ARTE e gelato:Per fare tutto ci vuole un fiore!

2018-03-09 09.58.06

Gelato e Arte alla Gelateria Sharbe’ di Imperia Oneglia

La Gelateria Sharbe’ si adibisce nuovamente a spazio alternativo ai circuiti d’arte con l’installazione di Claudia Borgna intitolata: Per fare tutto ci vuole un fiore! in mostra per tutta l’estate in Via Genesys 5, Imperia, Italy

Apertura al pubblico tutti i giorni:

Mattino: 11-13

Pomeriggio: 16-22

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Nell’estate 2016 s’ inaugurava questa prima collaborazione tra Arte e Gelato:

 

 

Modern art did not start with patriarch, Duchamp but with a matriarch!

Baroness Elsa von Freytag-Loringhoven

"Everything emotional in America becomes a mere show and make-believe. Americans are trained to invest money, are said to take even desperate chances on that, yet never do they invest [in] beauty nor take desperate chances on that. With money they try to buy beauty - after it has died - famishing - with grimace. Beauty is ever dead in America."

Baroness Elsa von Freytag-Loringhoven

https://www.theartstory.org/artist-von-freytag-loringhoven-elsa.htm

https://www.lib.umd.edu/dcr/collections/EvFL-class/bios.html

Elsa von Freytag-Loringhoven, the Baroness as she was known, became a living legend in the bohemian enclave of New York City’s Greenwich Village in the years before and after World War I. A provocateur and essential catalyst for New York’s burgeoning Dada movement, the Baroness obliterated the boundaries of conventional norms of womanhood and femininity and upended notions of what was considered art.

Along with the infamous French artist Marcel Duchamp, she pioneered the use of the readymade, and she stretched and manipulated the English language to create avant-garde poetry. Her penchant for cross-dressing and incorporating found objects into her wardrobe made going out in public a daily Dada performance. The Baroness was a radical proto-feminist who critiqued patriarchal norms but was largely overshadowed by her male colleagues. Her daringness was largely ascribed to female eccentricity, and she became a footnote in the annals of New York Dada. It has only been recently that her contributions to the avant-garde have been recognized for their innovativeness.

Key Ideas

Steeped in avant-garde principles and strategies, Freytag-Loringhoven’s work questions the very nature of what society considers art. The Baroness’ use of the “readymade”, a found object presented as a work of art, demands that the viewer consider the divide between high and low culture, utilitarian, everyday objects and fine art, and the role of the artist not as original creator but as appropriator. Her readymades and assemblages disrupt standard notions of beauty. Furthermore, the ephemeral nature of so much of the Baroness’ work deeply embodies Dada’s lacerating critique of the commodification of art objects, perhaps more so than Duchamp’s “readymades,” which were embraced by the very institutions they meant to undermind.
The Baroness took the idea of the “New Woman,” the image of the independent modern woman popularized at the end of the 19th century, to new heights with her rabid insistence on intellectual, artistic, and sexual autonomy. Her eccentric dress and unapologetic use of her body, both as a model and a performance artist, set her apart from her male Dada colleagues.
“To attribute Fountain to a woman and not a man has obvious, far-reaching consequences: the history of modern art has to be rewritten. Modern art did not start with a patriarch, but with a matriarch. What power structure in the world of modern art prohibits this truth to become more widely known and generally accepted? Ultimately this is one of the larger questions looming behind the authorship of Fountain. It sheds light on the place and role of the female artist in the world of modern art.”