{"id":43998,"date":"2023-11-15T14:32:50","date_gmt":"2023-11-15T13:32:50","guid":{"rendered":"http:\/\/www.rossettiartecontemporanea.it\/mostre-e-eventi\/verdad-muda-by-evita-andujar\/"},"modified":"2024-01-24T14:41:02","modified_gmt":"2024-01-24T13:41:02","slug":"verdad-muda-by-evita-andujar","status":"publish","type":"tribe_events","link":"https:\/\/www.rossettiartecontemporanea.it\/en\/mostre-e-eventi\/verdad-muda-by-evita-andujar\/","title":{"rendered":"\u201cVerdad Muda\u201d by Evita And\u00fajar"},"content":{"rendered":"\n\n\n
Studio Rossetti Gallery welcomes the winter exhibition season with the opening of \u201cVerdad Muda,\u201d the solo exhibition of Andalusian artist Evita And\u00fajar, curated by Raffaella Salato. The exhibition will open to the public on Thursday, November 25, and will be on view until January 9, 2022.<\/p>\n

\u201cA continuous narration that proceeds by snapshots, a story made of still images (or, as we say today, of \u201cscreenshots\u201d) that are assembled in a complex puzzle, varied and constantly evolving: this is the feminine universe of Evita And\u00fajar, the undisputed protagonist of the poetics of the Andalusian artist, who always works in the balance \u2013 but with skillful mastery of intention and gesture \u2013 on the ridge that runs between figuration and abstraction.<\/p>\n

The exhibition entitled \u2018Verdad muda\u2019 collects a series of paintings from the cycle \u2018Stolen Selfie\u2019, inspired by the paradox of our hyper-technological society, overexposed to a continuous flow of images and information that, however, often lack real content. The identities that social networks obsessively send back to us are only pale simulacra of a reality that few, by now, bother to penetrate and know: so And\u00fajar distorts and erases these surface individualities with the declared aim of provoking an alternative reflection, of shifting the focus from appearance to substance.<\/p>\n

Evita\u2019s women, as she herself has often explained, are at the same time her alter-ego and archetypes of contemporary femininity, enclosing in themselves on the one hand the reflection of the artist\u2019s multiple nuances, and on the other hand paradigmatic images of today\u2019s woman, immersed in a complex, restless, buzzing reality, which forces her to be \u2013 to paraphrase Pirandello \u2013 \u201cone, none and a hundred thousand\u201d, in a perpetual dialectic with the mutability of human relationships and the fleeting nature of existence.<\/p>\n

This sense of elusiveness and temporariness, from which none of us is immune, is translated on Evita\u2019s canvases, evidently transfiguring the protagonist, she, the woman: although undeniably the center of the scene, as happens in the tradition of the portrait, the female figure loses its identity, which often liquefies in the domination of the pictorial matter on the image (as in \u2018Stolen Selfie 69 or Brezza\u2019), sometimes she deliberately hides or subtracts herself (for example, in \u2018Stolen Selfie 45 or Hide what you are not\u2019), other times, finally, she doubles in partial reflections of herself that never give back a definite identikit (\u2018Stolen Selfie 56 or In the white of tomorrow\u2019).<\/td>\n

The final result, in the eyes of the observer, is that of a suspended tale, crystallized in a fragment of the present that gives no answers, in which the solitude of the woman \u2013 in And\u00fajar\u2019s paintings there are never any characters in the background \u2013 becomes a symbol and personification of the estrangement of today\u2019s world. In this sense, it is almost natural to draw a parallel with the women of Edward Hopper, master of American Realism of the 20th century: it is as if Evita\u2019s canvases, which have an almost cinematographic flavor, like frames of a film shot indoors, were narrating our personal crisis, our intrinsic solitude. Observing her paintings has an almost cathartic effect: it is like looking at ourselves reflected in a mirror that shows us as we are, offering us an opportunity to better understand our existential condition.<\/p>\n

And yet, in the artist\u2019s canvases there is always an element of hope, a tension between physical space, time and emotions, a spark that leads us to question ourselves on the \u201cwhat\u201d and the \u201cwhy\u201d: the accuracy of the rendering of certain details in the setting (representing mostly bourgeois domestic environments), the never casual use of light and color (the intense blues, the bright reds, the flashing whites), the poses or gestures of the figures that never appear passively static but rather traversed by a composed and controlled subterranean restlessness, suggest to us a story that has yet to be written, an \u201cother\u201d key to interpretation that emerges through the different interpretive levels of the work, a verdad muda that presses inexorably for a voice. \u201d<\/p>\n

Raffaella Salato<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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