{"id":85877,"date":"2022-11-16T13:55:30","date_gmt":"2022-11-16T12:55:30","guid":{"rendered":"https:\/\/www.unirufa.it\/?p=85877"},"modified":"2022-11-16T13:56:07","modified_gmt":"2022-11-16T12:56:07","slug":"motherhood-di-marta-jovanovic","status":"publish","type":"post","link":"https:\/\/www.unirufa.it\/en\/2022\/11\/16\/motherhood-di-marta-jovanovic\/","title":{"rendered":"Motherhood by Marta Jovanovic"},"content":{"rendered":"

The Gallery Maja Arte Contemporanea<\/span><\/a> announces first collaboration with performance artist Marta Jovanovi\u0107<\/span><\/a>, opening on Friday, November 25, 2022 (6 – 9 p.m.) at 30 Via di Monserrato (Rome), the installation entitled “Motherhood”.<\/h3>\n

 
\nThe work presented for the occasion is the sculptural transformation of the performance of the same name held by Jovanovi\u0107 in February 2016 at the “O3one Gallery” space in Belgrade, during which he had hit with a hammer – breaking them one by one – 246 eggs hanging from the ceiling<\/strong>: as many eggs as the number of fertile days, from the artist’s first menarche to the date of the performance.<\/p>\n

Subsequently, the crushed shells became unique sculptures, made of electroformed copper, numbered and plated with 24K gold.<\/strong><\/p>\n

“Every egg I broke during the performance is a missed motherhood opportunity in favor of art”<\/em>, says with a hint of irony Jovanovi\u0107, who has thus alchemically transformed what could have been most sacrilegious in a dystopian world such as the one narrated by Margareth Atwood in “The Handmaid’s Tale.”<\/p>\n

Anja Foerschner observes: “Through this work, Jovanovic provides an ironic counter perspective to the destruction of ‘his eggs’ during performance: not only are these carefully restored for installation, but his ‘wasted opportunities’ are literally turned into gold.”<\/em><\/p>\n

If Motherhood as a performance was born out of a moment of deep personal transformation<\/strong> that had led Jovanovi\u0107 to reevaluate certain life choices and reflect on the status of the “woman artist” in a society that is still strongly patriarchal, the installation surprisingly takes a cathartic transformative direction. We are greeted by a luminous constellation of golden eggs, guardian shells of desires on their way to their moon, where-next to wisdom-we gather what is lost, or simply what is transformed.<\/p>\n

Lungo sar\u00e0, se tutte in verso ordisco
\nle cose che gli fur quivi dimostre;
\nche dopo mille e mille io non finisco,
\ne vi son tutte l’occurrenze nostre:
\nsol la pazzia non v’\u00e8 poca n\u00e9 assai;
\nche sta qua gi\u00f9, n\u00e9 se ne parte mai.<\/em>
\n– Ludovico Ariosto, L’Orlando furioso (Astolfo sulla luna)<\/p>\n

Texts by Anja Foerschner and Fabrizio Pizzuto. The installation is curated by Sauro Radicchi.
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