Exhibitions, Italy, Genoa, Genova, 06 April 2014
With the weaver spider’s help
Fortunato D'Amico
Loredana Galante is certainly not one to be intimidated by academic orthodoxy, with its strict selection of which documents should be shown to the public and which should be kept in the archives, resolute in discarding researches, materials and instruments not considered suitable to feed the stereotype cliché adopted by the rhetoric of the cultural system.
She is not even in compliance with the behavior of many Italian artists, who are often identified in an ascetic role, indeed seriously paranormal, this is because Loredana’s artistic career is closely connected to her expression of being a woman and her experience of real life, with a hint of genuine madness.
Her costumes and masquerades, the andante allegro pace with which she walks, her garments and ornaments, used and routinely organized in the happenings of every-day life, are the materials of her art.
There are no other terms to describe the phenomenon that is Loredana Galante: lively, active, resourceful, shy, sassy, thoughtful, determined, insecure and addictive to the point that you believe the states of mind, caused by the tale of her stories, are yours as well.
It's true indeed that her aesthetic research investigates formalities, bon-ton, "fin de siècle" good manners portrayed in the Georges Seurat , Edgar Degas, Claude Monet , Pierre- Auguste Renoir, Edouard Manet paintings, from which Loredana seems to have stepped out, appropriately decorated and dressed up.
There is really nothing retro in her thoughts or in her attitudes that are exhibited during the short performances she usually couples with her artworks exhibitions.
Every single artwork has a translatable expressive reason only if traced back to the dramatized episodes ensemble which it refers to, where poetry is the real clue to reconstruct the roadmap traced by the loving female character played with gracious spirit.
The actions of contact with the spectators are therefore an essential part of Loredana Galante’s artistic work, functional to create interest and entertain the viewer while looking, thoughtful, at the scene of monologues and questioning the effects arising from interaction between gestures and objects, elaborated with obsessive abundance.
The relationship with nature is projected into a magical world where the dream exercises the imagined ideal and where harmony reigns among people entering the frame and undertaking the role of co-stars.
The performing recital, therefore, communicates the parody of a woman struggling with personal desires, looking for a formula to balance her own expectations with those of others. The story is processed as a divertissement, suited to her ironic and restless nature, in search of a virtuous background, that enhances the feminine condition and recovers convivial tools, in order to relieve the dreariness of everyday life.
The socialization of these sketches often develops within prosperous spaces, made sensitive by flowers, plants, animals , equipment for open-air life and picnics, in a festive atmosphere of gatherings, projected in a mimetic conception of space-time, optimum for the fulfillment of the desires of the observer. Even when the action context is the domestic one, characterized by the presence of objects reinvented by the artist and placed in spaces designed to give a sense of hospitality to the guests, the tendency is always to foster a friendly setting. An artistic initiative focused on the ability to start a close dialogue with the public, obtained by enlarging the empathic processes between the participants through the activation of some issues through dramatization, which can facilitate the symbiosis role paths; a liberating dream on stage which becomes reality, generated by an initial mythical image, becomes the fiction of a convivial ceremony.
This world of elaborated signs has also been defined by her interest in psychology, as a therapeutic practice to probe aspects of one’s personality that are kept secret or protected due to the fear of them being seen by others.
You are driven by the need to remove the idea of the impossible and to share the unlocking of the imagination, confined by inner complexes. With a playful approach to inhibitions and a constraint free imagination, everyone can rewrite their own history, inventing a better world, accepting themselves, as well as fantasizing about the possibilities of transformation, rewriting the past from the present to design the future. In one of her recent workshops - I redraw your life - Loredana interacts with the story lived and told by the participants and, together, mark a new starting point, that gives rise to unpredictable paths, respecting the wishes that the participants expressed. This interest in human affairs is added to by her knowledge acquired from the school of counseling.
Rewriting the world is redrawing the objects that surround us, to see them with different eyes, partaking in a pleasurable and healing animistic process.
Taking care of objects means declaring them as part of ourselves, extensions of our senses that inspire individual and social behavior.
Redeveloping this awareness means changing systems that are prone towards consumerism, a carrier of unhealthy practices that has marred and polluted the planet, compromising the planetary resources cycle, unable to recognize a spatial extension of both senses and bodies in the objects produced.
Loredana Galante iconography, consistent with this philosophy, reinvents design, recovering and updating things and objects lost in the oblivion of women’s magazine illustrations.
Wedding Cakes, tights, flowered dresses, lost birds’ nests, cuckoo clocks, wardrobes, tea cups, cornucopias, swinging chairs, and many other items are related to the dense network of artifacts composing the phenomenological whole. Their personal history is covered in a "thought-forms" broad spectrum, tied together by the network’s invisible filament deployed by an industrious plots weaver spider. He is the spokesman for the artist, who knows the art of weaving and knitting, the one who is able to find “the heart of the matter”.
Fortunato D'Amico
Loredana Galante is certainly not one to be intimidated by academic orthodoxy, with its strict selection of which documents should be shown to the public and which should be kept in the archives, resolute in discarding researches, materials and instruments not considered suitable to feed the stereotype cliché adopted by the rhetoric of the cultural system.
She is not even in compliance with the behavior of many Italian artists, who are often identified in an ascetic role, indeed seriously paranormal, this is because Loredana’s artistic career is closely connected to her expression of being a woman and her experience of real life, with a hint of genuine madness.
Her costumes and masquerades, the andante allegro pace with which she walks, her garments and ornaments, used and routinely organized in the happenings of every-day life, are the materials of her art.
There are no other terms to describe the phenomenon that is Loredana Galante: lively, active, resourceful, shy, sassy, thoughtful, determined, insecure and addictive to the point that you believe the states of mind, caused by the tale of her stories, are yours as well.
It's true indeed that her aesthetic research investigates formalities, bon-ton, "fin de siècle" good manners portrayed in the Georges Seurat , Edgar Degas, Claude Monet , Pierre- Auguste Renoir, Edouard Manet paintings, from which Loredana seems to have stepped out, appropriately decorated and dressed up.
There is really nothing retro in her thoughts or in her attitudes that are exhibited during the short performances she usually couples with her artworks exhibitions.
Every single artwork has a translatable expressive reason only if traced back to the dramatized episodes ensemble which it refers to, where poetry is the real clue to reconstruct the roadmap traced by the loving female character played with gracious spirit.
The actions of contact with the spectators are therefore an essential part of Loredana Galante’s artistic work, functional to create interest and entertain the viewer while looking, thoughtful, at the scene of monologues and questioning the effects arising from interaction between gestures and objects, elaborated with obsessive abundance.
The relationship with nature is projected into a magical world where the dream exercises the imagined ideal and where harmony reigns among people entering the frame and undertaking the role of co-stars.
The performing recital, therefore, communicates the parody of a woman struggling with personal desires, looking for a formula to balance her own expectations with those of others. The story is processed as a divertissement, suited to her ironic and restless nature, in search of a virtuous background, that enhances the feminine condition and recovers convivial tools, in order to relieve the dreariness of everyday life.
The socialization of these sketches often develops within prosperous spaces, made sensitive by flowers, plants, animals , equipment for open-air life and picnics, in a festive atmosphere of gatherings, projected in a mimetic conception of space-time, optimum for the fulfillment of the desires of the observer. Even when the action context is the domestic one, characterized by the presence of objects reinvented by the artist and placed in spaces designed to give a sense of hospitality to the guests, the tendency is always to foster a friendly setting. An artistic initiative focused on the ability to start a close dialogue with the public, obtained by enlarging the empathic processes between the participants through the activation of some issues through dramatization, which can facilitate the symbiosis role paths; a liberating dream on stage which becomes reality, generated by an initial mythical image, becomes the fiction of a convivial ceremony.
This world of elaborated signs has also been defined by her interest in psychology, as a therapeutic practice to probe aspects of one’s personality that are kept secret or protected due to the fear of them being seen by others.
You are driven by the need to remove the idea of the impossible and to share the unlocking of the imagination, confined by inner complexes. With a playful approach to inhibitions and a constraint free imagination, everyone can rewrite their own history, inventing a better world, accepting themselves, as well as fantasizing about the possibilities of transformation, rewriting the past from the present to design the future. In one of her recent workshops - I redraw your life - Loredana interacts with the story lived and told by the participants and, together, mark a new starting point, that gives rise to unpredictable paths, respecting the wishes that the participants expressed. This interest in human affairs is added to by her knowledge acquired from the school of counseling.
Rewriting the world is redrawing the objects that surround us, to see them with different eyes, partaking in a pleasurable and healing animistic process.
Taking care of objects means declaring them as part of ourselves, extensions of our senses that inspire individual and social behavior.
Redeveloping this awareness means changing systems that are prone towards consumerism, a carrier of unhealthy practices that has marred and polluted the planet, compromising the planetary resources cycle, unable to recognize a spatial extension of both senses and bodies in the objects produced.
Loredana Galante iconography, consistent with this philosophy, reinvents design, recovering and updating things and objects lost in the oblivion of women’s magazine illustrations.
Wedding Cakes, tights, flowered dresses, lost birds’ nests, cuckoo clocks, wardrobes, tea cups, cornucopias, swinging chairs, and many other items are related to the dense network of artifacts composing the phenomenological whole. Their personal history is covered in a "thought-forms" broad spectrum, tied together by the network’s invisible filament deployed by an industrious plots weaver spider. He is the spokesman for the artist, who knows the art of weaving and knitting, the one who is able to find “the heart of the matter”.
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