MAAM Museo dell’Altro e dell’Altrove di Metropoliz_citt\u00e0 meticcia<\/a>. Roma 2014<\/strong><\/p>\n <\/p>\n
“un incontro a 13” Women in Art St.Stephen’s Cultural Center Foundation 2014\u201c Schut Out\u201d<\/p>\n
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Sala Esposizione del San Michele Roma 2011<\/p>\n
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“Anima Mundi”\u00a0 Delta Arte Galleria Roma 2010<\/p>\n
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“Dalle stalle alle stelle”\u00a0 galleria Arte e\u00a0 Pensieri Roma 2010<\/p>\n
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“Oltre le mura” Cappella Orsini 2009<\/p>\n
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“infinito” Extra arte Roma 2004<\/p>\n
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“Azione-Reazione”\u00a0 Extra arte Roma 2003<\/p>\n
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“Io”\u00a0 Extra arte Roma 2002<\/p>\n
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“Decentrazioni” XVI circoscrizione Roma 1984<\/p>\n
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Multivisions and performance<\/h4>\n
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\u201cUltimo gioco in citt\u00e0\u201d Teatro Vittoria Roma 1986<\/p>\n
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\u201cLutto\u201d performance multivisione Teatro Colosseo Roma 1985<\/p>\n
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\u201cItalicus” performance multivisione Teatro Colosseo Roma 1985<\/p>\n
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\u201cItalicus” performance multivisione anfiteatro Calcata\u00a0 1984<\/p>\n
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\u201cTwist and Shower\u201d multivisione Teatro Vittoria Roma 1983<\/p>\n
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\u201cbolgie woogie\u201d Saint Louis Roma 1983<\/p>\n
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Patrizia Trevisi<\/strong> 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. \u00a0She works as a visual, art director and illustrator for many advertising campaigns agencies McCann, Thompson, Compton etc. \u00a0For Goumont creates and illustrates many film posters: “La Boum” “Reggae Time” “Blow to the Heart.” \u00a0She 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. \u00a0For the Vatican performs the altarpiece Blessed Chiara Como. For Propaganda Fide makes the portrait of Cardinal Sepe.
\nExecutes great works for the Olympic Stadium, Room Sponsors Foro Italico Rome.
\nThe pool hall, Foro Italico Rome
\nTennis Club, Foro Italico Rome
\nOlympic Stadium Hall Authority, Foro Italico Rome Restore the church s.m. Publicolis in Rome and many private homes of the end of 700\/800.
\nShe designs and decorates many events and performances for the Academy of France, for the Festival RomaEuropa, Radio Citt\u00e0 Futura, Mediaset.Performs murals for Mc Donald’s, private clubs and pubs.<\/p>\n <\/p>\n
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Formal research<\/strong><\/h3>\n
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ARTWORKS<\/span><\/span> IN CANVAS<\/span><\/span><\/h4>\n“I distrust words, form is everything ” (L. Bourgeois)<\/em><\/p>\n” I work with your left hand” to destroy all Apollonian traces. I want the form, the vital \u00a0and 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. \u201cDirty generative matter”. (Patrizia Trevisi)<\/p>\n
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“Lingam” and “Archetypes in a Box.” 2011<\/h4>\n
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\u2019s primary power and generative capacity, “Nature Naturans”. \u00a0The large vulvae are big \u201cOpen Wounds\u201d which mix Thanatos and Eros. They are \u00a0\u201ca disclosure\u201d, \u201can unveiling\u201d, \u201ca revelation\u201d. 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.<\/p>\n
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Lingam<\/h4>\n
\u201cLingam\u201d began life as a request made to 80 artists to interpret an Obelisk for an exhibition. \u00a0I 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.
\nThe 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.
\nThe 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, \u00a0ridges and troughs. It has been \u00a0sewn and re-sewn, like big scars, a symbol of the struggle, the pain, for the divine \u201cConiunctio\u201d.
\nIn \u201cArchetipi in scatola\u201d (\u201cArchetypes in a Box\u201d): \u201cMystic Couple\u201d, \u201cAndrogynous\u201d, \u201cSiamese\u201d 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).
\nAt 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. \u00a0Feeding the created. \u00a0They are the moist element, the liquid, the sea. Water. The objects \u00a0and shells that come out from the breast, abandoned on the beach by the sea, they are selected and collected by me.
\nI have worked for many years on the element of the feeding-breast. In many works, I have modelled in plaster, inscribing it in \u00a0square, repeating \u00a0modules ( Module). I have \u00a0aggregated them, \u00a0to 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. \u00a0(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.
\nMany 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 \u201cFamily\u201d, of love and dedication. Fire. To express the feeling of being affectionate, \u00a0Lingam was padded with cotton and straw. It is soft, you can embrace it, it is feminine, mitigating the Masculine opposite with soft warmth.<\/p>\n
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Archetipi<\/h4>\n
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 \u201cnecessary\u201d and \u201curgent\u201d to represent them three-dimensionally.This “necessity\u201d 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\u201d out of its control.
\nThese 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, \u201cthey\u201d 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. \u00a0Encased 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.
\nTheir 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.
\nThe 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-)
\nThe Grande Madre is represented as half woman and half beast. \u00a0The generative \u00a0and 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.[\/vc_column_text][vc_empty_space image_repeat=”no-repeat”][\/vc_column][\/vc_row]<\/p>\n","protected":false},"excerpt":{"rendered":"
[vc_row row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” oblique_section=”no” text_align=”left” css_animation=””][vc_column][vc_column_text] 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…<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"open","template":"","meta":[],"_links":{"self":[{"href":"https:\/\/patriziatrevisiartgallery.it\/en\/wp-json\/wp\/v2\/pages\/42"}],"collection":[{"href":"https:\/\/patriziatrevisiartgallery.it\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/patriziatrevisiartgallery.it\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/patriziatrevisiartgallery.it\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/patriziatrevisiartgallery.it\/en\/wp-json\/wp\/v2\/comments?post=42"}],"version-history":[{"count":36,"href":"https:\/\/patriziatrevisiartgallery.it\/en\/wp-json\/wp\/v2\/pages\/42\/revisions"}],"predecessor-version":[{"id":1081,"href":"https:\/\/patriziatrevisiartgallery.it\/en\/wp-json\/wp\/v2\/pages\/42\/revisions\/1081"}],"wp:attachment":[{"href":"https:\/\/patriziatrevisiartgallery.it\/en\/wp-json\/wp\/v2\/media?parent=42"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}