Carol Rama exhibition in Macba museum (Barcelona)

There are few things as rewarding for a museum as recover the work of a tangential art figure, veiled and forgotten by traditional historiography. It is the case of many women artists and the case of the Italian artist Carol Rama, essential B-Side of the XX century avant-garde, whose art can be enjoyed in the MACBA from 30 October until early 2015. 

Dorina, 1940.

 

With an absolutely unique language, influenced by art brut, the informality, les Fauves, feminism and organic abstraction, Carol Rama (Turin, 1918) tries to challenge (with a long career of more than 70 years on active ) the traditional art narrative and the gender discourse itself, with a violent, subversive, sensual and polymorphic vision of art practice and of his own body. MACBA Museum it is not just "giving visibility to the work of Carol Rama" but joining her questions and doubts about the hegemonic concept of art and about the sensuality, the femenine symbol and the abjection. 

Apassionata, 1940.

In the 30s, Rama experiments with watercolors, lubricious, colors and stains to fill hundreds of papers with mutant nudes, tongues, genitals, eyes... with a work between psychoanalysis and the study the unconscious. After a long period, objects began to curdle in her work, ready mades, recycling, organic pieces, tires, nails, syringes, Arte Povera make her work even more pregnante ... more pornographic.

La Macelleria, 1980.

 

In the nineties, Carol Rama returns to figuration without losing their initial anger because, as she herself has stated on numerous occasions: "paint makes me free from the anguish suffered by what was happening to my family, transforming anguish in transgression... I was out. Contrary. Never lining up"

Carol Rama y Andy Warhol. Fotografía de Dino Petrali, 1975.

Curated by Teresa Grandas and Beatriz Preciado - feminist philosopher, specializing in Queer Theory and Philosophy of gender - the exhibition is an alternative file with wich you can correctly understand the history of art of the twentieth century as it is "an artist imperative to understand the mutations of representation in the twentieth century and the later work of artists like Cindy Sherman, Kara Walker, Sue Williams, Kiki Smith and Elly Strik ". 

Carol Rama has participated for several years in the Venice Biennale (1948, 1950, 1956, 1993) and in 2003 received the Golden Lion.
 
 

 

Thirteen years have passed since its beginnings, and in all this time the Video Art Festival PROYECTOR has grown and consolidated its position as an essential event in this discipline. Since its inception, the initiative has tried to give visibility to a discipline that has always been relegated to the background in the usual exhibition circuits. Although video creation is not new, since it emerged by its own in the 60s of last century, the way to get to know it and enjoy it has not always been easy. On many occasions, the exhibitions only included a few isolated pieces within the main route, as if the video was the anecdotal contribution to the whole. However, our daily lives are invaded by moving images, and there is a paradox that video art, despite being a format of artistic expression very much in tune with the habits of today's society, remains a minority discipline

Frame from “Hel City”, by Gregorio Méndez Sáez, 2019

To some extent, PROYECTOR was born to reverse this situation, to value video as a creative format and to offer a wide, itinerant space to host a multitude of proposals, coming from inside and outside our borders. In this time, the growth of the festival has led it to travel the world, but also, to be a benchmark that each year arouses more interest. In the open call to receive proposals, they reach almost half a thousand, and a hundred works selected by the jury are a representative sample of different ways of understanding video creation, with pieces mainly from Europe, Latin America, Southeast Asia and the Middle East.

In turn, PROYECTOR wants to be more than a video showcase and offers a large program with talks, workshops, masterclasses, meetings with artists, visits and concerts. A complete experience that always has the moving image as a backdrop.

El Instante Francisco Ruiz de Infante. El bosque que se mueve (errores de medida)

In this evolution, another circumstance stands out: video is a creative format that has its own codes, but it is also one of the disciplines most open to artistic hybridization and the widening of uses. The video may, therefore, be the genuine idea of an author who conceives an autonomous project to be carried out in this format, but it can also be the complementary result of an action or the documentary record of a previous performance being recorded to guarantee its survival. The versatility of the moving image and the potential that it has acquired in recent years allows us today to speak of numerous branches of art that focus on the fusion of languages and the integration of techniques and methodologies from other sectors, and in many of them, the video is still a cornerstone. So it is with technological art, interactive sound art, performance recording, the transformation from big data to image, artificial intelligence, and a long etcetera. Precisely for this reason, PROYECTOR offers a panoramic vision of this reality, with an extremely interesting program that plays with the variety and wealth of proposals.

Frame from “Herdança”, by Thiago Rocha Pitta, 2007

The 2020 edition will run from September 9th to 20th. As usual, the program displays in various venues throughout the city of Madrid, each of which will house a small section of the activities. This year the festival will count with the collaboration of the Casa Árabe, White Lab, Cruce, El Instante Fundación, ¡ésta es una PLAZA!, Extensión AVAM (Matadero Madrid), Institut Français de Madrid, Medialab Prado, Quinta del Sordo, Sala Alcalá 31, Sala El Águila, Secuencia de Inútiles and White Lab, in addition to the collaboration of the INELCOM Collection and the video art collection of Teresa Sapey.

The festival is also the ideal place to articulate the cultural fabric, since it involves numerous professionals in the sector, from curators to creators, from centres managers to critics and teachers. The 2020 program also has the collaboration of the FUSO Festival and the Museo Reina Sofía, which are providing some of their pieces for the exhibition.

In short, an appointment that lovers of contemporary art should not miss and that promises many novelties in this 13th edition.