Renata Fabbri

Open map

Via Antonio Stoppani 15/c, 20129 Milan

TUE-FRI 3:30 p.m. - 7:30 p.m.
SAT-SUN 12 noon - 7:30 p.m.

Serena Vestrucci
Alighiero Boetti (Collezione Ramo)

Serena Vestrucci answers questions from
Irina Zucca Alessandrelli, curator of Collezione Ramo

Give a definition of what drawing is for you.

There is a book by Martin Kippenberger, No Drawing, No Cry. It is filled with blank stationery from hotels around the world. 

Drawing is a mental image that is made visible.

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

The features and gestures in one of my drawings could be done by anyone. It is an expression of ideas rather than an expression of personality. My work asks me for an intervention that is as unobtrusive as possible. It is the thinking The more I change it, the more it speaks of me; the less I change it, the more it speaks of a universal idea.

It is important to remember what the great masters of the past have done before us, but when I work I prefer that the references do not come from the history of art, but rather from the simplicity of the most common forms, focusing on the naturalness of things, materials and their functions. In the moment of making, the masters should not be inconvenienced.

Why did you choose this work from Collezione Ramo?

Throughout Alighiero Boetti's poetics, as well as in the cycle of works "Touching the Bottom" that I am presenting in the exhibition, the use of language in the relationship between title and work is crucial. To make these drawings I color with markers a sheet of paper up to the point where it holes and touch the bottom. To touch the bottom is to have reached the limit: the paper is stressed to the point where its endurance is tested. Here, the container of the work-the front and back surface of the paper-overlaps with its own content-the marker stroke that colors the paper as it passes from one side to the other-becoming one.

Choosing Alighiero Boetti's work "Eternal Dilemma between Contents and Containers (The Seeing Ones)," featured within Collezione Ramo, does not mean establishing direct influences and inspirations, but thinking about the same conceptual territory from artistic practice.