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Madre - Donnaregina Museum of Contemporary Art verified

Naples, Campania, Italy closed Visit museumarrow_right_alt

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Jan Fabre - The man who measures the clouds
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Lucio Fontana - Spatial Concept, Waits
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Jannis Kounellis - Without title
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Anish Kapoor - Dark Brother
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Michelangelo Pistoletto - Venus of the rags
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Jeff Koons - Without title
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Andy Warhol - Beuys by Warhol
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Agostino Bonalumi - Without title
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Getulio Alviani -  Vibrating texture
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Giovanni Anselmo - Invisible
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Gianni Piacentino - Dark Prussian – Blue Portal IV
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Francesco Clemente - Ave Ovo
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Giovanna Bianco; Pino Valente - The sea does not wet Naples
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Daniel Buren - Axis / Offset
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Léa Lublin - Without title
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Fausto Melotti - The love
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Sol LeWitt - Scribbles
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Gianfranco Baruchello - My cinema
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Giulio Paolini - Dilemma
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Emilio Isgrò -
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Mimmo Paladino - Without title
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Paul Thorel - "Passage of Victory"
Jan Fabre - The man who measures the clouds
Lucio Fontana - Spatial Concept, Waits
Jannis Kounellis - Without title
Anish Kapoor - Dark Brother
Michelangelo Pistoletto - Venus of the rags
Jeff Koons - Without title
Andy Warhol - Beuys by Warhol
Agostino Bonalumi - Without title
Getulio Alviani -  Vibrating texture
Giovanni Anselmo - Invisible
Gianni Piacentino - Dark Prussian – Blue Portal IV
Francesco Clemente - Ave Ovo
Giovanna Bianco; Pino Valente - The sea does not wet Naples
Daniel Buren - Axis / Offset
Léa Lublin - Without title
Fausto Melotti - The love
Sol LeWitt - Scribbles
Gianfranco Baruchello - My cinema
Giulio Paolini - Dilemma
Emilio Isgrò -
Mimmo Paladino - Without title
Paul Thorel - "Passage of Victory"

Other works on display

Description

The new commission for the museum's collection was designed to be placed on the terrace, which dominates the surrounding district of San Lorenzo at 360 degrees, up to Vesuvius and the sea, barely visible in the distance. The sea does not wet Naples, right from its title, cites that of the book published by Anna Maria Ortese in 1953, a collection of short stories that returns the difficulties, the drama and the suffering of post-war Naples with a critical, sometimes merciless, gaze. The apparently absurd statement hides a bitter reflection: where the sea is synonymous with openness and possibility, then Naples cannot be bathed by the same waters that offer a way of escape and redemption. Bianco-Valente takes up this painful assumption, showing its most paradoxical aspect: from the terrace it is in fact visible, even if in the distance, the same sea that the phrase denies, activating a short circuit between meaning and signifier. The words that make up the writing are made of iron: the discontinuity of the surface, left in its raw state but covered by a generous layer of paint that will be taken up every year by the artists, reinforces the roughness of the words and refers to a state of tension that has never been resolved. , difficult to "smooth out" but, for this reason, dramatically authentic.

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