On display is a collection of ironic and playful self-portraits; it was inspired by Daina Maja Titonel’s invitation to close a two-year cycle of exhibitions dedicated to female artists. Lussi responds by challenging the current gender disparity through permutations of her “Rose”. Completed in acrylic paint on a round-shaped canvas, each portrait attributes an adjective to its “Rose”; in turn, this becomes an interpretive lens colouring the candid and metamorphic figure that emerges. Lussi’s sophisticated research into chromatic variations renders each of her roses unique.
The exhibition is completed by a bust of Leonardo da Vinci in Murano Crystal (2016); three Rosaries (2016) in blown glass by Maestro vetraio Silvano Signoretto, and the excruciating “face” of Irene (2014), the only empress to have ruled in the fifteen-century history of the Roman Empire.
The reflection that emerges is a shared and striking concern with the gender gap. This is compounded by the gallerist’s own research: she used her expertise as a mathematician to develop a comparative statistical analysis of the state of the gender gap in the visual arts.
AL#0001: mitochondriac alien, visitor from future eras, cybernetic creature, made in aluminium, touching with his vibrant yet demure shine, resistance and lightness. Ria Lussi’s “nouveau né” is born from a collaboration with a designer team and artificial intelligence.
From March 10th to April 30th 2020 Mucciaccia Contemporary Gallery hosts among the others allegoric creatures of Ria Lussi, the new Riflettenti (Reflecters) - silver-plated, engraved and sandblasted glasses - where are drawn some of the vices mentioned by the great European philosopher Giordano Bruno, in his work “Lo Spaccio de La Bestia Trionfante”.
Through this series of philosophic portraits the spectator is called to interact playfully, recognizing himself while reflecting in them. This way you take up the artist’s implicit call to spontaneously make a collective action to partecipate to the Bestia Trionfante (Triumphing Beast) fall. The Bestia itself is portrayed, ink on silk, with a vibrant grey’s palette. Following the exposition’s path, the Matrici Cromatiche (Chromatic Matrixes), which embodied the virtues, sit enthroned on the upper floor. There, you can find also Old Giordano Bruno and Mnemosyne, in mirrored, blown glass, both works which inspired the artistic philosophic project which started in 2016.
Giordano Bruno, an unforgettable genius, master of artificial memory, a migrant among the Universities of Europe, was convinced that through the transmission of arts and knowledge, society could renew itself by “lighting up\”.
After reading enthusiastically the Spaccio de la Beast Triumphant, Giordano Bruno I imagined it thus ... Curious, irreverent, volcanic, incandescent, indefatigable, optimistic, idealist, brilliant, universal. The only sure thing we know about his physical appearance is that he was small in stature. Perhaps this is why I imagined him squatted, ready to jump, with wings instead of arms! In good company with philosophers, artisans and acrobats, from 1 to 30 October 2018 the three-year project around Giordano Bruno “il luminoso“ was carried out with a residence at the Macro Asilo. For a month a “room“ of 15 meters by 8 as a scenic space has welcomed a series of actions around the great European genius and the participatory rereading of his book in which he expresses the fascinating concept of knowledge as an antidote to Ignorance, Inertia and the Bestiality that now as then afflicts humanity!
In the post-digital era one can share the project with a global community, and also bring the younger generations closer to the function of contemporary art, which has a particular civil value in a public place.
Ria Lussi prefers an apparent fragility that increases the iconographic pathos, while re-proposing the aesthetic theme by incorporating the surface with its multiple depths in the different levels of transparency. Think about it, it’s no small thing that an artist manages to engage so deeply with the epidermises, breaking the arts & crafts of certain “popular&rdquo materials. Glass, neon or the illuminations transmute without losing their identity, cutting abnormal trajectories as only artists can make happen. Non-conforming trajectories are the blue-print of Ria’s inventive biology: and we see the cornerstones of humanistic thought (her references to philosophical and literary texts are many) giving form to a new iconic species, endowed with memory and vision, empathic by nature, alien in so far it is “other&rdquo.
“What are you doing, Hope, not surprising me, not prompting me?” Resuming the ancient technique of luminaries, Ria Lussi build a 7-meter-high art work dedicated to Spoleto , a call for rebirth and optimism after the tragic earthquake of 2016. Presented by Gianluca Marziani, in collaboration with Municipality of Spoleto and Collicola Palace Visual Arts, the installation, is born form a pluriannual work of Ria Lussi on Giordano Bruno and on his book “Spaccio de la Bestia Trionfante”. During the event the artist’s book will be distributed, in a limited edition, translated in contemporary Italian by Daniele Teclemariam and with the linguistic advice of Agata Azzellini, introduced by fifteen emblematic Ria Lussi’s drawings.
Spoleto | Giardini di Viale Matteotti
Lit up every day at sunset
Giordano Bruno is probably the first man to sink his gaze into a nature considered life-infinite-matter, and who unveiled to the blind mind of his contemporaries an unexplored universe, with perfect coherence.
His amazing cosmo-ontological vision claimed, as an inevitable consequence, the necessity of a new ethic, able to reevaluate traditional values, responsible for the crisis that Europe (which had “as many beasts as vices, in the sky”) was going through.
The crisis that us contemporaries are going through is perhaps more extensive and profound than the one Giordano perceived at the beginning of the year 600. Maybe we completely ignore that we’re living. Life is an even greater danger: we are glass, like the mitochondrial “Warriors of Light” of Ria Lussi – we better not get hit! All is lost when we fall.
altramurgia | masseria di cultura internazionale
statale SP 328 km 45 Altamura - Corato
Enlightenment from sunset till midnight
«Ria Lussi’s Mitochondria is a never-ending mystery that disclos- es and reveals. A journey through multiple forms of expression explored with her endless creativity. The will to experiment, moored to the important theme of “procreation”. The vitality of her motto “all is energy, everything evolves” is the perfect synthesis of those power plants that activate cells: Mitochondria. Texts by Umberto Palestini» Umberto Palestini
«Sometimes nomina sunt consequentia rerum (names are the consequence of things). How many unexpected lussi there are in the brightness of her work…
And furthermore, for those who are not too distracted, to recall is better: the etymology of “lusso” (luxury) is lux. How much light there is in these sculptures!!!» Philippe Daverio
Through twelve portraits, from Julius Caesar to Constantine XI, the Series chronicles the transformation of the Roman and Byzantine Empire, which "illuminated" as it was by the Christian doctrine throughout its long history, renewed its moral code over time.
Testi di Gianluca Marziani e Adriano Berengo
This work, designed especially for the Callicola Visual Arts Building of Spoleto, joined the original framework of the Twelve Light Emperors of the Floridi Doria Pamphilj Series. Almost three meters high, the Matrix Imperatorum is now part of the 2.0 Collection of the Museum.
Spoleto | Palazzo Collicola Arti Visive
Visitors? Guests? Creatures? Mitochondrial devas?
Each W.O.L. is fierce and benevolent at the same time, helpless in its astonished innocence.
Forged by fire: ready to face earthly residence, not devoid of danger.
Testi di Jean Blanchaert
I have a dream, you have a dream, may you have a dream, for if they are not dreams, what are they? The characters I draw come to light unbeknown to me and come, I believe, from inifinity.
Or rather I cannot say neither where they come from nor where they go.
They seem to have stories to tell and are here on earth, a little unwary, disoriented.....
Testi di Umberto Palestini e Massimiliano Floridi
I was born in Milano and live in Rome.
I studied as a painter in Paris, as a visual designer in Urbino and translation in Trieste.
When I draw, it is usually with a black Bic pen. No turning back is allowed.
The mediums I like to use are neon, silk, glass because they are all fragile and yet resilient materials. They maintain a shiny, almost inappropriate luminosity and at the same time, like human life, they could break in a moment.
On the cosmogony of beings that spring (persistently) from my pen, I don’t say nothing. To those that meet them, interpret...