The Rossetti Gallery selects contemporary artists with whom establishing a lasting relationship over time, with the intention of stimulating, promoting and recounting their artistic evolution and creative growth from year to year. This year we realized Evita Andújar’s third exhibition in our gallery, so we take this opportunity to present in this article an overview of all the exhibitions we have had the extreme pleasure of dedicating to the artist in our exhibition spaces.
Evita Andújar’s first gallery exhibition: ‘Delicate Fragilità’ in 2019
On November 22, 2019 inaugurated Delicate fragility, an exhibition conceived as a site-specific dialogue, identified by curator Livia Savorelli, between two artists of different generation, origin and training – Evita Andújar (Écija, Spain, 1974) and Ilaria Gasparroni (Sant’Omero, province of Teramo, 1989) – united by a common feeling around the feminine world, declined through an instinctual painting, from the vivid chromatism and dynamism in Andújar’s work and eviscerated in poetic formal essence in Gasparroni’s marble creations.
Two-dimensionality and three-dimensionality coexist and integrate to represent the many facets of a figuration that takes its forms from the feminine to explicate universal themes, drawing from the past as much as from the most stringent current events, from literature and philosophy as much as from the world of social networks, from the baggage of personal life as much as from the most intimate inner universe.
In 2021, we opened “Verdad Muda,” Evita Andújar’s second exhibition in Genoa.
The exhibition Verdad Muda, curated by Raffaella Salato, opened to the public on Thursday, Nov. 25, 2021, two years after the great success of the previous exhibition.
The exhibition collected a series of paintings from the ‘Stolen Selfie’ cycle, inspired by the paradox of our hypertechnological society, overexposed to a continuous flow of images and information that, however, are often devoid of real content.
Evita’s women, as she herself has repeatedly explained, are both her alter-ego and archetypes of contemporary femininity, encompassing on the one hand the reflection of the artist’s many nuances, and on the other paradigmatic images of today’s Woman, immersed in a complex, restless, rutilant reality that forces her to be – to paraphrase Pirandello – “one, none and a hundred thousand,” in perpetual dialectic with the mutability of human relationships and the fleetingness of existence.
“L’Io e l’Es”, the 2024 exhibition
On Friday, April 5 this year, the exhibition spaces of the Rossetti Gallery hosted the opening of “The Ego and the Es,” the new exhibition of Andalusian artist Evita Andújar. Three years after the great success of the last exhibition hosted by the Rossetti Gallery, the artist returns to show her work in Genoa, presenting paintings never before seen and created especially for the third exhibition that the gallery dedicates to the artist.
Ego and Shadow then stand side by side in the theater of stolen and manipulated self-portraits, personalities blur and multiply prompting us to wonder about identities and otherness in these paintings, whether the people observing us really exist or are just holograms projected in social networks.
Andújar’s work achieves a further and deeper result, however, that of revealing the enigmas behind stolen selfies, of giving a dignity and visual presence to images otherwise destined to dissipate in a few minutes, of slowing down the time of the pixels that form those photos by enclosing them in the fluid body of painting, transforming the ephemeral into the lasting and uncovering the secret and private poetry of minimal everyday existences.
