All art is contemporary…Episode #5

By the occasion of the season holidays, Flashback is presenting four works related to the “Madonna”.

Madònna feminine noun. [Including ma, reduction of mia (my), atonal, and donna (lady)]. – 1. a. Title of honor which was used in the ancient times to address a woman or when talking about her. b. In the poetic use, the beloved woman. c. Mistress. 2. a. By definition and in general with capital initial, the Virgin Mary.

The first work is Ragazza di profilo of 1916 by Arturo Noci, a pastel on sketching paper, which – together with Studio di testa: motivo elegiaco, 1895 by Cesare Laurenti, shows us a free, elusive – and though intensive and sensual – feminine beauty 

The term “madonna”, which was previously poetical and honorific, takes a purely religious connotation in the contemporary language. 

The work by Felice CasoratiRitratto della sorella Elvira of 1934, locates in investigation, on the ridge between profane and sacred and – in the wake of the pictorial and oleographic tradition – shows us that particular meaning of the term that refers to a balanced, sad beauty, with a wrinkled face.

Though, the term sounds closer to us with the works that depict the Madonna. The works dedicated to her alternate throughout the centuries. 

Vergine Orante, by Vincenzo Castellini, is an XVIII century mosaic with a precious golden-plated bronze by Paolo Spagna: many heterogeneous tesserae to compose and render us the vision of an indivisible whole.

Madonna col Bambino, by a sculptor of first quarter of the XIV century from Abruzzo/Molise is a work in carved and painted wood that shows the scuptors ability of highlighting the sweetness of the Madonna’s visage in contrast with the catting features of the Middle Age sculpture.

On the other hand, Madonna con Bambino, by the Flemish painter Marcellus Coffermans, of 1560 approx., is a very small (11.6 × 8.4 cm) oil on deck and Madonna dell’Umiltà, an oil tempera emulsion on deck by Bernardino del Signoraccio, from Pistoia, born in 1460.

In the image, on the top left side: Arturo Noci, Ragazza di profilo, 1916, pastel on sketching paper, cm 50 x 45, courtesy of Galleria Carlo Virgilio & C. (Rome). Follows: Felice Casorati, Ritratto della sorella Elvira, 1934, oil on deck, cm 90 x 60, courtesy of Bottegantica (Milan). Follows: Cesare Laurenti, Studio di testa: Motivo elegiaco, 1895, oil on deck, cm 58,5 x 96, courtesy of Galleria Carlo Virgilio & C. (Rome).
Below, on the lower left side: Marcellus Coffermans, Madonna con Bambino, 1560 approx., oil on deck, cm 11.6 x 8.4, courtesy of Caretto&Occhinegro (Turin). Follows: Vincenzo Castellini, Vergine Orante, 1779, mosaic, cm 51 x 45, courtesy of Alessandra Di Castro Antichità (Rome). Follows: Sculptor from Abruzzo/Molise, Madonna col Bambino, first quarter of the XIV century, carved and painted wood, height cm 110, courtesy of Flavio Pozzallo (Oulx). Follows: Bernardino del Signoraccio, Madonna dell’Umiltà, tempera grassa on panel, cm 60 x 40, courtesy of Flavio Gianassi – FG Fine Art (London). 

Luisa Turuani “But this is not the day”



Luisa Turuani
But this is not the day (2020)

Opening…live on Facebook (@flashbackfair)
Wednesday 16 December…hrs. 18:30
14 December 2020 – 3 Gennaio 2021
Piazza Bottesini, Turin

The eighth poster of Opera Viva Barriera di Milano, the project devised by Alessandro Bulgini, curated by Christian Caliandro and supported by the Flashback is inaugurating on 16 December at 18:30 live on Facebook – @flashbackfair from piazza Bottesini But this is not the day (2020) by Luisa Turuani.

The theme of the Flashback fair is Ludens, inspired to Roger Zelazny’s sci-fi tale Unicorn Variations and to the work of Johan Huizinga: therefore, the game thus meant as a foundation of human life and creativity, as an essential approach for the continuous reconstruction of the world.

This year, the Opera Viva Barriera di Milano project, which was usually ending at the end of the fair held in Pala Alpitour, has extended in time – thanks to the support of Turin’s public and private institutions – with two additional works: the one by Gianmarco Cugusi, which was presented on 25 November, and the one by Luisa Turuani, who ranked immediately after the two winners of the open call (i.e. Noura Tafeche and Luigi Presicce) in the jury’s assessment. 

Luisa Turuani’s work is a “varying time performance”: the ice cream is melting slowly, leaking along the arm, the colors are blending and overlapping. The reference to the Statue of Liberty recalls an idea of liberation, whilst the “melting” event points out to a sort of ironic paralysis, of a tragedy that does not ignite and constantly folds on itself. This therefore generates a thin tension between drama and irony, between action and inaction. 

The one of Luisa Turuani is an image on time and made of time, in the flowing of time and on its stopping, crystallizing: time as duration, but also as moment, as metaphysical suspension, as a fixed image that includes and does not contain.  

As the authoress writes in its presentation of the poster: “The action addressees a cul-de-sac, nobody will come, but – should anybody arrive – he/she would want to not be there. Nothing happens except the evidence, the
glorious majesty of the pleasure of being now

Luisa Turuani (Milan, 1992), lives and works in Milan. After studying sculpture at Brera’s Academy of Fine Arts in Milan, Luisa Turuani has investigated the human nature through the desires Man invests on the objects Recent personal and collective exhibitions include: Domani Qui Oggi (Tomorrow, Here Today), Palazzo delle Esposizioni, Roma; Artagon Live, Paris, 2019; GQ-Passion for the path of art, Cardi Gallery, Milan, 2019; BienNoLo, Milan, 2019; UKYA City Take Over, Nottingham, 2019; Non sto più nella pelle (I am too excited), Brescia, 2019; Vanno e vengono dalle mie mani,(They come and go from my hands)), Varese, 2018; Tirarsi fuori (Extricating oneself), P420 Gallery, Bologna, 2017, Artagon III, Paris, 2017. She participated to several awards: in 2019 she was amongst the winners of Premio AccadeMibact, of Premio O.R.A. and she was a finalist of Premio Laguna; this same year, she won Premio Combat for the video section. In 2018, she won Premio Nocivelli and she was a finalist at Premio Fabbri and Premio Arteam.

Opera Viva Barriera di Milano, the Billboard
A project by Alessandro Bulgini
Curated by Christian Caliandro
VIII Artist: Luisa Turuani, But this is not the day (2020)

From 14 December 2020 to 3 January 2021

With the support of Città di Torino, CCIAA of Turin and Fondazione CRT
Under the patronage of Circoscrizione 6

Flashback, all art is contemporary  
Extended Edition
3 November 2020…7 March 2021

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