Tracey Emin - Firenze - Arte.it

Sealant – “I am on the edge of the abyss, but the view here is exceptional.” Emin’s career from the nineties to today, along a route that the artist and curator of the exhibition, the director of Palazzo Strozzi Arturo Galansino, summarize in two keywords in two keywords: Sex and lonelinessTitle of the project. In the foreground the rough and direct approach to Emin, who translated his personal experiences into intimate and powerful works, but also the versatile nature of his work, which achieved art between the languages of art by experimenting with techniques and materials, from bronze to neon or embroidery. Everything to discover the new productions made for the occasion, such as the site-specific intervention with Blue Neon that announces the exhibition on the facade of Palazzo Strozzi: “Neon is light and pulsating energy, it is a living being, and this makes me a good feeling,” explained the artist.

The monumental bronze awaits us in the courtyard of the fifteenth century I followed you until the end ((I followed you until the end2024), for the first time in Italy: a huge female body that, vast and vulnerable, dominates the space, suspended between desire and suffering, love and loss. Tactile and organic on the surface, irregular in the lines, shameless and disarming in self -expression, can be read as a manifesto of Emin’s sculpture, which thus described its experience in the modeling of the bronze, of which Florence Laboratorium was of excellence, but for many years. “Then I made friends with Louise Bourgeois, Jerry Gorovoy, Scott Lyon Wall and I worked in a Foundry in New York where I learned the Lost Wax technique, starting with small sculptures. I have learned a lot, it is the only really new thing I have learned in the last twenty years. The history of bronze is extraordinary because of the alchemical materials involved “. Creating a work such as the work exposed in the courtyard of Vitellozzo” It is something huge in which many people are involved, “Emin said in conversation with Galansino:” The apparent naturalness and spontaneity of the end result is very difficult. And you can’t go wrong because nobody wants to find yourself with two tons of bronze that believes ugly. ”

Another work not to miss, even during the debut in Italy, is the installation Exorcism of the last painting I never made ((Exorcism of the last painting I have ever done), Document from a historical version of 1996. In a hall of Palazzo Strozzi Emin, he reconstructed the temporary study in which he lived for more than three weeks and worked naked under the eyes of the audience, which inspired drawings and paintings by men such as Egon Schiele (one of his favorites together with Munch), Yves Klein and Pablo Picasso. “By becoming the subject and the object of his art, Emin implements a kind of artistic exorcism, undermining the role of women: not a simpler model, but active protagonist,” they write from Palazzo Strozzi.

But there is more: with that show the artist returned to paint after six years of painful interruption, which restored a fundamental practice in his research. “For me, painting the essence of creativity, it’s close to the Divine, it’s a world apart, it’s as if you are another dimension, another space, something that is not human,” he says, “Painting is in my blood, it is part of me, it flows as much in me as the design. On his abstract and figurative canvases, they merge with the results of great expressive power, traceing fields of tensions where gesture and material play a central role: fast brush strokes and color flows give the paintings of Emin an unstable and lively intensity, which strengthens their careless character with the feeling of fragility and suspension.

On the other side of the planet there is the use of words, only apparently unlike such a visceral painting and sculpture. From the titles to the works themselves, direct and explicit expressions between the viewer, between the confession and confirmation, are perhaps the clearest example, with the artist who transforms their manual writing from an intimate expression into visual experience.

“We zijn er trots op het werk van Tracey Emin te presenteren in een ongekende tentoonstelling in Italië, waardoor het publiek een van de beroemdste en invloedrijke kunstenaars van het hedendaagse panorama kan ontdekken”, zei Galansino: “De tentoonstelling biedt bezoekers een onderdompeling in de gevoelens die de kunst van Tracey Emin animeren. Seks en eenzaamheid, tegenovergestelde palen opgeroepen door de titel, vertegenwoordigen het steunpunt van zijn artistieke practice, an intimate dialogue between the desire for connection and the inevitable isolation of existence “.

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Tracey Emin – Firenze – Arte.it

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