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Margherita Raso - Exhibition

Date:

09/21/2022


Margherita Raso - Exhibition

On the occasion of the Giornata del Contemporaneo 2022, the Italian Cultural Institute in New York  and  Magazzino Italian Art  in collaboration with Casa Italiana Zerilli-Marimò  present: 

Margherita Raso: Vizio di Forma

  

Margherita Raso’s first institutional solo exhibition in the United States,

curated by Chiara Mannarino

 

On view until October 21, 2022

Free admission, Monday to Friday

From 10AM to 4PM

Italian Cultural Institute  686 Park Avenue, NY

 

On Thursday, October 13  the curator, Chiara Mannarino, will conduct

4 guided tours of the exhibition, of 30 min. each, starting from 4PM to 6PM

To participate please send an email at iicny.rsvp@gmail.com

indicating the preferred time and number of people

 

 

Raso’s practice spans a variety of mediums, from sculpture to site-specific installation, and has a material focus. Vizio di Forma is composed of three bodies of sculptural work that engage with diverse languages, forms, and styles—together encapsulating the artist’s practice to date. Nearly each piece was newly produced for the exhibition.

Hoarders (2020-2022) is a series of thirty urns molded under a specific set of limitations—imposed by both the COVID-19 pandemic and the artist herself. Raso’s self-established parameters included starting and finishing a form within 24 hours and working with each of the different types of clay she had previously collected and stored in her studio until running out of the materials at her disposal. Given the urn’s function as a preservation vessel and Raso’s steady exhaustion of the accumulated items she had on hand, this group of sculptures comments on time and mourning, and differs in materiality and technique. Concepts of ritual and memorialization come to the fore when considering Raso’s approach in tandem with the urn as a symbolic object.

The metal structure that holds the ceramic pieces is composed of pre-existing industrial shelving units. The storage segments hint at the inherent failure of accumulation and play into the unique dynamic between functionality and uselessness, embodied by the act of hoarding and, in this case, displaying an inherently functional vessel (the urn) in a nonfunctional way.

In the same room are two textile pieces, both mechanically produced on a Jacquard loom. Historically, this technique weaves two industries together: textile manufacturing and computing. The Jacquard loom is significant to computer history because it was the first machine to use interchangeable punch cards to instruct a machine to perform automated tasks.

One of the textile works, entitled Pour une seule nuit (plus d’etoiles) (2022), references a fragment of silk damask fabric with a star pattern from the collection of Fondazione Antonio Ratti in Como, Italy. From 2014-2016, Raso conducted research in the Foundation’s textile archive and, after coming across this unique fragment, devised a new work in which she removed the fabric from the textile preservation storage and displayed it in a vitrine for a period of 24-hours—the absolute maximum amount of time the piece was allowed to be exposed to light due to conservation concerns.

The question of textile preservation is directly referenced in the exhibition’s title. Translating to “inherent vice”—a conservation term meaning the tendency of an object or material to deteriorate or self-destruct because of its intrinsic characteristics—Vizio di Forma reflects Raso’s ongoing interest in the delicate and tenuous balance between external presentation and internal reality, effectivity and collapse, and control and unpredictability. Raso further addresses the question of conservation—which, in the case of these works, is tied to light, humidity, and temperature—by activating the air conditioner in the gallery space as a method of cooling and regulating the environment for optimal preservation as in an artwork storage unit.

The final sculpture on view is an aluminum work whose texture and details are a result of a textile-casting process. As a whole, Raso’s show is a timely commentary on the ways in which material, precarity, and decay dominate our world today.
________________________________________

About Margherita Raso
Margherita Raso’s practice spans a variety of mediums, most notably sculpture and site-specific installation. Raso holds a BA in Visual Arts from the Academy of Brera in Milan, and she is currently attending the MFA program at Die Institut Kunst FHNW in Basel, Switzerland. From 2014 to 2019 she is Co-founder of the artist-run space Armada in Milan. Her recent solo exhibitions include: Casting The Tempo, Santa Maria in Lucedio Abbey, Vercelli, IT, 2021; Canal, Bible, New York, US, 2018; and Piercing, Fanta-MLN, Milan, IT, 2017. Her works have been included in group exhibitions at: Little, Bern, CH, 2022; CFA, Milan, IT, 2021; Museo Novecento, Florence, IT, 2021; Fondazione Arnaldo Pomodoro, Milan, IT, 2021; MACRO, Rome, IT, 2021; Villa Olmo, Como, IT, 2021; Fanta-MLN, Milan, IT, 2020; WPN-NYC, New York, US, 2019; WallRiss, Fribourg, CH, 2019; MAMbo, Bologna, IT, 2018; Armada, Milan, IT, 2016; Komplot, Brussels BE, 2015.

About Chiara Mannarino
Chiara Mannarino is an independent curator, writer, and art historian. Mannarino is currently pursuing a PhD in Art History at CUNY, The Graduate Center and holds an MA in Art History from The Courtauld Institute of Art in London (2020) and a BA in Media Studies from Vassar College (2018). Chiara was the Assistant Curator of Nivola: Sandscapes (2021) and Homemade (2020), both at Magazzino Italian Art; the co-curator of A Fractured Sigh at BravinLee Gallery (2020); and the Assistant Curator of Non-places and the Spaces in Between at the Italian Cultural Institute, New York (2019). Chiara was the Curatorial Assistant for Gilardi: Tappeto-Natura at Magazzino Italian Art (2022) and Namsal Siedlecki: Viandante, organized by Magazzino Italian Art at the Italian Cultural Institute, New York (2021). Chiara has published exhibition reviews and articles in Flash Art, Burlington Contemporary, Femme Art Review, and Flaunt Magazine, and also contributed to the Homemade and Nivola: Sandscapes exhibition catalogues, published by Magazzino Italian Art.

About Magazzino Italian Art
Located in Cold Spring, New York, Magazzino Italian Art is a museum and research center dedicated to advancing scholarship and public appreciation of postwar and contemporary Italian art in the United States. The nonprofit museum serves as an advocate for Italian artists as it celebrates the range of their creative practices from Arte Povera to the present. Through its curatorial, scholarly, and public initiatives, Magazzino explores the impact and enduring resonances of Italian art on a global level.

Meaning “warehouse” in Italian, Magazzino was co-founded by Nancy Olnick and Giorgio Spanu. The 20,000 square-foot museum, designed by Spanish architect Miguel Quismondo, opened its doors in 2017, creating a new cultural hub and community resource within the Hudson Valley.

 

The Contemporary Day is the great annual event promoted by AMACI - Association of Italian Contemporary Art Museums that involves museums, foundations, public and private institutions, galleries, studios and artist spaces to tell the vitality of contemporary art in Italy and bringing out the network of subjects and realities that promote contemporary art throughout the year, both in Italy and abroad. It has the support of the General Direction of Contemporary Creativity of the Ministry of Culture and of the collaboration of the Ministry of Foreign Affairs and International Cooperation.

Information

Date: Da Wednesday, September 21, 2022 a Friday, October 21, 2022

Time: From 6:00 pm To 7:30 pm

Organized by : IIC-NY

In collaboration with : Magazzino and Casa Italiana Zerilli-Marimò

Entrance : Free


Location:

Istituto Italiano di Cultura - NY

2119