AlbumArte
presents
Anna Raimondo
Fronte Nazionale Naso Partenopeo
Curated by Marco Trulli
Opening reception on Thursday, January 16th 2020, from 6:30 PM
AlbumArte | Via Flaminia 122, Roma
Open to the public until February 29th 2020
We are very happy to open on Thursday, January 16th 2020, AlbumArte Fronte Nazionale Naso Partenopeo, solo show of the artist Anna Raimondo curated by Marco Trulli. The exhibition will be open to the public until Saturday, February 29th.
On display at AlbumArte audio and video installations, which testify the work done by the artist in various parts of the world and, for the first time Fronte Nazionale Naso Partenopeo will be exhibited, the site-specific installation that gives the title to exhibition.
The title in fact draws inspiration from a written inscription fleetingly read by the artist on the walls of Naples. The controversial theme of identity, ironically laid bare by this phrase, is at the center of the show, that presents a heterogeneous selection of works in which Anna Raimondo unravels a continuous search that, starting from the intimate dimension, tackles a number of relevant issues of public and political nature, such as the question of the right to mobility or the de-construction of gender identity.
In Nada que declarar (2019) the artist aims at escaping the dominant and binary representation of gender. In this work Raimondo combines a series of identikit pictures depicting her naked, with a megaphone to her pubic regione, along with a series of portraits taken by students of the Academy of Fine Arts of Buenos Aires in which the artist strikes poses that allude to famous female nudes in art history. An ambiguous representation is thus generated, conditioned by the use of the megaphone, which on the one hand amplifies the vaginal sounds and on the other alludes to a phallic form.
The topics of religious and cultural identity are addressed in Derrière la mer (2018) and Nel dubbio (2016) with the overlap of different symbols and identity references.
Starting from the universal and symbolic dimension of the sea, in the score of Derrière la mer Raimondo weaves together excerpts of interviews with sea references taken from the Bible and the Quran, performed by the soprano Edka Jarząb and the baritone Jérôme Porsperger.
Finally, the constitution of a utopian party, Fronte Nazionale Naso Partenopeo (Neapolitan Nose National Front), from which the artist begins a choral reflection on daily micro-actions of social transformation and emancipation, through a previous work of interviews with Neapolitan citizens and activists. A (non) party, represented by a non-flag that will be on display in the exhibition together with various propaganda materials, with the aim of determining a friction with the current political debate.
“Anna Raimondo’s work is a place of meetings and exchange, that is nourished by listening throughout the process and the final formalization with the public. The relational processes that the artist activates often question the construction of gender in everyday and public behavior, putting her daily feminism in conversation with other people mindset. It can be defined as a journey through social diversity that facilitates and creates areas of possible interactions, dissonances, negotiation and collective creation of meaning. ” (Nancy Casielles e N. Suarez, 2016)
Many of her works peculiarly deal with creating incursions in the public sphere, while trying to carve out space and listening time within the urban realm. In this way, she creates disorienting devices and relocation of meaning. Through the fluidity of sound, the artist connects spaces, times, and people and reflects on topics and identities removed from memory or society. The exhibition is therefore a liquid itinerary between sound works, relational projects and performative acts realized by the artist in different parts of the world.
Once again here at AlbumArte a female and an emerging artist, and an interesting network of Italian and international collaborations to support the exhibition, having worked together with Ex Elettrofonica and Cantieri d’Arte – La ville ouvertem, and with the support of Wallonie-Bruxelles International. Thanks to Massimo De Giovanni for its collaboration in the exhibition set up.
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