Piazza Vetra, 21, 20123 Milan

Costanza Candeloro
Dadamaino (Ramo Collection)

Constance Candeloro answers questions from
Irina Zucca Alessandrelli, curator of the Ramo Collection

What is your relationship with drawing and Italian art history of the last century?

In the text "L'informe," Rosalind Krauss and Yves-Alain Bois devote a chapter to what they call "Horizontality." In the first part of the text a distinction is made between drawing and painting starting from a quote by Walter Benjamin where he associates painting with the longitudinal plane which for him has a representative function-containing things-and drawing with the transverse plane which has a symbolic function-containing signs. From here begins a reflection on the horizontality of drawing, a horizontality that belongs to the moment in which drawing is made and its elective relationship to the practice of writing. My relationship with drawing is established from the use - almost constant - of writing in my works and through this relationship of interrelation with horizontality.

Of the art of the last century, I have always been fascinated by the self-destructive aspect, but even more interesting is that this process does not involve the absence or elimination of language; it becomes a way of making it overbearingly enter the world of images and objects, making it spatial.

Why did you choose this work by Dadamaino?

I read some texts explaining the process and noticed some similarities with practices and forms of writing that have interested poststructuralist philosophy and literature: the use of repetition and the construction of an alternative, a-verbal language. These are experiments, these, that have always interested my research.