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http://hdl.handle.net/1942/44557Full metadata record
| DC Field | Value | Language |
|---|---|---|
| dc.coverage.spatial | MAMbo Museum , Bologna, Italy | - |
| dc.date.accessioned | 2024-10-28T12:57:20Z | - |
| dc.date.available | 2024-10-28T12:57:20Z | - |
| dc.date.issued | 2024 | - |
| dc.date.submitted | 2024-09-24T14:06:12Z | - |
| dc.identifier.uri | http://hdl.handle.net/1942/44557 | - |
| dc.description.abstract | The MAMbo Museum of Bologna is one of the most important Italian ones. Following for a public conference and a one-day expo, the important institution has now the artwork "Eve, the snake and the black battlements in his permanent collection. | - |
| dc.subject.other | donation | - |
| dc.subject.other | MAMbo Museum of Arts | - |
| dc.subject.other | drawing | - |
| dc.title | Donation | - |
| dc.type | Artistic/designerly creation | - |
| local.bibliographicCitation.jcat | AOR | - |
| local.type.specified | Design:Exhibition design | - |
| dc.date.started | 2024-05-29 | - |
| dc.date.ended | 2024-05-30 | - |
| arts.contributor.creatordrawer | CAIMMI, Jo | - |
| arts.review.reviewDiscipline | design en architectuur | - |
| arts.review.researchContext | "In "EVE, THE SNAKE AND THE BLACK BATTLEMENTS", Eve, the negative protagonist of the Original Paradise, is at the darkest point of the work and is still far from having committed the crime. Her relationship with the snake behind the tree is one of affable conversation. The tree hides her, gnarled, stretched out, and a pair of black crows rests on the highest branches without disturbing the central balance in the foreground of the plant. A robust and lazy tree hosts a lot of light on the foamy nodes; overexposed white Northern light breaks the signs, minimizes them, and supports the protrusions and recesses. It almost seems like there is no "hardness in movement" inside it. Whoever looks at the work sees Eve when I point her out to them, distracted by the graces of the tree. She is behind in the patch of shadow, immersed in the water of a dark lake. From the moment you see her, you can no longer not see her; it is a patch necessary to refresh yourself by passing your gaze. Only then do the black crows, relatives of the stain, start making sense. As I glued the papers, air pockets were created, suspensions between one layer of paper and another, and so the spurs that protect the plant were born, which are not like the ones that had so impressed me on the Walton couple's estate in Ischia, aggressive and inexorable tips, they are soft, baroque, white and rounded spurs. They do not protect; if anything, they distract with their white high-relief volume; they are the paper equivalent of certain white ceramics I have been modeling for years for the pleasure of seeing the flowers become solid, smooth, and vitrified. In distracting the observer from the sensual qualities of its bark, the Tree of Life shows a certain complicity with the sinner, makes you look away from her, linger to look at porosity, corollas, and flowers, you feel like touching the thorns that come out of indulgent breasts, nipples that will never have the courage to hurt you. Why should they, it is about eros. It is nature in the absence of gardeners, in which each life takes space among the others in a soft and inexorable struggle." | - |
| arts.relatedInfo.relatedOrganization | MAMbo Museum of Bologna | - |
| item.contributor | CAIMMI, Jo | - |
| item.fullcitation | (2024) Donation. | - |
| item.artist | CAIMMI, Jo | - |
| item.fulltext | With Fulltext | - |
| item.accessRights | Closed Access | - |
| Appears in Collections: | Artistic/designerly creations | |
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