.jpg?resize=218%2C150&ssl=1 "SWAIA Native Trend Week: 5 Artists to Know")
To make use of a daring metaphor, it has been like giving start by means of a Caesarean part — man born from man! An enormous effort and honor. After I was proposed to arrange an exhibition at Museo Correr within the salons that Carlo Scarpa renovated within the Fifties, I nearly fainted for the emotion. In these areas nothing might be touched, modified or moved round, as every part has to remain precisely as Scarpa imagined it. It’s not like different museums the place you possibly can modify the format in response to your mission. The Museo Correr is a uncommon case of historicized museology, it’s like a sacred place; for me it’s probably the most spiritual locations within the historical past of artwork and structure.
How did you adapt your artworks on this extraordinary but somewhat difficult setting?
The very first thing I requested myself was: What the hell am I going to indicate to face such an enormous problem, to face towards not solely Scarpa, however Carpaccio, Giotto, or Bellini? You recognize, should you problem Michelangelo imagery, let’s say you might be already in a type of Pop zone, as his repertoire has been vastly appropriated by Popular culture. However these masterpieces, typically small in measurement, priceless and über-precious, are nearly on the origin of the artwork of portray as we all know it, so confronting them it’s a fair higher problem. In my 30-year profession, I’ve by no means imagined to be given the chance to do such an exhibition.
The place does this obsession with tears come from?
The query about tears is all the time essentially the most troublesome to reply. I can reply with a quote from the Latin poet Virgil: Sunt Lacrima Rerum, which roughly interprets into “ there are tears in (or for) issues.” I can speak about melancholy, though it’s a topic I strive by no means to faucet into as a result of it has to do with profoundly personal emotions that I’m not eager to disclose…Tears have been a defining topic of my work from the very starting, for the reason that Veruschka portrait and my first Biennale…After meticulous researches, I’ve concluded that in artwork historical past tears have by no means been really represented; in classical work ache or sorrow or despair are normally depicted hiding or averting the eyes. I’ve toured each potential museum, however no tears in sight. That stated, I haven’t strategized to indicate tears in my work, I’m not an entrepreneur who says, nice, there’s a distinct segment the place tears are missing, it’s a enterprise alternative I wish to exploit. It got here pure to me. Tears are a type of emotional acme, and I’m not about manifestos on patriarchy, however artwork has all the time been the prerogative of male tradition, and males have by no means felt the necessity to characterize tears, which might be such an intimate, mysterious secretion. Girls embroider, males paint. No tears.
![Pinterest](https://pinterest.com/pin/create/button/?url=https://livdose.com/cry-him-a-river-francesco-vezzoli-on-his-museums-of-tears-present-in-venice/&media=https://i0.wp.com/assets.vogue.com/photos/66228047eea65cc56029f132/16:9/w_1280,c_limit/Vezzoli-Botticelli.jpg?w=1200&resize=1200,0&ssl=1&description=Curated by Donatien Grau, Francesco Vezzoli's "Museums of Tears" is on view at Museo Correr, Venice, until November 24, 2024){kind=link}