How much is there really objective and how much is artificial, recallable on command, in our memory? Two exhibitions, including collages, old photos and postcards, try to answer, hybridizing their own and other people's memories. The result? A journey into the unexpected and the disparate

People drink to forget, but she drank to remember and alcohol helped her to transform her memory into an undergrowth of sensations available on commandhe writes, referring to the protagonist of his book Veronica Raimo in Tutte le feste di domani, Rizzoli.

How much do we skim, select, manipulate, harness, direct our memory in order to survive them or, on the contrary, to be able to draw from them in the most complicated moments? How we feed on artificial memories  in order to overcome the darkness, to be able to curl up in reassuring and familiar places. How much do we tell ourselves polished truths and then glazed to make them shine with not our own light?

Read also the review of Niente di vero by Veronica Raimo 

Collage: a measured or unexpected and disparate mix

What technique, if not collage, can best render that calibrated or random mixture that is our memory when it wanders free through endless mental prairies or gets stranded in the remnants of memories more stubborn? A mixed and eclectic technique that allows you to discover, dig and decode new visual territories.

Cheerful, serious or irreverent, collages push us to explore the crevices of everyday life and to test the power of the random of the unexpected and the disparate.

Traveling between here and elsewhere, between us and what we are

If in Udine, the What remains of the day exhibition allows you to travel between reality and wonder, between here and elsewhere, between past and present , between what is identifiable and what is bizarre, in Rome Las Mujeres Que Me Habitan tells about what, whether consciously or not, is the foundation of the person we have become.

 

The parts that, knowingly or not, make us up

María Ángeles Vila Tortosa has for years collected photographs of the women of her family that have been kept next to images of women never known, distant in time and space, found by chance: a group of people who live it as part of its genetic heritage and part of his sentimental heritage, psychological, emotional and that over the years have inhabited his works on canvas, paper, metal.

Las Mujeres Que Me Habitan

The story of an artistic journey and a constantly evolving research, the centrality of memory and family in the construction of one's identity, extraordinary women known and unknown, in a large mandala made up of more than thirty works produced between 2009 and 2022.

All this, and much more, is Las Mujeres Que Me Habitan, solo exhibition of María Ángeles Vila Tortosa curated by Annalisa Inzana, who until December 22nd inhabits the spaces of the artist's new studio in via di San Martino ai Monti in Rome.

What remains of the day

From 19 November to 22 December 2022, the creative space Arcipèlago in Udine is dedicating an exhibition dedicated to the side playful and surprising collage that exhibits the works of artists Vanda Gemino and Giona Maiarelli.

The last quest'presents twenty-one collages of his New York Times Art Project to return a visual kaleidoscope, in addition to the new series Survey of the American West in which geometric paper shapes painted by hand they dialogue with the black and white photographic images of a nature severe and solemn.

Little things, which aren't small

Vanda Gemino, on the other hand, works the collage on a tiny scale: she creates pins by assembling pages of newspapers and magazines vintage, photos and postcards from the '40s-60s. Works are born that are windows onto his imagination, where stubs of memories, shreds of old times and creative splinters create, piece by piece, a puzzle delicate and intriguing at the same time.