Corso Sempione, 33, 20145 Milan
Carol Rama (Collezione Ramo)
Miss Goffetown answers questions from
Irina Zucca Alessandrelli, curator of the Collezione Ramo
What is your relationship with drawing and Italian art history of the last century?
Everyone finds his or her own way of being in the world and giving value to the time he or she spends here.
For it to be possible to verify our presence every day, we need to equip ourselves with the most appropriate tools. The importance that drawing has in my work coincides with a natural predisposition to understand this as the first and most important instrument of expression of those ideas that thought is made about the world starting from my experience: the title of Alighiero Boetti's work Mettere al mondo il mondo (1973) seems to me to synthesize with extraordinary effectiveness the creative act (something that was not there before and now is there) that is generated from drawing, beyond its scientific and cognitive function.
Even by itself, this argument should be enough to end any absurd discussion of the autonomy of the medium.
Why did you choose this work by Carol Rama?
It is beautiful and mysterious when it happens to have the precise impression of sharing something very intimate with someone whose work I know only. Ever since I was studying at the Academy, I have felt understood and somehow protected by Carol Rama's work, by the irony of her gaze toward herself and the world and her sarcasm. So while in outcome our practices could not be further apart, I like to think that I share with her an emotional consistency and a certain sense of the tragic (and therefore the comic).
The drawing I chose is a study for a set design: we do not know what story Carol Rama had decided to lend her work to, and yet I convinced myself that the few pencil marks would work as a perfect synthesis of her meaning. I thus think of the ability to say everything with little, and that is also how I feel her work close: by falling in love with what of hers is missing in my own work.