| CAROL RAMA |
you can also see the exhibition and the works on ARTSY | |
| nine works 1942-1976 |
Exhibition 2018 | |
| 5 november – 23 december 2021 | in folio |
[…] an analysis focussed exclusively on Carol Rama’s works […]. This is the only way that the real value of her eccentricity can be brought to light. Hers is an eccentricity which, in my opinion, does not lie so much in the artist’s now renowned character nor in her private life, as her predilection for what dwells ‘outside the centre’ (“eccentric” indeed derives from the Latin ex-centrum), namely, the discard in the sense of material to be reused but above all of isolated sections of a body. In other words, it is in the psychoanalytical concept of fetish, as the symbol of something missing or lost, left offstage and therefore ‘outside the centre’, that Carol Rama’s great and incomparable eccentricity resides. Ilaria Bernardi, Trentacinque opere di Carol Rama 1942-1997, Il Ponte edition, Florence 2018 | ||
Carol Rama, polaroid by Andy Warhol |
For an in-depth understanding of her work it is therefore necessary to start from her obsession with rejection, with the isolated, discarded, off-centre object. And so we must focus our attention on the salient moments in Carol Rama’s artistic career and on the recurring images that allowed the intangible and inaccessible pain that she experienced to become fetishized, that is, to take on concrete, visible, palpable and idealized form. In other words, light needs to be cast on what enables the feeling of rejection to transform into desire in her works. Ilaria Bernardi, Trentacinque opere di Carol Rama 1942-1997, Il Ponte edition , Florence 2018 | ||
Carol Rama, ph. Pino Dell'Aquila |
During the 1970s Carol Rama switched her work again, opting to use mixed techniques, above all collages of rubber and pastel or oil on canvas, or collages of rubber on capote canvas, or collages of tyres associated with various kinds of background. The memory of the ‘suffering’ material in Alberto Burri’s Sacchi is now united with the need for autobiographism and symbolism: the rubber that she uses for example, is to be seen as a vivid memory of her father’s company (who produced bicycles) and the pain deriving from his bankruptcy, but at the same time as an evocation of the surface of human skin, the bowels, limp members and parts of the anatomy with all their intrinsic erotic and sensual capacity. Ilaria Bernardi, Trentacinque opere di Carol Rama 1942-1997, Il Ponte edition, Florence 2018 | ||
Carol Rama, ph. Roberto Goffi |
AVAILABLE WORKS
Carol Rama. Nine works 1942-1976 was last modified: January 15th, 2024 by