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Dear Moon, I know that you can speakand answer questions like a human being

for I have heard so

from many of the poets.

GIACOMO LEOPARDI,

“Operette morali”, 1824

Maja Arte Contemporanea is delighted to present the gallery's first collaboration with the artist Fosca. Opening Thursday May 30 2024 at 6 pm in via di Monserrato 30 (Rome), the exhibition is entitled "Cara Luna..." ("Dear Moon..."). Born to a Venetian Mother and a Dutch Father, Fosca is returning to Italy after her debut exhibit at the Correr Museum in Venice in 2015. The exhibition showcases a previously unseen body of works on which she has been working since 2018. Eleven paintings and thirteen drawings carry the viewer along an imaginative journey: moving from constellation to constellation by following a thread whose unravelling traces the stars'paths, the viewer explores an imaginary map of the stars, enlivened by anthropomorphic figures portraying ancient myths. In reinventing these, the artist gives them new life by imbuing themwith her original interpretation, culminating, at times, in an unusual happy ending. "There's a memory I carry with me wherever I go; it comes from a time when I spent months living at sea when the rocking of the waves became my territory, my source of balance. Onenight, while we were sleeping at anchor, I lay down to watch the sky; carefree, I was surprised when I caught the stars moving above me, as if someone were rocking the celestial sphere. I was still; the sky was moving. I did not try to identify the constellations, and yet I found mine,as if my memory were projected upon the shards of light. Thus I began to draw a diary, so as to sew together fragments of memory and feelings. Each of these works is a letter to the night sky, to the celestial vault." As Flavia Matitti writes in her critical essay published in the exhibition catalogue: "These are the words with which Fosca retraces the experience which, a few years after that night, led her to create a cycle of works dedicated to the constellations. The eleven paintings and the series of drawings in the cycle are here on display for the first time; they are the fruit of intense, passionate, and meticulous work. Fosca began the cycle six years ago, in 2018, and is still in full creative thrust. As she states herself, the theme emerged as a kind of epiphany she had while she was observing the firmament from a boat. It is, perhaps, for this reason that in looking at her starry skies one often has the impression of being before a vast sea crested with waves, a visionary universe belonging to the realm of dreams and to the unconscious. Indeed, Fosca's fascination with the stars does not consist in the mere retracing of astronomical phenomena or traditional astrological figures; rather, it uses the celestial vault as a backdrop (in this, she is perhaps inspired by her maternal grandfather, a set designer, one might wonder) on which hopes, memories, fears, dreams, and desires can be projected. Fosca's constellations are charged with autobiographical echoes and, as such, can be considered psycho- graphs of her states of mind. Her unique personifications of celestial bodies are symbolic images that delicately and ironically allude to lived experiences. At the same time, however, the stars lead into an alternative dimension to reality. This is an occult dimension, one which invites dreams and introspection, yielding an uncovering of the self and of a path to its actualization. And is this not, after all, what humankind has done since time immemorial: observed the starry sky to find within it a direction and thus divine the future? Across the hemispheres, stars and planets have morphed into gods and heroes, becoming the protagonists of myths and legends. In different places and across cultures, the constellations have changed names and shapes, continually metamorphosing in the unravelling of time. [...] These works reflect tremendous technical prowess and a profound knowledge of mythology, as well as Fosca's inexhaustible imagination. In this light, it is always delightful to listen to her narrate the tales of her characters. The lesson that ultimately emerges from this cluster of stories and celestial beings, who stand proud as fluid and wonderfully queer creatures, is to continue to hope and wonder. Her stars are the light dream that paves the way."

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ArtRio 2023 | September 13 – 17
13th edition of the Rio de Janeiro Art Fair

The 13th edition of ArtRio will feature the first Brazilian and

international galleries in its program. In 2023, the art fair – one of the

most renowned events in its sector – will occupy an area 25% larger

than last year, focusing on providing more content. By embracing the

global discussions on and attitudes towards sustainability and

awareness, the fair will also be working on a myriad of actions to

reduce its wasteful impact.

The fair will take place from September 13 to 17, but ArtRio has a series of active and year-round initiatives and programs. Since its first edition, in 2011, its proposal has always embraced a yearly calendar, aiming to foster knowledge and contact with the arts amongst diverse audiences by encouraging museum and gallery visits, as well as promoting events in diverse spaces. Through this line of thinking, ArtRio stimulates the art market and debates on significant topics, all the while emphasizing accessibility to multiple audiences.

 

“We’ve arrived in 2023 looking towards the future and what we hope for the future of society and our planet. Through art and our actions, we aim to actively and effectively participate in the necessary changes and encourage new attitudes. Artistic movements always played crucial roles as catalysts for change and as unifiers, and I believe that ArtRio shares this responsibility, claims Brenda Valansi, president of ArtRio.

 

More than 100 collectors and curators from different countries, including the United States, Panama, Switzerland, Paraguay, Spain, Peru, Denmark, France, Turkey, Belgium, and Italy, have already confirmed their presence at the fair. Besides the fair, the program also offers visits to museums and institutions, galleries, studios, and private collections.

 

The ArtRio 2023 Curatorial Committee, responsible for the selection of participant galleries, is comprised of prominent gallery owners: Alexandre Roesler (Galeria Nara Roesler), Antonia Bergamin (Galeria Galatea), Filipe Masini and Eduardo Masini (Galeria Athena), Gustavo Rebello (Gustavo Rebello Arte), and Juliana Cintra (Silvia Cintra + Box 4).

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CasaVoa 2023 | September 14 - 17
8 years of the autonomous space for contemporary art

Casa Voa: autonomous space for contemporary art Casa Voa presents the opening of the exhibition Revoada! The exhibition will present an unprecedented set of forty canvases made by forty artists we admire, bringing together some of the many partners, teachers, residents and collaborators we have had over the years. The exhibition brings together for the first time a group of Voa's artists-collaborators through an approximation of their work, creating a kind of visual collection that tells a little of the house's history,

Casa Voa : espaço Autônomo de Arte Contemporânea

8 anos do espaço autônomo de arte contemporânea

A Casa Voa apresenta a abertura da exposição Revoada !
A mostra apresentará um conjunto inédito de quarenta telas feitas por quarenta artistas que admiramos, reunindo alguns dos muitos parceiros, professores, residentes e colaboradores que tivemos ao longo dos anos.

A exposição reúne pela primeira vez um grupo de artistas-colaboradores da Voa através de uma aproximação entre seus trabalhos, criando uma espécie de acervo visual que conta um pouco da história da casa,

@alexandrebaltazarurgente @douglasknesse @gpeto_ @_claramachado @baigur_amaria @carneiro.akapedro @._thaisbasilio @fernando_de_la_rocque @brunobig @marcelomacedo03 @_thainan @marcella.riani @gabriel.dsimo @paulabohm @rodrigo_villas @matheusmestico @allansieber @lulao23 @irmasgelli @clarice_ @flexa.maria @joanamuchoa @cabulozawildlife  @estudiobaren @ian.raposo @renemachado_ @rafaelplaisant @viniciuscarvas @mateuvelasco @antoniobokel @marcos_correa_art @maritzacaneca @gui.borsatto @heberth.sobral @juarezsiq @carolinakasting_art @mrclfonseca62 @foscaworld @laujost @taf____

Pisces

Pigments, acrylic, wax, cotton thread, nails on canvas

20 x 20 cm • 7 7/8 x 7 7/8 in

2023

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A story of architecture and success
 
The brand's first franchise, CASACOR Rio de Janeiro was born just three years after the São Paulo event, in 1991, and, since then, it has been translating the Rio way of living in events that bring together great professionals in architecture, interior design and landscaping; and open the doors to the city's public of buildings that are true jewels of Rio's architecture.
 
Over these three decades, the exhibition ran for 1,232 days, was seen by more than a million people and had the participation of 878 professionals who decorated 1,305 environments. There are countless trends and countless solutions presented by the cast. All this, without losing sight of the passion for Rio and revealing some of its iconic properties (often restored to house CASACOR Rio): palaces, urban houses, real estate launches, hotels, neoclassical, modern, eclectic mansions and even a villa of semi-detached houses – Villa Aymoré. A true tour through the history of Rio and its rich architecture.

In 2021, CASACOR Rio de Janeiro celebrated 30 years of the event at the iconic Brando Barbosa mansion, a mansion located in the capital's Botanical Garden that stands out for being surrounded by a 12 thousand m² garden of Atlantic Forest. There were 38 spaces designed by the most important Rio architects.
 
n 2022, CASACOR Rio inaugurated the CASACOR exhibition season with 45 environments designed and developed by the talented cast of 43 teams of the most prominent professionals in the world of contemporary living. The Rio exhibition repeated the success of the previous edition and returned to the iconic mansion of the Brando Barbosa Institute between August 1st and October 1st, 2022.
 
In 2023, CASACOR Rio de Janeiro returned for the third consecutive time to the Brando Barbosa Institute, this time in a boutique hotel format, with many common rooms, spacious suites and garden cabins. The exhibition had a new – more innovative – concept based on the theme “Body & Address”.

Fruto do aprendizado em pesquisas e projetos, que envolvem imersões profundas de auto-conhecimento e na natureza, através de vivências na arte e na arquitetura, nas relações e nos processos do fazer e realizar, um grupo de arquitetas do escritório @garimporio criou uma metodologia: ARQUITETURA DO HABITAR, que busca, através do seus processos e trabalhos, potencializar a experiência da vida.

Concluíram que existe uma lógica no fazer capaz de trazer resultados mais potentes. E que essa lógica poderia ser aplicada em diversos campos da atuação humana. Essa ordem cíclica, espiral, inspirada nos processos da natureza, orienta um caminho a ser seguido que envolvem etapas de entendimento, planejamento, implantação e integração. Assim nasceu o Barriga de Baleia.

As a result of learning through research and projects, which involve deep immersions in self-knowledge and in nature, through experiences in art and architecture, in relationships and in the processes of doing and carrying out, a group of architects from the @garimporio office created a methodology : ARCHITECTURE OF HOUSING, which seeks, through its processes and work, to enhance the experience of life.

They concluded that there is a logic in doing things that can bring more powerful results. And that this logic could be applied in different fields of human activity. This cyclical, spiral order, inspired by the processes of nature, guides a path to be followed that involves stages of understanding, planning, implementation and integration. This is how Barriga de Baleia was born.

ArtRio fair is one of the most important #event on the world art scene. The fair welcomes 52,000 visitors to view works shown by 50 galleries at Marina da Gloria.

ArtRio actively contributes throughout the year to the #success of the art production chain and also has a strong role as a stimulating hub, supporting #exhibitions , highlighting new #galleries , stimulating #collecting , audience building and the promotion of young artists. Thus, the fair builds an #artistic legacy for the Brazilian public, eager to consume art and culture.

ArtRio
is more than an art fair; it is a unique event where visitors can view artwork by the great #masters along side works by up-and-coming artists . ArtRio is active on the art scene throughout the year promoting new artists and galleries by supporting exhibitions and study opportunities. The event is creating an artistic legacy for the #Brazilian people who, eager consumers of art and culture , visit the art fair in large numbers.

animated dreamy sloth box
Pigments on Acetate, bamboo and Muiracatiara wood
30x36x28 cm
2018

Fosca, an Italian-Dutch plastic artist, exhibits for the first time in Brazil.


Casa Voa, in Gávea, inaugurates the exhibition "Animal Sapiens" inspired by Brazilian fauna and flora.

Born in the middle of the Atlantic Ocean on a boat moored in the North Sea, Fosca, daughter of a Venetian and a Dutchman, was born and raised surrounded by water on all sides. Her gaze, accustomed to a predominantly blue landscape, found in the Brazilian fauna and flora an object of research for her art, as did the Dutch who arrived here in the 17th century. This was the inspiration for the artist to create the exhibition "Animal Sapiens", bringing together 11 works between paintings (ink, wax, titanium dioxide and acrylic on linen), metal nails on wood, wall installations and an animation projection made entirely by hand, frame by frame.

Invited by artists Antonio Bokel and Marcelo Macedo to exhibit for the first time in Brazil, the artist took up to 13 months to complete two of the works that will be exhibited from at Casa Voa, a space that also has an award winning architecture project and offers the public an agenda of workshops, study groups, film shows and art workshops.

For many, Fosca might well have joined the retinue of Flemish painting artists who were brought to Brazil by Mauricio de Nassau. The Dutch paintings fostered by Nassau arose from the scientific impetus, but it is undeniable that the artistic aura surrounding them is tied to epistemological meanings. So is the work of Fosca who, having been born at sea, learned to trace paths through maps and navigational instruments. Her drawings and paintings are executed with the meticulous and patient precision of those who make (medieval and modern) illuminations and her tiny writings are like textures that turn into images and confuse the look.

"Sitting around the fire in Casa Voa's backyard, in the silence of nature, listening to the water of the river flowing and the sound of the burning dry wood awakened in me a more primitive, ancestral feeling. From then on, new ideas emerged that make up my new work. In addition to the "Volupia" and "Amore cucito" paintings I started "Ricordi Lontani" and "Prego Selvatico" - concludes the artist who will have his works exposed in Rio de Janeiro.

Angelica Padovani

On September 7th we will open a collective exhibition Fauna - a fair of united and random artists - which will take place at Fabrica Behring [@fabrica.bhering]. 
No words to thank @lucianocian for all his efforts in creating ART in Rio de Janeiro!

No dia 7 de Setembro iremos inaugurar exposição coletiva Fauna - feira de artistas unidos e aleatórios - que vai acontecer na Fabrica Behring 
[@fabrica.bhering ] . 
Sem palavras para agradecer ao @lucianocian por todo empenho em realizar ARTE no Rio de Janeiro!

The drawings of Roberto Cuoghi's sculptures installed in Centre d'Art Contemporain, Genève, were made by Fosca as commissioned by Roberto to illustrate one of the essays in his first monograph published by Hatje Cantz. Fosca's extraordinary micro-drawing reflect the material and formal complexity of Cuoghi's sculptures right down to the last detail. By virtue of their great power and beauty, we decided to display them to complete this major retrospective dedicated to the Italian artist.

The Centre d'Art Contemporain Genève is happy to present PERLA POLLINA the first mid-career retrospective of Italian artist Roberto Cuoghi from February 22 to April 28, 2017. PERLA POLLINA will comprise approximately 70 works, spanning 1996 to 2016 and covering the different aspects of his rich and intricate production. Through an array of unconventional techniques, Cuoghi’s paintings, drawings, sculptures and animations explore the notions of metamorphosis, hybridity and devotion.
 

Known for his legendary transformation into a 67 year old man for seven years when in his twenties, Roberto Cuoghi is one of today’s most mysterious and radical artists. Concepts of perpetual experimentation, rule breaking, continuous and processual learning are central to his work: From il Coccodeista (1997), a series of works born from the artist’s idea to spend days wearing glasses whose lenses had been replaced by Pechan prisms, inverting and reversing his vision, to his intensive two-year study of the Assyrian language and rituals, after which he made a giant reproduction of a small talismanic statue of the menacing demon-god Pazuzu (Pazuzu, 2008) and a hybrid sound installation combining music of western and non-western cultures; (Šuillakku— corral version, 2014). More recently, Cuoghi combined sophisticated 3D technology and unpredictable archaic firing techniques to create an invasion of ceramic crabs on the island of Hydra, Greece (Putifiero, 2016).

 

This retrospective is part of a wide curatorial project initiated by the Centre d'Art Contemporain, Genève, which will bring together, in addition to this retrospective, other exhibitions in Europe: At the Madre Museum, Naples, Italy (May 26 – September 18, 2017), Kölnischer Kunstverein, Cologne, Germany (14 October – 17 December 2017).

The artist’s first comprehensive monograph will accompany the exhibition. This richly illustrated 500 pages catalogue, published by Hatje Cantz, will include new essays by Andrea Bellini, curator of the exhibition, as well as Andrea Cortellessa, Anthony Huberman, Charlotte Laubard and Yorgos Tzirtzilakis in addition to a compilation of previous interviews, specially commissioned drawings by FOSCA (also shown at the 4th floor of the Centre during the exhibition) and a complete chronology and bibliography by Sara De Chiara.

Director Centre d'Art Contemporain • Andrea Bellini

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Fosca’s Solo Exhibition at the Correr Museum overlooking the unique setting of Piazza San Marco and the lagoon of Venice.


An awe inspiring piece was hanging at the heart of the exhibit, in the centre of the Sala Sansoviniana, the monumental main hall: the ‘Literary Globe’, a gigantic sphere made of fifteen thousand hand-cut paper letters and golden glass droplets produced by Murano glass artists.  As a literary echo of Vincenzo Coronelli’s ancient celestial and terrestrial globes located underneath, the nebula of letters will establish an ideal link between Fosca’s artwork and the spirit of the library.
 

Thirty-six drawings on paper, including zinc engravings was exhibited in the shadow of the Literary Globe. A golden thread connect them to the space for which they have been created, stimulating a dialogue between the surroundings and the population of imaginary animals belonging to Fosca’s universe.

A very young artist named Fosca has chosen, for her latest personal exhibition “The Fantastic World of Fosca”, not only this venue, but also to create something inspired by the institution whose history has unfolded in these rooms.

     For some years now, The Marciana Library  has hosted contemporary art in its exhibition space, including works by the Italian artist Riccardo Licate, who died recently, and also by foreign artists such as Lore Bert, Liselotte Hohs and Huang Kehua, among the most recent. As a consequence of this, the majestic Sale della Libreria Sansoviana, embellished by paintings by the Great Masters of the Sixteenth Century, both on the walls and on the ceiling, have consequently often interacted with the imaginary world of the contemporary gaze.

     A very young artist named Fosca has chosen, for her latest personal exhibition “The Fantastic World of Fosca”, not only this venue, but also to create something inspired by the institution whose history has unfolded in these rooms. Thirty or so engravings will be exhibited in the vitrines of the Salone, their black and white hues  in perfect harmony with the antique Venetian floor. In these pieces the dreamlike  imagination of the artist merges with the surrounding environment, revisiting some aspects of its history and reinterpreting these in an ironic and fantastic vein. In this way the story of the collapse of the Library’s ceiling, which happened during construction works, and which Sansovino was to pay for with time in prison – is told through one of the artist’s  charming  anthropomorphic animals: we see the architect handcuffed, crushed by the rubble he is leaning on in the Piazzetta. Leda and the Swan, the prestigious work of art from Cardianal Grimani’s collection, still present in the vestibule of the Library, is revisited with a disrespectful rabbit blithely caressing Leda’s curvaceous figure. The chains which anchored precious manuscripts to the bookcases in the original Salone, which was the Venetian State’s public library, are now attached to the foot of another character from the artist’s fantastic bestiary.

     Floating from the ceiling above the public is  a large installation, the Literary Globe, which dominates the centre of the Salone of the Sansovinian Library, with a sphere composed of fifteen thousand hand-cut letters of parchment and cracked glass beads. It is an imposing, airborne installation which seems to interact with Vincenzo Coronelli’s  celestial and terrestrial globes to be found underneath this nebulous sphere of letters, thus establishing an ideal relation between the object and the spirit of the place. Amongst the fluttering letters we catch a glimpse of the Marciana lion, symbol of Saint Mark the Evangelist, historical symbol of Venice and the Serenissima Republic, which lives on not only in artworks and itinerant Venetian sculpture, but also in the emblems  of many of its contemporary institutions, including, of course, the Marciana Library.

                                                                                                                                Marciana National Library Director • Maurizio Messina

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