PATRIZIA TREVISI
Exhibitions
Permanent exhibition
“Insieme” collettiva d’artisti del MAAM. Terme Culturali della Fondazione Cittadella dell’arte Biella 2015
Due Arazzi “Aggregazione: 333 piccole storie raccontate da giovani donne” MAAM Museo dell’Altro e dell’Altrove Roma MAAM Museo dell’Altro e dell’Altrove di Metropoliz_città meticcia. 2014
Due grandi quadri bi facciali “sedimentazioni” per lo Stadio Olimpico Sala Autorità Foro Italico Roma 2010
Due grandi quadri “red and gray” per l’Hall della piscina del Foro Italico Roma 2009
Grandi pannelli a moduli “Olimpico” per lo Stadio Olimpico Sala Sponsor Foro Italico Roma 2008
I bassorilievi “arature” e “venere e marte” per il Club del Tennis Foro Italico Roma 2007
Grande parete a bassorilievo nel battello “IV” Roma 2005
Quattro grandi pannelli ad alto rilievo per il teatro de “Les Atletes” Sestriere TO. 2002
Parete a bassorilievo hall Hotel Santo Stefano Sardegna 1998
Personal exhibitions
“archetipi in scatola” galleria takewaygallery Roma 2011
“magna madre” Rilievi ContemporaryArt Roma 201
“Monetaria” galleria Opera Unica Roma 2010
“Patrizia Trevisi” Sala Rinascimento Roma 2010
“In carne” Extra Arte Roma 2004
“paesaggi enigmatici” XVI circoscrizione Roma 1984
“memory” Galleria Dell’Orologio Roma 1977
Collective exhibitions
“Terra Sterile” Land Art Furlo VI edizione Parco Museo Sant’Anna del Furlo 2015
Slow Art day Casa internazionale della donna Roma 2015
“Rebirth Day” – MAAM il museo sulla luna Interno 14 Roma 2015
“Come rovesciare il mondo ad arte” MACRO Roma 2015
“Terra sterile Exploit” MACAO Milano 2015
“Beefreefromviolence” Pelanda Macro Roma 2014
“Aggregazione: 333 piccole storie raccontate da giovani donne” MAAM Museo dell’Altro e dell’Altrove
MAAM Museo dell’Altro e dell’Altrove di Metropoliz_città meticcia. Roma 2014
“un incontro a 13” Women in Art St.Stephen’s Cultural Center Foundation 2014“ Schut Out”
Sala Esposizione del San Michele Roma 2011
“Anima Mundi” Delta Arte Galleria Roma 2010
“Dalle stalle alle stelle” galleria Arte e Pensieri Roma 2010
“Oltre le mura” Cappella Orsini 2009
“infinito” Extra arte Roma 2004
“Azione-Reazione” Extra arte Roma 2003
“Io” Extra arte Roma 2002
“Decentrazioni” XVI circoscrizione Roma 1984
Multivisions and performance
“Ultimo gioco in città” Teatro Vittoria Roma 1986
“Lutto” performance multivisione Teatro Colosseo Roma 1985
“Italicus” performance multivisione Teatro Colosseo Roma 1985
“Italicus” performance multivisione anfiteatro Calcata 1984
“Twist and Shower” multivisione Teatro Vittoria Roma 1983
“bolgie woogie” Saint Louis Roma 1983
Patrizia Trevisi born in Rome on 28.06.1951 after studying art, a degree in art history at the University of Rome. Illustrates children’s books for Fabbri, Malipiero and Mondadori. She works as a visual, art director and illustrator for many advertising campaigns agencies McCann, Thompson, Compton etc. For Goumont creates and illustrates many film posters: “La Boum” “Reggae Time” “Blow to the Heart.” She worked in Italy, England, Switzerland, Austria, Turkey, Caribbean, Cote d’Ivoire, Morocco, the UAE, Qatar, Ukraine.Decorate for the King Hassan II of Morocco, the residence of Skirat and villas of the Princesses, the Residence of the Prime Minister of Qatar in Doha, Qatar Doha Diplomatic Club. For the Vatican performs the altarpiece Blessed Chiara Como. For Propaganda Fide makes the portrait of Cardinal Sepe.
Executes great works for the Olympic Stadium, Room Sponsors Foro Italico Rome.
The pool hall, Foro Italico Rome
Tennis Club, Foro Italico Rome
Olympic Stadium Hall Authority, Foro Italico Rome Restore the church s.m. Publicolis in Rome and many private homes of the end of 700/800.
She designs and decorates many events and performances for the Academy of France, for the Festival RomaEuropa, Radio Città Futura, Mediaset.Performs murals for Mc Donald’s, private clubs and pubs.
Formal research
ARTWORKS IN CANVAS
“I distrust words, form is everything ” (L. Bourgeois)
” I work with your left hand” to destroy all Apollonian traces. I want the form, the vital and dynamic impulse, both raw and unformed matter, which has in its belly the chaos of the elements that are fighting each.My work refers back to a time before the divine creation and its plan of redemption. The matter that I look for, is as original and enigmatic as its form. It carries with it the virulent struggle between opposites. I do not seek “the philosopher’s stone”, but rather matter which has yet to be purified or sublimated. “Dirty generative matter”. (Patrizia Trevisi)
“Lingam” and “Archetypes in a Box.” 2011
The primordial Eros and his mighty generative power, occupies all my research and is the reason that the Great Mother Goddess is always present in my work. Large hyper-trophic genitalia insistently exposed, are the symbol of the Earth’s primary power and generative capacity, “Nature Naturans”. The large vulvae are big “Open Wounds” which mix Thanatos and Eros. They are “a disclosure”, “an unveiling”, “a revelation”. They are plastic forms, detached from desire, even if they have the potential to contain this desire within themselves. They are expressions of a concept, a sublimate symbol.
Lingam
“Lingam” began life as a request made to 80 artists to interpret an Obelisk for an exhibition. I saw the obelisk as a votive monument, a Totem of Fertility. The Earth’s huge Phallus, the Big Impregnator of space and sky. At the base, on the four sides the big Generative Vulva. The penetration of the space by the Lingam-Obelisk generates a centrifugal force. Air.
The Vulva-Fissures, with their centripetal force, invite you to penetrate into them. Within the innards, in the secret of Creation, in the middle of Revelation. Fire. On the two facing sides, the female genitalia are transformed into a big seed which breaks into the ground, completing its fertility right. Earth.
The canvas which covers the obelisk’s structure, becomes skin, wrapping and uniting the Generative Phallus and the Generative Vulva. To solidify the union, the canvas skin is bound with ropes and knots. It has been torn, stitched, bound and engraved. It is dirty, full of debris, ridges and troughs. It has been sewn and re-sewn, like big scars, a symbol of the struggle, the pain, for the divine “Coniunctio”.
In “Archetipi in scatola” (“Archetypes in a Box”): “Mystic Couple”, “Androgynous”, “Siamese” here too, the union between the masculine and feminine, between men and women, still shows traces of this struggle. The sublime aspiration to merge, often becomes an act of devouring each other (See Couple).
At the base of Lingam, as on the glans, breasts of every shape and size have welded, like shells to a rock. They are the Grande Madre. Feeding the created. They are the moist element, the liquid, the sea. Water. The objects and shells that come out from the breast, abandoned on the beach by the sea, they are selected and collected by me.
I have worked for many years on the element of the feeding-breast. In many works, I have modelled in plaster, inscribing it in square, repeating modules ( Module). I have aggregated them, to facilitate dynamic transmission as an absolute act of creation. (Ceres – Cerere Aggregazione) In others works, this element has been realized in canvas with the same principle as plaster. (Magna Madre)These breasts are like the “ex voto” (ritural offerings) that I saw in my childhood. They are superimposed, one upon the other, adhered, like incrustations, on the walls of Rome. Where women prayed to the Madonna- Grande Madre, asking for her blessing for their children. The generated.
Many of these breast forms are made through sewing, embroidery or crochet (Magna Madre)The work emphasise the feminine, the womanly, her grace and creativity. It has been given the value of warmth, of “Family”, of love and dedication. Fire. To express the feeling of being affectionate, Lingam was padded with cotton and straw. It is soft, you can embrace it, it is feminine, mitigating the Masculine opposite with soft warmth.
Archetipi
The meeting between the archetypes occurred during a magical phase of my experience of psychoanalysis, a moment in which I may have been searching for the Divine. It was like a revelation. I kept the drawings for many years then it became “necessary” and “urgent” to represent them three-dimensionally.This “necessity” has arisen from a reaction to a world lost in hyper-distinctiveness and hyper-criticism. In the desert of intellectualism, humanity refuses to remain at the mercy of “forces” out of its control.
These forces, gods and demons, these primitive Mana(s) have not disappeared. They have only lost contact with our consciousness. Forgotten in stagnant compartments of our psyche, “they” have changed name. ( Barbie).I isolated the Archetypes in transparent boxes. They are primordial images, symbols suspended in a kind of three-dimensional bi-dimensionality. Encased in Plexiglass boxes, like plastic packaging, put on display in a supermarket, they are ready for purchase. Ready to use.Dehydrated, isolated and turned into fetishes of themselves. Embalmed creatures worn down over time. Even if they are forgotten simulacrums, they remain dangerous and powerful. “The black magician,” even if bound and boxed, continues to be elusive and formidable just as the warrior remains heroic.
Their canvas skin, battered and scared, tells the story. The passing of time is shown within the consumption of colours, archaic and primitive, making reference to a past, back in the mists of time.
The gashes, the cut wounds are forcibly held open by clamps, stitches and ties, such as would be found on an operating table. They show the guts, the interior, the hidden content. They must forcibly show their mystery to inquiring eyes, like a vivisection.( portrait) (Siamese-Barbie-)
The Grande Madre is represented as half woman and half beast. The generative and erotic power of the human body merges with pure animal-instinct. It is the protective mother and the terrifying mother, together. It is the mother who nurtures and the mother who devours.