Via Benedetto Marcello 2, 20124 Milan
MON-SUN 11 a.m. - 6 p.m.
ARTISTS:
Benni Bosetto
Tomaso Binga (Collezione Ramo)
Lima Space1
Lima2 Space
Lima3 Space
Lima4 Space
Lima5 Space
Tomaso Dinga
Benni Bosetto
Benni Bosetto answers questions from
Irina Zucca Alessandrelli, curator of the Ramo Collection
Give a definition of what drawing is for you.
Drawing for me is a place of experimentation. I love its immediacy. Drawing always comes before thought, which is why it is useful, because it contains what is not yet known. It surprises and amazes. Moreover, it is a medium that can decode and transform linear reality. It allows the mind to lose control in a more uncertain and suspended visionary language, without the need to respond to the world of logic.
What is your relationship with drawing?
Drawing is part of my everyday life; it is a form of communication that I instinctively control and manage. This control allows me to capture complex visions, to bring out different thoughts and combine them together, to observe better and play in a short time and contained space. Mine is a research that starts from the body, and drawing keeps itself the medium that flows directly without interruption from the body to the environment.
Drawing is extremely versatile territory in my practice. It is often used as the main medium, as in silk drawings or wall installations, but it is also found within sculptural elements or in the process of production, research and experimentation.
What about with the history of Italian art in the last century?
As an artist I always look carefully at the past century, I conceive of it as if there is no temporal delimitation. We know well, especially in this period that the conception of freedom of the body is never safe. History does not develop in evolution, and that is why we have to create a sisterhood relationship with the artists of the past, we belong to each other and support each other.
Why did you choose this work from Collezione Ramo?
I had the need to communicate with a female figure in the art of the 20th century, a century in which women could not get a position of visibility and listening in the art system. Tomaso Binga is an artist who from the construction of her name played on the role of her body and her being an artist.
Our practice differs on a visual level but there is a certain similarity present in the search for a feminine codification of the body and particularly the body as a form of language. For both, words are too unstable, treacherous and vulnerable, drawing, sign, gesture on the other hand, having the ability to mold and adapt allows it to survive in any territory. It is a question of freedom.
In this specific project I have decided to construct an environmental drawing on paper by creating a dialogue with the work Dattilocodice (table n13) in which, as in the desemantizing repetition of the letters in Binga's drawing, I will go on to construct a single installation on paper, rhythmically repeating a series of images and always transforming them in their uniqueness. In the repetition these images will take on the function of code and hidden language.