Pamela Rosenkranz: Our Sun

88 pages
English
Softcover, 28 x 21 cm
ISBN 9788896501061
€ 22.00

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Salvatore Lacagnina, ed.
Text by Reza Negarestani.

“She has avoided all the dragons and lions, winged or otherwise; the perennial theory of monstrous images that capture the imagination (…). What interests her is the labyrinth of calli and callette, which resembles a map of the human brain (…) Rosenkranz is interested in the fusion (…) of sun and water.” This is how Salvatore Lacagnina introduces “Our Sun,” a project conceived by Pamela Rosenkranz in Venice. The book documents this exhibition: the installation Loop Revolution, a projection of the earth seen from a satellite, cut along its axis and mirrored, which was presented, along with her “Firm Being and Stretch Nothing” series, by the  Venice branch of the Istituto Svizzero, a characteristically long, narrow Venetian gallery. In the volume, the photos from space are alternated with the gleaming foil surfaces of emergency blankets, used as the bases for acrylic paintings whose colors evoke the infinite shades of human skin. These pigments, in turn, are incorporated into silicone and inserted in a series of bottles—their images shown separately, in pure form, like studio portraits—whose vaguely anthropomorphic variety suggests the multiculturalism of this gateway to the East.

Pamela Rosenkranz: Our Sun

22.00

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“She has avoided all the dragons and lions, winged or otherwise; the perennial theory of monstrous images that capture the imagination (…). What interests her is the labyrinth of calli and callette, which resembles a map of the human brain (…) Rosenkranz is interested in the fusion (…) of sun and water.” This is how Salvatore Lacagnina introduces “Our Sun,” a project conceived by Pamela Rosenkranz in Venice. The book documents this exhibition: the installation Loop Revolution, a projection of the earth seen from a satellite, cut along its axis and mirrored, which was presented, along with her “Firm Being and Stretch Nothing” series, by the  Venice branch of the Istituto Svizzero, a characteristically long, narrow Venetian gallery. In the volume, the photos from space are alternated with the gleaming foil surfaces of emergency blankets, used as the bases for acrylic paintings whose colors evoke the infinite shades of human skin. These pigments, in turn, are incorporated into silicone and inserted in a series of bottles—their images shown separately, in pure form, like studio portraits—whose vaguely anthropomorphic variety suggests the multiculturalism of this gateway to the East.

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