End of year exhibition by the students of the two-year visual arts course.
Artists: Alexandra Fongaro, Emma Schunack, Claudia Evangelista, Anica Huck , Zachary James Martin, Campbell Beatrix. Curated by Simone Cametti
RUFA Space, 5 -6 July 2022.
“The single hairy fish is a process to believe in.
With the belief in matter that can be defined absurd, the laws of nature are reimagined to enter a creative process that is always taking place in the being.
In this exhibition presented inside some spaces of RUFA, the students find themselves defining their own research without limitation, and affirm their presence in unconventional spaces.”
Performance: I love you. I know by Anica Huck
The word theatre (“Theatron” in Greek) means a place to watch, to view, to look on, to gaze at, behold with a sense of wonder, and to contemplate place. The mask was an organic element in this art form because it is the medium per excellence for the embodiment of the Other and participates in the creation of the stage as a site of the dialogue between the Self and the Other. With this piece, the artist, re-creates an intimate space between herself, the co-performer and the audience. The connecting element between the performers’ bodies is the theatre mask itself, which generates physical tension as well as mental relief through the complete immersion into the intimacy of the relationship. The abstract dialog – purely based on citations from books, films, songs and private life – provide a mean for the audience to relate to the performance through collective memories.
Performance: The mirror di Emma Schunack
There is power in looking. The male gaze is used to reproduce its dominance when turning a subject to an object. It duplicates its power by creating discomfort at the
place where the gaze arrives. When the spectator is forced to watch themself while looking, the power dynamics change and a new tension of discomfort appears. Now the spectator becomes an object of their own gaze.
Installation: A Bunch of Stuff I Haven’t Quite Finished and I Probably Won’t di Zachary James Martin
“With the idea of the mirror, and the act of looking into the mirror to look at a direct reflection of one’s self. I can not look and see myself in any accurate way, I can not think of myself in the present moment with any understanding I believe is accurate. Ten years from now, I will perhaps be able to understand and see myself in this present moment more clearly than I can now. With the idea of reflection as a thought process that requires time and looking to the past. Reflection with time. Time brings a degree of honesty. We believe in time as a great force outside of our control that effects us strongly, that reveals to us truths, that shows us things, that helps us understand. Think of how we consider the word “wise” it is a word for knowledge associated with age, with time. Time being the great educator. And me being the great dummy, hopefully enjoying myself, looking back on some of the unfinished projects of my year.
So, here are my unfinished, rejected, and abandoned projects. Perhaps they will be improved, revised, redone. But in all probability they will not. The idea that this is working, that making an art is just about working and creating things. That we can present our unfinished and dirty and messy works and not just our polished final few masterpieces.
An underlying idea of art as a means of understanding is present in my approach of the project. Rather than art as a means of creating, art as a means of understanding. I want to look at my own creative work and see what I can learn.”
Performance: Weightless by Bea Campbell
Born out feelings of disconnection from familiarity after moving from London to Rome, I was interested in making something that transcended the confines of gravity. After trying several ways to make something float, I finally managed to find a way to tether down a lit lantern and was interested in the fragility of the movement and soft light of it.
This performance is five lanterns, all flying at different heights, gently tethered to the floor. Themes of balance and weightlessness come into play, where the lanterns are in the confines of the room but still float softly above the floor. Metaphorically it acts as a metaphor for life in Rome post-Covid – the absence of certainty and lack of groundedness balanced the joyful lightness of learning and experiences in a city where I’m still sometimes feel like an alien.
Installations: 22/01/1994 by Claudia Evangelisti
In this project of six installation the artist decided to investigate the stages of mourning but more specifically what happens in between phases, analyzing her own behavior and working towards the last phase of grief.
Listen to the protagonists’ words