Ten years ago, Loredana Galante entered the Frugone Collections to lull the children shaped and painted by the nineteenth century artists, who had taken the most humble and ordinary elements and turned them into sparkling subjects for precious paintings and small bronzes.

In 2003, during the events of " Printemps des musées ", bedside-tables and lamps, flickering to gentle lullaby rhythms, had filled the hall decorated with the works of Giuseppe and Filippo Palizzi , Francesco Paolo Michetti, Antonio Mancini and Vincenzo Gemito. An enchanting experience of delicate interaction between past and present, greatly much appreciated by children and grownups and immediately grasped in its essence. Years later Loredana reworked the experience with some jailed women in Genoa Pontedecimo prison, in an exchange of creativity full of emotional compensation.

Today, this multifaceted artist, always willing to look inwardly and to share energizing group dynamics, is back in our Gallery, to mix up the cards of high art cultural tradition, of a nature apparently well-known. She will do it with a roundup of objects that are "survivors" from events, installations and performances that have marked her creative path: and you won’t miss the paintings that are decorative panels of tangled fantasies bubbling over colorful vitality and happy abstract from trips both near and far, amongst Oriental dreams, household objects, birds and foliage, arabesque calligraphic signs of a non-existent fairy tale language, and in watermark, the strict spatial-chromatic articulation that curbs, orders and limits the chromatic magma released on the canvas by Loredana’s brushes.

Once again vegetable and feminine natures are inextricably weaved together: it had already happened with Marica Moro and Pina Inferrera , but now, once sedmented the fertility and violence leit–motif, Loredana Galante , contemporary art volcanic salonnière, with her evocative and self-referred performances, offers alternative and joyful readings of everyday feminine life, pictured at times with passion, at times with a biting and mordacious attitude, that the aura of a childish game used to tell the story can not completely hide. Galante is “gallant” by name and by nature. With cultured politeness she conceals her strong infusions of irony and cunning that characterize her outlook on the fallacies and commonplaces of life that occur from birth to death.

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.

It is the parody of a woman struggling with personal desires, looking for a formula to balance her own expectations with those of others, with a deep 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.

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”.

Workshops at Galleria d’Arte Moderna and Museo d’Arte Contemporanea di Villa Croce.

Musei Di Nervi - Galleria D'arte Moderna
Villa Saluzzo Serra, Via Capolungo, 3
Genoa 16167 Italy
Ph. +39 010 3726025
biglietteriagam@comune.genova.it
www.museidigenova.it

Opening hours
Tuesday - Sunday
From 10am to 6pm

Tickets
Full 6.00€
Reduced 5.00€