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Solo show: Carol Rama - Böse Zungen (over)

21 April 2012 until 24 June 2012
  Carol Rama - Böse Zungen
Carol Rama C’è un altro metodo per finire, ancora, 2003 pastel, watercolours and enamel on paper on canvas, 24.5 x 34.5 cm Courtesy Galerie Isabella Bortolozzi
 
  Kunsthalle Düsseldorf

Kunsthalle Düsseldorf
Grabbeplatz 4
40213 Dusseldorf
Germany (city map)

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www.kunsthalle-duesseldorf.de


Wi­th Ca­rol Ra­ma (born 1918), the Kunst­hal­le Düs­sel­dorf is or­ga­ni­sing the first in­sti­tu­tio­nal ex­hi­bi­ti­on in the Rhi­ne­land for one of the most ex­tra­or­di­na­ry ar­tists of her ge­ne­ra­ti­on. The oeu­vre of the Ita­li­an ar­tist, who was awar­ded the Gol­den Li­on for her li­fe's work at the 2003 Ve­nice Bi­en­na­le, is cha­rac­te­ri­sed by a ra­di­cal brea­king of ta­boos. Her dea­lings wi­th the bo­dy and se­xua­li­ty in her open­ly se­xu­al wa­ter­co­lours from the 1930s an­ti­ci­pa­te the­mes that be­ca­me im­portant for ac­tion and bo­dy ar­tists of the 1960s and 1970s. Her sen­si­ti­ve, of­ten iro­nic drawings, col­la­ges, ob­ject pic­tu­res and wa­ter­co­lours, which the ar­tist con­ti­nues wor­king on to­day, are equal­ly sho­cking and ele­gant, re­bel­lious and ec­cen­tric. Per­so­nal me­mo­ries and ear­ly fa­mi­li­al bur­dens, se­xu­al no­ti­ons and all kinds of ever­y­day fe­tis­hi­sing ob­jects, myths and the pre­sent mer­ge in­to a cosmos of its own in Ca­rol Ra­ma's work that mir­rors ten­den­cies in post-war mo­der­nism but has pre­ser­ved its own strong sen­se of in­di­vi­dua­lism.

The ex­hi­bi­ti­on un­der­stands its­elf as a so­lo pre­sen­ta­ti­on that is ne­ver­the­l­ess the­ma­ti­cal­ly lin­ked to the Yüksel Ars­lan (born 1933) re­tro­spec­tive that is si­mul­ta­neous­ly on show at the Kunst­hal­le Düs­sel­dorf. A pre­sen­ta­ti­on of a selec­tion of the ear­ly drawings by the Mon­te­ne­grin ar­tist Da­do (1933-2010) is al­so being pl­an­ned. De­s­pi­te the idio­syn­cra­tic na­tu­re of the­se three oeu­vres and their very dif­fe­rent ar­tis­tic voca­bu­la­ries, they do over­lap to so­me extent in terms of the­mes and pic­to­ri­al worlds, ma­king it sen­si­ble to pre­sent them in a joint con­text: the ob­ses­si­ve and un­f­a­thoma­ble, mo­tifs of drea­ming, play­ing, se­xua­li­ty, vio­lence and dis­mem­ber­ment, the bo­dy as frag­ent and fe­tish.

Ca­rol Ra­ma em­ploy­ed ima­ges of "ex­pe­ri­en­ced" ob­jects and frag­men­ted bo­dy parts such as shoes, shaving brus­hes, sets of teeth, ton­gues and eyes, which she ar­ran­ged in­to new, of­ten enig­ma­tic ima­ges. She trans­for­med fe­tis­hist se­xua­li­ty, un­f­a­thoma­ble fan­ta­sies and fe­ars as well as bo­di­ly de­for­ma­ti­ons and mu­ta­ti­ons in­to a puz­zling poe­tic that is un­pre­ce­den­ted in its mix­tu­re of nai­ve­ty sur­mounts the Sur­rea­list or Da­da­ist quo­ta­ti­on. In the ear­ly 1970s, she dis­co­ver­ed rub­ber as new wor­king ma­te­ri­al for hers­elf. We­ar marks lend pain­ter­ly qua­li­ties to old bi­cy­cle ty­res, en­ab­ling them to tell their own sto­ries as au­then­tic frag­ments. The re­sul­ting col­la­ges and sculp­tu­res are clo­se to the ma­te­ri­al sen­si­ti­vi­ty of Ar­te Po­vera, re­cal­ling Neo-Da­da­ist or Neo-Rea­lis­tic ten­den­cies in their as­sem­bla­ges of ever­y­day items and Sur­rea­list poe­tics through the ero­tic char­ging of the pro­tru­ding val­ves. Ca­rol Ra­ma uses old maps or en­gi­nee­ring drawings as the sup­port for her pic­tu­res sin­ce the ear­ly 1990s, the struc­tu­res of which she con­trasts wi­th her own pic­tu­res in a re­cour­se to ear­ly pic­to­ri­al in­ven­ti­ons.

The ex­hi­bi­ti­on is ac­com­pa­nied by a pu­bli­ca­ti­on.

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