Discovering the thoughts behind a young Argentinean artist like Luciana Rondolini, is to break through layers of meaning, to question consumption, illusion, luxury, ambiguity, of those things that attract us and at the same time make us noise in this contemporary society.
Luciana has a ‘dense’ curriculum for her age: international publications and exhibitions, art clinics in Di Tella and Proa, among others, and her passage through contemporary galleries such as Galería Ruby. “Cosmic Calamity” is among one of the most remembered works, finalist of the Petrobras Award in arteBA in 2012. It consisted of colored and flavored ice of 2 x 1 m, which melted as the Fair went by.
She is currently an artist at the Del Infinito Gallery. She is now exhibiting at the Fortabat Collection a show in dialogue with the surrealist artist Mildred Burton, curated by Gabriela Francone, which can be visited until April 21.
This place held within the world of contemporary art, perhaps it is because her works generate visual appeal, and this brings her to an audience that is not just in the world of art. Her images circulate through social networks, are pregnant and current. We could almost define her as a pop artist.
When asked about a reference in the history of art, Luciana chose Peter Paul Rubens, and in our dialogue tells me that she was once surprised to hear that the painting of this artist, with his poses and sensuality in front of the viewer, is the predecessor of contemporary photography.
Luciana in some cases uses characters or icons of fashion and music. Lady Gaga, Justin Bieber, Vogue images, logos of international recognizable brands. However, and as it transmits to me very clearly, there is a “struggle for the illusory” in this election, for questioning what is behind this appearance, of ephemeral luxury and fame.
How attractive are to the eye the brilliant gems that cover bananas and different fruits! Fruits that will rot inside. In a clear quote to the work of Damien Hirst these gems that simulate an illusory and rich appearance, are simple objects of decoration, bought in Once (a neighborhood of Buenos Aires). In combination with food, questions appearanc, and essence.
Also the relationship with the material is an aspect in which the artist puts the accent.
On the one hand the choice of cheap materials, such as plastic gems, ice or fruit. Working with this type of material (cheap and perishable) is a constant. The choice to include food is another way to question everyday issues that invite us to reflect on our consumption habits.
On the other hand, the relationship with temporality. As at the time it was the ice cream melting, today many of the most current works include the enduido. This material allows you to delve into the quest to capture a moment, since it hardens in the process of movement. The material that breaks and is economical simulates more noble and durable materials, such as moldings and carved wood.
Also, the inclusion of this material refers to the old. Luciana lived during her childhood in a house of more than one hundred years. The quality of the objects, the moldings, the carved wood, brings us closer to a more stable world, to a solid structure.
In this sense, the work in which she is currently working, some drawings Buildings / Cakes in dialogue with the work of Roberto Aizenberg, refers to the protection of the home and social structures such as Marriage and the Family. With these works, she is preparing a book together with Ronda Editorial that will be published this year.
The feminine arises both in relation to the Fortabat exhibition as to all its production. Simply her whole creation delves into the feminine. For her, being fragile and to feel is already in itself a form of empowerment.
