{"id":2005,"date":"2022-03-11T17:44:02","date_gmt":"2022-03-11T16:44:02","guid":{"rendered":"https:\/\/paolocortese.gallery\/mirella-bentivoglio-laltra-faccia-della-luna\/"},"modified":"2022-03-11T18:48:05","modified_gmt":"2022-03-11T17:48:05","slug":"mirella-bentivoglio-laltra-faccia-della-luna","status":"publish","type":"post","link":"https:\/\/paolocortese.gallery\/en\/mirella-bentivoglio-laltra-faccia-della-luna\/","title":{"rendered":"Mirella Bentivoglio “The Other Side of the Moon”"},"content":{"rendered":"\n

MIRELLA BENTIVOGLIO. The Other Side of the Moon <\/em><\/strong>8\/3\/2022- 10\/5\/2022<\/p>\n\n\n\n

curated by Davide Mariani and Paolo Cortese<\/strong><\/p>\n\n\n\n

Knock (on your dreams) and they will open\u2026<\/em><\/p>\n\n\n\n

(Mirella Bentivoglio)<\/p>\n\n\n\n

\u2018The Other Side of the Moon\u2019, organized by the Italian Embassy of Athens, the Italian Cultural Institute in Athens and the Gramma_Epsilon Gallery, in collaboration with the Mirella Bentivoglio Archive, is the first retrospective dedicated to Mirella Bentivoglio in Greece and pays homage to the centenary of the influential Italian artist\u2019s birth (Klagenfurt 1922 \u2013 Rome 2017).<\/p>\n\n\n\n

Curated by Paolo Cortese and Davide Mariani, and on display at the Italian Cultural Institute and the Gramma_Epsilon Gallery, the exhibition highlights the depth and complexity of her poetry. The collection, which includes more than fifty works, including photos, videos and drawings, invites visitors to appreciate key moments in her artistic and curatorial career, and her thought-provoking ideas on subjects that are still very relevant today.<\/p>\n\n\n\n

Concrete poetry to Visual poetry<\/strong><\/p>\n\n\n\n

The exhibition traces the stages that marked Mirella Bentivoglio\u2019s biographical and artistic journey, starting with her experimentations during the sixties and seventies, when she explored Concrete poetry, where meaning is transmitted through the shape and composition of letters and words, such as \u2018Story of Monument\u2019 (Storia del monument<\/em>o), created with Annalisa Alloatti in 1968, \u2018Cage (I have)\u2019 (Gabbia HO<\/em>,1966-70), \u2018Success\u2019<\/em> (Successo<\/em>,1969). Her Visual poetry followed, characterized by the introduction of slogans and elements of pop culture, such as her renowned \u2018I love you\u2019<\/em> (Ti amo<\/em>,1970).<\/p>\n\n\n\n

In many of her works in those years she often investigated aspects of modern society, such as consumerism, which she openly and fervently criticized, such as in \u2018The Consumed Consumer\u2019 (Il consumatore consumato,<\/em>1974) or \u2018Heart of the Obedient Female Consumer\u2019 (Il cuore della consumatrice ubbidiente<\/em>,1975),and her witty interpretation of one of the most emblematic consumer logos for coca cola. \u201cI noticed that by placing the two \u2018C\u2019s opposite each other to make a heart shape \u2013 and their shape alone made this possible (I did not have to change anything), the \u2018oca\u2019 (goose) appeared of its own accord\u201d, affirmedBentivoglio in one of her last interviews in which she identified the \u2018female-goose\u2019 as a principal ally of consumerism.<\/p>\n\n\n\n

The exhibition also documents her main environmental interventions from the mid 1970s, such as::\u2018Egg of Gubbio\u2019 (L\u2019Ovo di Gubbio<\/em> 1976),\u2018Poem to a Tree\u2019 (Poesia all\u2019albero<\/em>,1976), \u2018And=conjunction: head-on collision, immobilizing locking\u2019 (E=congiunzione: Scontro frontale, Incastro immobilizzante<\/em>,1978-81), \u2018An \u2018E\u2019 of \u2018E\u2019s\u2019, (Una \u201cE\u201d di \u201cE\u201d,<\/em>1979-1981), \u2018<\/em>Operation Orpheus\u2019 (Operazione Orfeo<\/em>,1982) and \u2018Field-book, Agri-culture\u2019 (Libro campo, Agri-cultura,<\/em>1998)<\/em>. The strong symbolism and identity connotations in each work carry the potential to create new and meaningful relationships with the surrounding landscape.<\/p>\n\n\n\n

The female touch<\/strong><\/p>\n\n\n\n

Among the many issues explored by the artist, that of gender undoubtedly played a key role, as seen in many of her works on show, including: DIVA\/NO<\/em> (1971), \u2018Tombstone to the Housewife\u2019, (Lapide alla casalinga<\/em>,1974) or \u2018Cancelled\u2019, (La cancellata<\/em>,1977-98). In these works, Bentivoglio affirms that female emancipation is possible, but not a foregone conclusion, as she herself reminds us: \u201cthere was a habit of considering women aesthetically present only as housewives; female scientists were acknowledged, but not female artists<\/em>\u201d.<\/p>\n\n\n\n

While the popular image of a woman was someone sewing and caring for the family, a kind of angel of the hearth, for Bentivoglio this concept needed to be reversed, by claiming a new role in society.<\/p>\n\n\n\n

This is epitomized in the iconic writing on a T-shirt in \u2018Correction, linguistic promotion of sewing\u2019, (Correzione, promozione linguistica del cucito, <\/em>1988), which says: \u2018do not<\/s>\/fear, I am a woman\u2019 (niente<\/s>\/abbiate paura, sono una donna<\/em>).<\/p>\n\n\n\n

<\/p>\n\n\n\n

\n
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La firma<\/em>, 1973<\/figcaption><\/figure>\n\n\n\n
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Storia del Monumento<\/em>, 1968<\/figcaption><\/figure>\n\n\n\n
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La sorpresa<\/em>, 1986<\/figcaption><\/figure>\n\n\n\n
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Gramma_Epsilon Gallery<\/figcaption><\/figure>\n\n\n\n
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Gramma_Epsilon Gallery<\/figcaption><\/figure>\n\n\n\n
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Gramma_Epsilon Gallery<\/figcaption><\/figure>\n\n\n\n
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Gramma_Epsilon Gallery<\/figcaption><\/figure>\n\n\n\n
\"\"
Gramma_Epsilon Gallery<\/figcaption><\/figure>\n\n\n\n
\"\"
Gramma_Epsilon Gallery<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
\n
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IIC Atene_sala Gattopardo<\/figcaption><\/figure>\n\n\n\n
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IIC Atene_sala Gattopardo<\/figcaption><\/figure>\n\n\n\n
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IIC Atene_sala Gattopardo<\/figcaption><\/figure>\n\n\n\n
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Francesca Cataldi, Libro<\/em>, 1980
IIC Atene_sala Callas<\/figcaption><\/figure>\n\n\n\n
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Lucia Marcucci, Il tema romantico della poesia<\/em>, 1973
IIC Atene_sala Callas<\/figcaption><\/figure>\n\n\n\n
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Tomaso Binga, Carta da parato<\/em>, 1976
IIC Atene_sala Callas<\/figcaption><\/figure>\n\n\n\n
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Materializzazione del linguaggio<\/em>, 1978
foto dell’inaugurazione
IIC Atene_sala Callas<\/figcaption><\/figure>\n\n\n\n
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Mterializzazione del linguaggio<\/em>, 1978
foto dell’allestimento
IIC Atene_sala Callas<\/figcaption><\/figure>\n\n\n\n
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Valeria Melandri Fotogramma del film \u201cPomeriggio d\u2019inverno\u201d<\/em>, 1975, IIC Atene_sala Callas<\/figcaption><\/figure>\n<\/figure>\n\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

\u2018The Other Side of the Moon\u2019, organized by the Italian Embassy of Athens, the Italian Cultural Institute in Athens and the Gramma_Epsilon Gallery, in collaboration with the Mirella Bentivoglio Archive, is the first retrospective dedicated to Mirella Bentivoglio in Greece and pays homage to the centenary of the influential Italian artist’s birth (Klagenfurt 1922 – Rome 2017)<\/p>\n","protected":false},"author":4,"featured_media":2001,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[255,113,17],"tags":[117,256,98,127,135,102,104,199,105,106,257,258,259,260,261,262,263,264,108,265,266],"class_list":["post-2005","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-mostre-en","category-focus-en","category-news_en","tag-archiviomirellabentivoglio-en","tag-davidemariani-2-en","tag-elisabettagut-en","tag-francescacataldi-en","tag-materializzazionedellinguaggio-en","tag-objectbook-en","tag-paolocortese-en","tag-paolocortese-gallery-en","tag-poesiaconcreta-en","tag-poesiavisiva-en","tag-francasonnino-en","tag-francescoromanopetillo-en","tag-gisellameo-2-en","tag-gramma_epsilon-en","tag-gretaschoedl-en","tag-iramblank-en","tag-luciamarcucci-2-en","tag-marialai-2-en","tag-poesiavisual-en","tag-renataprunas-en","tag-tomasobinga-2-en"],"acf":[],"_links":{"self":[{"href":"https:\/\/paolocortese.gallery\/en\/wp-json\/wp\/v2\/posts\/2005","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/paolocortese.gallery\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/paolocortese.gallery\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/paolocortese.gallery\/en\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/paolocortese.gallery\/en\/wp-json\/wp\/v2\/comments?post=2005"}],"version-history":[{"count":3,"href":"https:\/\/paolocortese.gallery\/en\/wp-json\/wp\/v2\/posts\/2005\/revisions"}],"predecessor-version":[{"id":2012,"href":"https:\/\/paolocortese.gallery\/en\/wp-json\/wp\/v2\/posts\/2005\/revisions\/2012"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/paolocortese.gallery\/en\/wp-json\/wp\/v2\/media\/2001"}],"wp:attachment":[{"href":"https:\/\/paolocortese.gallery\/en\/wp-json\/wp\/v2\/media?parent=2005"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/paolocortese.gallery\/en\/wp-json\/wp\/v2\/categories?post=2005"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/paolocortese.gallery\/en\/wp-json\/wp\/v2\/tags?post=2005"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}