Louise Giovanelli's first solo show in Italy on view at Frutta Gallery
The First Art Newspaper on the Net    Established in 1996 Sunday, October 6, 2024


Louise Giovanelli's first solo show in Italy on view at Frutta Gallery
Louise Giovanelli, Peeping Tom, 2019. Oil on Linen, 51 × 40.5 cm (20 ⅛ × 16 inches).



ROME.- Time Inside’ — Louise Giovanelli’s first solo show in Italy, at Frutta — the artist analyses the process of looking and being looked at via painted reflections on film. These considerations of painting and film revisit two media that can through their relative slow pace give pause for reflection on the act of voyeurism in the age of social media.

Giovanelli presents motifs taken from the psychological horror-thriller Peeping Tom (1960), which tells the story of Mark, a film studio employee who spends his free time working on what he calls his ‘documentary’, as he films the dying expressions of terror on the faces of the women he preys upon. The title of the film derives from the slang expression 'Peeping Tom' which describes a voyeur.

The film directly implicates the viewer in the acts of violence it depicts. While this classic representation of the dyad ‘viewer/viewed’ is still relevant today, in the age of social media we find ourselves increasingly posing for an imagined onlooker, while acting out the cliché of detached independence. This contradiction is immediately evident as the ‘act’ of independence played in the ‘selfie’ is useless without an onlooker to verify it. This aloofness performed for an audience has inculcated us all in a non stop race to be seen and yet remain hidden.

For Giovanelli, painting offers the possibility of slowing down this process, allowing images to resonate, and therefore providing a quasi-filmic space for contemplation. The titular phrase ‘time inside’ can be used to refer both to time passed alone, reflecting independently of the bombardment of social media, and time spent in prison, indicating the difficulty in escaping that same barrage through social media.

The five paintings on display employ an intense pale!e, together with a distinctive vocabulary of motifs gleaned from art history and the contemporary mechanics of image production and consumption. Throughout her work, Giovanelli makes repeated use of the grid and the cut as motifs that intervene to disrupt the picture’s surface, yet never enough to allow the viewer to peer through. The paintings highlight an event, but our desires to see the before and after are frustrated.

The composition of the paintings invites viewers to trace the structure of the picture plane, approaching tantalising breaks in the surface, yet they are never enough to peer through. As such the viewer’s desires, as voyeur and as object of voyeurism are frustrated — both the perennial achievement and failure of image making throughout history.










Today's News

December 13, 2019

World's oldest artwork uncovered in Indonesian cave: study

Investors must pay back Sotheby's over forged Frans Hals, court finds

Hauser & Wirth announces representation of Avery Singer

Egypt unveils 'rare' ancient pharaoh bust

Russian billionaire loses Monaco battle with art dealer

Mexico makes deal to defuse naked Zapata painting row

Head cones in ancient Egyptian graves cap archaeological debate

Saint Louis Art Museum receives gift of collection of 19th-century photography

Perrotin Tokyo opens an exhibition of works by Takashi Murakami

Keith Haring mural in Amsterdam preserved for the future

Christie's First Open sale highlighted by kinetic work from New Media artist collective, BREAKFAST

White Cube announces representation of the estate of Bram Bogart

Louise Giovanelli's first solo show in Italy on view at Frutta Gallery

Griffin Museum of Photography opens an exhibition of black and white images by Joshua Sariñana

JEMP 2019 -Mechanical: An experimental music festival inspired by Polish Constructivism opens in London

Modern Patek Philippe wristwatches dominate Sotheby's $8.2 Million Important Watches Auction in NYC

Exhibition explores the importance of works by architects associated with the Avant-Garde

Christie's Magnificent Jewels totals $67.5 million

"An Exceptional Eye: Collections of a Free Spirit" achieves €12.5 million at Christie's Paris

JR's street gallery comes indoors

Rare Rolex Khanjar takes off at Bonhams Fine Wristwatches sale

Dix Noonan Webb to sell extremely rare 16th century hawking whistle

Garage Museum of Contemporary Art launches the experimental program Garage Digital

The Florida Aquarium partners with NOAA on new coral reef restoration initiative

Best Museums in the world, worth traveling for!

Virginia Museum of Fine Arts acquires painting commissioned by King George III

Seven centuries from the Woodner Collections celebrated at National Gallery of Art

Calgary Company Announces Not One But TWO Gifts of Public Art by Internationally Renowned Artists




Museums, Exhibits, Artists, Milestones, Digital Art, Architecture, Photography,
Photographers, Special Photos, Special Reports, Featured Stories, Auctions, Art Fairs,
Anecdotes, Art Quiz, Education, Mythology, 3D Images, Last Week, .

 



Founder:
Ignacio Villarreal
(1941 - 2019)
Editor & Publisher: Jose Villarreal
Art Director: Juan José Sepúlveda Ramírez
Writer: Ofelia Zurbia Betancourt

Attorneys
Truck Accident Attorneys
Accident Attorneys
Holistic Dentist
Abogado de accidentes

Royalville Communications, Inc
produces:

ignaciovillarreal.org juncodelavega.com facundocabral-elfinal.org
Founder's Site. Hommage
to a Mexican poet.
Hommage
       

The First Art Newspaper on the Net. The Best Versions Of Ave Maria Song Junco de la Vega Site Ignacio Villarreal Site Parroquia Natividad del Señor
Tell a Friend
Dear User, please complete the form below in order to recommend the Artdaily newsletter to someone you know.
Please complete all fields marked *.
Sending Mail
Sending Successful