The New York Magamino Magamino Talalian ART has recently opens the workshop in artist Maria at the beginning of the United States. Social History. “This is not missing when you find yourself spending time upto this type.
Would you explain the importance of Maria Lai’s work for our students who may not know?
Maria Lai is one of the suspects of the 20th-century Italian art. Much focus on cultural and cultural issues, heightened the genuine artistic tongue that includes matters, symbol and deeply communication in memory, ownership and area.
Working with humble construction – fibers, cloth, paper, paper, stones – lai created works through the drawing, carved image. Her arts speak about relationships: among the people, among communities and between mankind and cosmos. In 1981, he saw Legarsi Alla Montagna (Conducting yourself on the mountain), the first example of the original arts related to Italy, including all the city’s population in the foundation of the poems of connecting and reconciliation.
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Kalai, even though possible in danger in their view, affect the overseas of the overseas: his poetic opinion and the peace of radicalism has just started to receive appropriate recognition. This returns not only for his American money for this scales but also emphasizes its lasting compliance with today’s conversations around the arts, society and care. I think her voice is out of time and works well right now.
This is probably a big question, but can you talk about the symbolic significance of sewing in his work?
Sewing holds the center of Maria Lai, not only as a means but a description and meaning. For LAI, the discrimination was a way of writing without words, kind of intelligent and approaching text. The string became a line, type of drawing, but also the accounting method – tie up memory together, peace and feelings.
She Libric Cuciti (Textbooks) They symbolize this method: The fabric pages are slaughtered and combined with soft strips tracking marks such as script, currently without any limited text. The Bembemic writes a viewer that we do not learn in language but by understanding, a feeling and rhythm. It is a book that speaks illegally – through what you feel rather than draw it in a meditation space.
Single, in the hands of Kalai, becomes a verb and one. It is about the maintenance, relationships and transmission. He proposes to the customary observation as the ‘femininity’ in the philosophical inquiry, a border between crafts and arts, between intimacy and the mind.
Finally, sewing Lai is a comparison of a person’s connection – how we are tied to each other, how to remember the memory and how the meaning remains short.
The show includes jobs around 100 activities made from 1950s to 2000s. It must be hard to integrate! Where does this work in New York? Catches independent? Museums?
Yes, it was a complicated and rewarding process. The exhibition includes working together from different sources, showing the width of the width of Maria Lai’s work and the devotion of her heritage. An important part of the exhibition is deducted from the magazine’s arts – the Art of Nancy Olnick and Giorgio Spano, who started collecting the LAI work over thirty years ago.
We also included an unusual group of work LAI made him during his time in 1968 in Canada and New York. Most of these are now part of the American Coordinations and is a public demonstration for the first decades – in case.
Besides, the exhibition is advisable for amazing loans from the largest Sardinia centers and meeting in Ogiatera, Museo Civia Lamdenena and, last but not at least, Consuglio Readole Della Sardenia. It has been a cooperation of all the continents, made from the centers and zeal for institutions and exemplary collectors of the importance of Kalai and broad audience.
What other stopping pieces are visited by visitors to make sure you don’t miss out?
It is difficult to choose in the body of a rich and multilingual work, but several pieces across the exhibitions give significant understanding to its conversion. From the first half, Greegge De Percore . Terre bianche .
NATAK CCITA . From the Tendai Series, The Cardaiio in Sole E MARE (1971), to remind Mondrian and Rauschenberg, indicates his involvement in the local language, and The Torre (1971-2002) In particular, he created responding to September 11’s incidents, a serious meditation of hustling and stability, in a broader historical and emotional stability.
Later it works like Fili Di pop up spaziale (2007) reduce his interest in cosmos into pure and velvet rope, while Kin .
Finally, Teu by Man L’OMBRA .
Of course, this option shows only a small part of what is viewed – again, inevitable, unified. But it is fun to emphasize these specific tasks, especially given a unique opportunity to bring many of them here in New York.
LAI is fed by bringing related Aestics to Italy. Why was that important?
Maria Lai’s Legarsi Alla Montagna . Instead of producing an independent item, Lai organized a combined action that covered everyone in the village of Lassai in arresting their homes – and on their own – they went to the blue mountain. The result was not just symbolic; It was a state of life and a combined culture of ART.
This was very important in the Italian context, especially during a multilingual art always focused on the object or the worries. Lai proposed a different model: one focused, stolen authority, and poems of everyday life. He thought about decades for decades to become a medium-term of the process involved in the community.
His contribution was not just an organetic. Legarsi Alla Montagna Continuous composition is that artists, Curtors and institutions consider the role of the art in public health. It was a variable point showing how good decorative experience can be included in a local memory, socio-social space and social thinking.
The LAI was not part of an Arte Povera organization but is associated with it. It seems that there is a latest Vogue, the latest show in Burche de Commerce and talk about the Bel Peace Prizer for Michelangelo Pistoletto. Why do you think this kind of arts meets people at this time?
While Maria Lai has never been part of Arte Povera, her personality in movement – with her humble use and her amazing miscarriage – it is undeniable. What distinguishes, and maybe so doing so deeply offending today, the deep and increased quality that has brought them to the materials.
There is an updated attention to Arte Povera now, I think, because it provides a language of extreme fighting, the show and the disposal of the world. For the age of natural problems and social classification, the idea of being art can be done in this light, stones, fibers – feel without settling. These activities are talking about fitness and strengthing equally equal.
In the case of Kalaai, this is more effective because “poor materials” have never added. They have been sewned, arrested, hand treated with memory, myth and care. His works, such as those in Koungingis, reminds that the art is very good and become a great person. They helped us to think about the types of communication and ancient art now. And his master provides a quiet but powerful reminder that change does not always require good touch. Sometimes it starts with one stalk.
Can you talk about the gastrointestinal customs of Italyites with pioneer customs by its time as Robert Rauschenberg and break twice?
MARIA LAI is noticed in a two-sidestyle: Deep Culture in Sardini and Tardian Craft and Avant-Gardi Shape Postwar Art System.
While artists such as Rauschenberg and fully increases the vocabulary in conjunction, building marks, and text, Lai was only a majority, with great intelligence.
He was a very good archaeologist, but from 1960s on, instead of using paint or pencil, Lai “pulled” in the threshold and became the fabric. His sewage books and the conversation champions for imprisonment of two attacks or mentiles of Rauschenberg’s compost, but their former Sardenian Women and Hand.
What brightly with LAI is how to separate new computer things for his time but express themselves in cloth, fiction and quiet than views or vision. Her work worn herarchies – between art and art, name and picture, sperm and female – and emphasizes the type of emergency. He just didn’t accept the Avant-Garde idioms; He interpreted to them in a new language.
