniche di lavorazione per<\/p>\n","protected":false},"author":1,"featured_media":66520,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[1916,15],"tags":[16991],"_links":{"self":[{"href":"https:\/\/www.donnecultura.eu\/index.php?rest_route=\/wp\/v2\/posts\/66516"}],"collection":[{"href":"https:\/\/www.donnecultura.eu\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.donnecultura.eu\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.donnecultura.eu\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.donnecultura.eu\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=66516"}],"version-history":[{"count":3,"href":"https:\/\/www.donnecultura.eu\/index.php?rest_route=\/wp\/v2\/posts\/66516\/revisions"}],"predecessor-version":[{"id":66521,"href":"https:\/\/www.donnecultura.eu\/index.php?rest_route=\/wp\/v2\/posts\/66516\/revisions\/66521"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.donnecultura.eu\/index.php?rest_route=\/wp\/v2\/media\/66520"}],"wp:attachment":[{"href":"https:\/\/www.donnecultura.eu\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=66516"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.donnecultura.eu\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=66516"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.donnecultura.eu\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=66516"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}