The body’s voice according to Carole Feuerman. Super realism is performed in Palazzo Bonaparte – Rome – Arte.it

Roma – An exhausted woman entrusts her salvation to an air room.
His body, the scene of an existential tension, becomes a field in which the game is kept between life and death. The inner tube turns into an increasingly colorful and shiny lifeguard, while the expression of the face, the headphones, the attitude of other women who lean on it allows different states of moods.
The water becomes a metaphor for the difficult problems, but also a symbol of rebirth through the body. The athletic bodies of the swimmers are accompanied by the crushed where the individual parts seem to come out of the wall as in a hallucination, an expression of their temporary nature despite the harmony of the forms.
For Carole A. Feuerman, the body has a voice, it brings the signs of our stories, trauma, triumphs, defeats, changed. An accessory, such as a pointed shoe or a swimmer cap, always reveals something from the wearer. And here are the bodies of swimmers, swimmers, athletes, dancers who wander around from 4 July to 21 September in Palazzo Bonaparte where the exhibition Carole A. Feuerman. The voice of the body He brings Rome the first large anthological exhibition in Italy of one of the most surprising protagonists of contemporary pop -superrealism.

Carole A. Feuerman. The voice of the body, setting up the exhibition in Palazzo Bonaparte | Courtiness Arthemisia

More than five decades of the American artist’s career are told by more than 50 works, including sculptures, drawings, photos and a specific installation site. There are the designs that have never been exposed to the public and there are and the newest works, the first high schools loaded with Eros, so the natural sculptures. If the works of the 1970s fragments of mainly female body welcome, also cases loaded with erotic implications connected to the dynamics of postmodernism and feminist claims, the creations of the following decades, through small details – of wet skin to the most intimate manifestations – transform sculptuurer.
Every work, in which the artist combines materials such as bronze, resin, steel, silicone, paint, is a small universe that speaks of beauty, memory, transformation.

“For Feuerman The Body – underlines the curator Demetrio Paparoni – has a voice: he expresses inner states, says stories, brings his fights over, commented on society and reflects human condition. He communicates universal themes of strength, survival, beauty and transitality.

Produced and organized by Arthemisia in collaboration with the Feuerman Sculpture Foundation, the exhibition brings the capital the language of the person who has undermined the traditional performances of women in art.

Carole A. Feuerman. The voice of the body, setting up the exhibition in Palazzo Bonaparte | Courtiness Arthemisia

“In 1981 – the artist writes in the text in the catalog – I made a work with the title entitled In 2-1278. You were inspired by my experiences in Key West, where you witness a heartbreaking scene: Cuban immigrants who float on happiness and air chambers risked their lives in search of freedom. This image has an air chamber, colored and surrounded by cloudy water, a symbol of the long battle and despair of those who float in danger for days. A male hand holds the arm of a woman and raises complex questions: is it drowning? Try to save her? Are they united in their suffering or is it a moment of despair? The intriguing and enigmatic title is a telephone number. Invitations for reflection: Do you give him his number? Or is he who has delivered her own? This ambiguity adds depth to their bond and at the same time suggests hope and uncertainty. It is important that the sculpture is without the strokes of the face and embodies anonymity. This choice was made to represent all immigrants, with attention to their collective struggle and the universal desire for a better life “.