Exhibitions, Italy, Venezia, 02 February 2013
PRESS RELEASE
Françoise Calcagno Art Studio Gallery is pleased to present its next exhibition: a solo of the french artist Rejine Halimi, who lives and works in Paris. Rejine Halimi began to exhibit in the early 90s and has participated in numerous solo and group exhibitions both in Europe (Paris, London, Metz) than in the rest of the world (USA, Egypt). Today is exhibiting for the first time in Venice in a place very dear to her, the Jewish Ghetto, tied to the memory of her mother. Below is a profound and incisive analysis of the artist's work, made by the exhibition's curator Francesca Ruth Brandes:
"Rejine stands on the threshold, takes care of the inexpressible with love and responsibility. The heart of the work is kept in
the sacral constancy of the gesture, in the birth (or re-birth) of that matter vibrant, despite the opacity, the rough grainy ore, ink congealed. Her work is to sign an infinite project, dizzy, and together with any disturbance that each project involves.
Around - on the painted things, on the map of the day, on the thoughts - the light is broken like a wave, with the constant clamor of an emergence: the impact is always toward the self, inescapable and filled with wonder. The essence of this impact, it represents the contradictory vitality of the stories. On the one hand the warm and intimate existence, affectionate Rejine, in her purest conscience, sparkling in the early morning, sinuous in periodic rhythms, in emotonial fluctuations, in the embrace; the other hand the agonizing, original concretion of making art, with the roar of unequal force exerted on materials and penetrates them with passion. Consciousness (the artist's and our own, in the same way) is chased by the passage of light, leaving a trail of injuries as long as a lifetime. Rejine offers the world to the perception, as the weather settles the mountains.
The stone, all forms and irregular simple matter, the infinite pure fragments of the "good solid", are given to our eyes to be re-meanings in a variety of symbolic figures. Parva poetica of the elements, in which the color - rare, distilled - is the expression of a hidden virtue, an aspiration. The essences, in the works of Rejine Halimi, are ancestral forms, hewn from the body of the earth. You get the original feeling of things, almost the artist knew the secrets of creation (maybe because, when the pattern of thought comes to conceiving the principle undifferentiated, it means that it is not far from the Open where it will define itself).
As in the restless flame, just around the nocturnal and silent nucleus of the work, his focus and conceptual perspective at the same time, it thickens the clarity of meaning. The dwelling is the tool allowed the passage: beyond that threshold manager and nurse, there are no oracles. Rather a look-gesture, caressing and foreboding: the body of the spirit, what Merleau-Ponty calls with wonderful expression flesh of the world.
However, at the limit is Rejine to count the time. The artist's work brings with itself a rhythm only apparently random, in which the thematic oscillations are induced also by the continue overlapping of different figures, each with its own timbre but, above all, with its performance metric. Halimi solves a uniformly continuous process of aggregation-disintegration, highlighting in particular the structural quality of their actions. If, at the beginning, the process seems to elude analytical vision in favor of a contemplation full of wonder, soon you will be captured by those rapid watermarks to walk the surface of the blade sections, morsure hungry. Formidable mandatory actions on those ridges of canvas, wood or slate; travel maps penned with the blood of colors, or dreams of huge uncertainty. However, the entity of the harmonic sense - in Rejine Halimi - is not so much due to the emotional pitch of the sign, as to its presence and absence in the composition. As the range of a breath, just as natural and precious; act of infinite love, essential. And those who receive beyond the threshold, it is burned forever. "
Francesca Ruth Brandes
Françoise Calcagno Art Studio Gallery is pleased to present its next exhibition: a solo of the french artist Rejine Halimi, who lives and works in Paris. Rejine Halimi began to exhibit in the early 90s and has participated in numerous solo and group exhibitions both in Europe (Paris, London, Metz) than in the rest of the world (USA, Egypt). Today is exhibiting for the first time in Venice in a place very dear to her, the Jewish Ghetto, tied to the memory of her mother. Below is a profound and incisive analysis of the artist's work, made by the exhibition's curator Francesca Ruth Brandes:
"Rejine stands on the threshold, takes care of the inexpressible with love and responsibility. The heart of the work is kept in
the sacral constancy of the gesture, in the birth (or re-birth) of that matter vibrant, despite the opacity, the rough grainy ore, ink congealed. Her work is to sign an infinite project, dizzy, and together with any disturbance that each project involves.
Around - on the painted things, on the map of the day, on the thoughts - the light is broken like a wave, with the constant clamor of an emergence: the impact is always toward the self, inescapable and filled with wonder. The essence of this impact, it represents the contradictory vitality of the stories. On the one hand the warm and intimate existence, affectionate Rejine, in her purest conscience, sparkling in the early morning, sinuous in periodic rhythms, in emotonial fluctuations, in the embrace; the other hand the agonizing, original concretion of making art, with the roar of unequal force exerted on materials and penetrates them with passion. Consciousness (the artist's and our own, in the same way) is chased by the passage of light, leaving a trail of injuries as long as a lifetime. Rejine offers the world to the perception, as the weather settles the mountains.
The stone, all forms and irregular simple matter, the infinite pure fragments of the "good solid", are given to our eyes to be re-meanings in a variety of symbolic figures. Parva poetica of the elements, in which the color - rare, distilled - is the expression of a hidden virtue, an aspiration. The essences, in the works of Rejine Halimi, are ancestral forms, hewn from the body of the earth. You get the original feeling of things, almost the artist knew the secrets of creation (maybe because, when the pattern of thought comes to conceiving the principle undifferentiated, it means that it is not far from the Open where it will define itself).
As in the restless flame, just around the nocturnal and silent nucleus of the work, his focus and conceptual perspective at the same time, it thickens the clarity of meaning. The dwelling is the tool allowed the passage: beyond that threshold manager and nurse, there are no oracles. Rather a look-gesture, caressing and foreboding: the body of the spirit, what Merleau-Ponty calls with wonderful expression flesh of the world.
However, at the limit is Rejine to count the time. The artist's work brings with itself a rhythm only apparently random, in which the thematic oscillations are induced also by the continue overlapping of different figures, each with its own timbre but, above all, with its performance metric. Halimi solves a uniformly continuous process of aggregation-disintegration, highlighting in particular the structural quality of their actions. If, at the beginning, the process seems to elude analytical vision in favor of a contemplation full of wonder, soon you will be captured by those rapid watermarks to walk the surface of the blade sections, morsure hungry. Formidable mandatory actions on those ridges of canvas, wood or slate; travel maps penned with the blood of colors, or dreams of huge uncertainty. However, the entity of the harmonic sense - in Rejine Halimi - is not so much due to the emotional pitch of the sign, as to its presence and absence in the composition. As the range of a breath, just as natural and precious; act of infinite love, essential. And those who receive beyond the threshold, it is burned forever. "
Francesca Ruth Brandes
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