Hong Kong Tatler - - Life | Art -

A fem­i­nist icon and one of the most pro­lific and per­sis­tent fe­male artists of her time, the late Carol Rama was ig­nored by the up­per ech­e­lons of the art sec­tor for most of her life, only to re­ceive wide­spread recog­ni­tion in her 80s. It’s a story we’ve heard be­fore, and it adds poignancy to the ex­hi­bi­tion Carol Rama. Spazio piu che tempo [Carol Rama. Space even more than time] at the Palazzo Ca’nova on the Grand Canal. Cu­rated by Maria Cristina Mundici and Raf­faella Rod­dolo, mem­bers of the Sci­en­tific Com­mit­tee of the Archivio Carol Rama, the show ex­plores the many stages and de­vel­op­ments of Rama’s artis­tic ca­reer through 30 works, with par­tic­u­lar fo­cus on her unique com­mand of com­po­si­tion. Self-taught, Rama be­gan paint­ing in the 1930s as a means of deal­ing with fam­ily tragedies (her mother was in­sti­tu­tion­alised and her fa­ther took his own life when she was 12). She de­vel­oped a fig­u­ra­tive aes­thetic that was both bois­ter­ous and wild. Rama’s cre­ative out­pour­ing turned to the ex­plo­ration of sex­u­al­ity and de­sire, the fe­male body and lust­ful­ness, but also ab­strac­tion and assem­blage in the vein of Arte Povera. It’s hard to pin Rama down to one spot, which is why her work is still so fresh and cur­rent to­day.

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