Art Galleria Ramo, an intimate perspective on feelings and the body opens in Como
Artart

Galleria Ramo, an intimate perspective on feelings and the body opens in Como

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Giorgia Massari
Galleria Ramo Como | Collater.al

In the refined city of Como, a jewel overlooking the lake of the same name, there is a gallery that promotes emerging contemporary art with great care and attention, creating new forms of dialogue with the public and collectors. It is called Galleria Ramo and is founded by two young professionals: Anglo-Swiss curator Simon J.V. David and architect Benedetta De Rosa. Last Saturday, May 13, Galleria Ramo opened its new exhibition “In the flesh: intimate perspectives on the collective” featuring the works of three young female artists, Lucrezia Costa, Ilaria Cuccagna and Gianna Dispenza.

In the pristine white environment of the gallery, the works of the three women artists echo, almost implicitly leading the viewer into an action of silence. As emerges from the title and the curatorial text by Edoardo Durante, the exhibition is meant to be an attempt to interpret the human figure and its various facets, with a particular focus on human feelings, often concealed, often removed.

Galleria Ramo Como | Collater.al
Installation view, Galleria Ramo, Credits by Simon J.V. David

From the very first room, in which the works of Ilaria Cuccagna and Gianna Dispenza dialogue, a primordial air is perceived, promoting a return to the past and the origins of humanity. Through archetypes of art history, which in Dispenza are translated into sculptural forms, sometimes classical, sometimes with a prehistoric flavor, and into strongly textured canvases, an encounter takes place between personal and collective memory, between past and present.

This can be seen even more dominantly in Cuccagna‘s works, which use references to Greek and Roman sculptural art quite explicitly, with a particular emphasis on heads. These elements are recontextualized, through the juxtaposition of more contemporary elements, as in the work “Lake Sculpture” in which a male child’s face is placed on top of two stacked soccer balls. This work serves as a link between the first and second rooms, which sees an entire wall dedicated to Lucrezia Costa‘s work entitled “trentatré ovvero tre rampe da undici gradini” also known as “Archive of Pain.”

Galleria Ramo Como | Collater.al
Ilaria Cuccagna, Grey #6 2023, Credits by Ilaria Cuccagna

Especially in Costa emerges what is the close encounter between work and viewer. Lucrezia Costa’s work is in fact a participatory archive of pain, in which the viewer is asked to answer three questions posed by the artist on a card (which can also be answered online), then placed inside a locked archive to ensure confidentiality. The artist asks the individual visitor what his or her greatest fear is, in what part of the body he or she metabolizes it, and what animal form it would take if it were anything else. The audience’s answers are visually translated by Lucrezia Costa into terracotta masks painted black. Thus, from the white wall emerge personal pains that, side by side, acquire a collectivity, a semblance of union. A boar, then a puffer fish, a dolphin, a goat. Animals that guard those often concealed pains, those feelings to be eliminated “because, according to contemporary society, they hinder production.”

Galleria Ramo Como | Collater.al
Lucrezia Costa, trentatré ovvero tre rampe da undici gradini 2022 – ongoing, Credits by Simon J.V. David

Just as in Costa, all the dialogue that is created within the exhibition, which acquires a kind of time dilation, restores to the audience the need to listen to each other, to give shape and sound to the most remote feelings, often taken for granted, often forgotten.

The exhibition is on view until July 16 from at Galleria Ramo, in Como (via Borsieri 4D).

Images courtesy of the artists and Galleria Ramo, 2023


Artart
Written by Giorgia Massari
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