firstname.lastname@example.org instagram: @mura.consuelo - facebook: consuelo mura artist Lives and works in Rome
I looked at women, women who wait, women who observe, women who know and change the world. It all started with the study of women's body language, legs portrayed in positions that express intimate and personal states of mind. I imagine these scenes as fragments in which time no longer exists, or is suspended for an instant in a dreamlike memory.
Over the years, this study has led me to change my point of view: I have looked at nature as a woman who resists, generates life, protects, punishes and forgives. I was inspired by historical and mythological icons to search those fictional lives for morals different from the classical and canonical ones, turning them feminine and analyzing them.
In the myth of Cupid and Psyche, it is the will to knowledge and courage that moves Psyche, who with strength and independence will face very difficult trials. This long journey will not only lead her to find her beloved but, even more, herself, until she reaches parity with Love at the moment when she is transformed into a Goddess.
I have been reflecting on how many women today are still struggling and do not find the strength to fight back, starting over from themselves.
Among the various myths from which I could have drawn inspiration to deal with the topic, one in particular struck me.
I reread in a contemporary key the story of "Apollo and Daphne" from Ovid's The Metamorphoses. Daphne is a young nymph, a woman who has taken a vow of chastity to Diana, but behind this vow are not religious messages, but rather a need for emancipation from a reality of men, violence and violation of one's freedom.
In fact, Cupid, envious, makes Apollo fall in love with Daphne, knowing that he would not be reciprocated, which makes the nymph a victim of this capricious quarrel between gods.
Men who play with love by reducing it to a body to possess, to an obsession that does not respect the woman's freedom. Finally, in the metamorphic act of Daphne, when exhausted she invokes her mother Gaea, we are faced with the martyrdom of a woman who becomes a symbol of resistance struggle.
The laurel plant, which, in the myth, Apollo will make an evergreen plant, was for the ancients the representation of perpetual life, as immortal as the message of resistance that Daphne, unknowingly, still conveys today.
Main Solo Exhibitions
2022 Dialogo muto, Il Sole Arte Contemporanea, Rome.
2020 Women, Il Sole Contemporary Art, Rome.
2019 Artist's Residence - Atelier # 2, - December 24-29, MACRO ASILO, Rome.
2018 Of Cupid and Psyche and other bodies, edited by Sabrina Consolini, text in the catalog by Marina Marinelli, Sala da Feltre, Rome.
2012 Fragments, Elsa Morante Cultural Center, Rome.
2011 Art in the studio, edited by Isabella Fusillo, critical text of the catalog Eva Clausen, Hogan Lovells, Rome.
2008 The laws of desire, edited and critical text of the catalog by Gianluca Marziani, Il Sole Arte Contemporanea, Rome; Following the trajectory of your steps, Palazzo Valentini, Rome.
2007 Consuelo Mura at JLA Studios, Jan Larsen Art, New York.
2006 A tango for Viola, Civita Association, Rome.
Main collective exhibitions
2020 We as Nature, edited by Roberta Melasecca, Fabio Milano, Sabrina Consolini, Hotel Ripa, Rome
2020 money go round, edited by Edoardo Marcerano, rosso20sette, Rome
2020 Charity auction for the ITALIAN RED CROSS against COVID, curated by Tiziana Cino and Stefano Ferraro, rosso20sette; 7th Edition Tiny Biennale, curated by Susan Moore, Temple University, Rome.
2019 Raw - Dangerous Kindness, project, Kindness is dangerous, curated by Roberta Melasecca, Officine Nove, Rome; Raw - The infinite - Closer to the universe where thought drowns, curated by Roberta Melasecca and Fabio Milani, Monticello Complex, Rome; World Ready Made Day curated by Pablo Echaurren, MACRO ASILO; Performance - Art is Money-Money is Art, curated by Edoardo Marcenaro, MACRO ASILO, Rome; Art is Money - Money is Art, curated by Edoardo Marcenaro, East Village Art View, New York.
2018 Break the boxes, curated by Edoardo Marcenaro, Il Sole Arte Contemporanea, Rome.
2017 World vision PERONI DISTRICT, Rome.
2016 Stay comfortable, Il Sole Arte Contemporanea, Rome.
2011 Once upon a time, edited and written in the catalog by Valeria Arnaldi, Macro - Pelanda, Rome;
2010 Italian Olimpic Spirit - 2010 Winter Olympic Games, Casa Italia Coni, Vancouver.
2009 Borderlove, curated by Alexandra Mazzanti, Dorothy Circus Gallery, Rome; BidCeinge, edited by Antonietta Campilongo, ISA-Istituto Superiore Antincendi, Rome.
2008 Different looks - Italian contemporary art in Warsaw, curated by Antonietta Campilongo, Pracownia Galeria, Warsaw.
2007 CELESTE PRIZE, exhibition of the finalist works, ISA-Istituto Superiore Antincendi, Rome; 3 hours and 15 minutes, Civita Cultural Association, Rome.
2006 Beyond every border, University of Ljubljana, Ljubljana; Istanbul International Art Fair, Istanbul.
2005 West Lake Expo of Art, Hangzou, China.
2006 in the book The adoration of the foot, by Berarda del Vecchio, Alberto Castelvecchi publisher.
2007 in the 2007 Celeste Prize catalog, Zel edizioni.
2008 in the magazine d'Arte con-fine, critical text by Giuseppe di Bella, with fine editions; in the magazine con-fine, video CD-PASSI- con-fine edizioni.
2011 in the catalog Once upon a time ..., critical text by Valeria Arnaldi, Artfactory editions.
2020 in the diary of the Macro Asilo - The ateliers of the Macro Asilo, 24-29 December 2019.
2008 Passi, directed by Consuelo Mura, unpublished text by Francesca Schipa, original music by Gianluca Misti, voices by Sara Bonetti and Polina Chernova, Post production by Consuelo Mura and Giovanni Attili.
"I represent the moment as if it were the fragment of a memory of which you can focus only a small detail, a piece, that can tell an entire story. The gesture of a woman who is simultaneously wife and lover, mother and child, a multifaceted woman to look like through a kaleidoscope. The title of the works indicates a possible path and does not want to be an obligatory path towards an interpretation, but leaves to those who observe the freedom to imagine according to their own suggestion. I use, as if they were sketches, photographs taken by me, but also images borrowed from the media, then focusing only on the detail that interests me."
Gianluca Marziani for the catalogue "The Laws of Desire"
..."The artist turns his eye around the female body. He sets on the canvas individual details within neutral but welcoming contexts, letting float the various physicalities in the abstract places that show the intimate consciousness of the private space. We see women in the field through partial shots that hide their face, giving beauty the impact of an evocative archetype. Legs, bandage dresses, sexy high-heeled shoes, posturecalibrate where every actionresponses to a reegorical analysis of the iconographic eros. Everything is played on the fragment, on the aptitudes of the body that is being painted. A figurative journey on the subtle diaphragm between photographic realism and pictorial liquidity. A project where the ghostly softness of the bodies contrasts with the precision of the accessories and feet, rendered by the artist a magnetic catalyst that distributes energy throughout the entire project." ...
Giuseppe Di Bella for the magazine Con-fine
..."You can not escape the beauty of the eyes they observe, eyes that in that range of veiled perceptions, eyes that with that ability to grasp nuances and nuanced psychological conditions can only belong to a female artist being: at least the last twenty years are dotted with names and careers of painters that show us the powers that arise from the tensions of the specificity of the Art-woman. And so without screaming, through a clear catalog even Consuelo Mura illustrates the path that finds mediation as a form of current strategy and disynthesis between antinomies to suggest the minimum moments and even overflowing with anxiety and pathos of the private. The hybrid step, however, with which we approach the real is a way by which to evaluate the limitations or the missed possibilities of the painting that precedes us and focus it on the vacuum slide in a theoretical and concrete sense. The sense of detachment is transformed to stage the solitude to which our age seems doomed, private solitude, of women inhabitants of empty houses, almost entirely without presences who can enjoy the opulence of their offer. The space on which the figures are glued is a void made by subtraction, for emptying or for deletion as on Photoshop, a mute background and open to any definition of silhouette. That ability to investigate art in its unconventional artifice brings an endless series of illustrious names that the artist has introduced to disguise the tradition or classic of his works in a lived life in which the woman who takes off or slips the celestial cleavage shoe has the same value as a bather at the sea taken while she is intent on lifting the undercoat. A voyeurism granted only to art and in this case to genre art." ...
Marina Marinelli for the catalogue "of Love and Psyche and other bodies"
..."The models inspired become a very personal matter in making the Roman painter, who transforms the mitopoietic figures into apparitions of everyday life. With its unmistakable incardine style, the anatomy of the bodies in a static, abstract and timeless dimension, while focusing the framing on a detail extrapolated from a general context. The presences that populate the real world and that of the myth talk in a subtle dialectical game and references. The Wall starts from the representation of "other bodies"painted in black and white, with an almost marbled consistency and where the chromatic ignition is reserved only for special accessories, such as shoes and clothes, evocations of a female world with high seductive potential. Following an ideal path and suited to her pictorial research the Roman painter arrives at the re-enactment of the actual statue, but subverting the monochrome of marble in favor of color, to which she entrusts new expressive faculties and even playful accents." ......"Consuelo Mura's painting is a contemplative painting that looks at the human figure as a silent and posing subject, a metaphor for the complex dynamics of reality and the chain of its possible meanings. The traditional perspective box is transformed into a conceptual container, in which an unsuspendless time is consumed: the lag of suspension and waiting. This interval suggests the idea of a private environment and a condition of being dominated by expectation, desire and remembrance. The split of an instant is painted of the soul, in the burst of fatally subjective emotions. The loneliness of the bodies is simply apparent. In fact, they assume the existence of another by themselves, of a third, as also demonstrated by the titles of the works in the form of phrases addressed to an invisible anorem interlocutor. In the indefinability of space-time the "other bodies" occupy the canvas stale, sitting or lying down, they make themselves look and imagine in their anonymity. Psyche and Venus, on the other hand, present themselves without infsreation, with their faces uncovered, finally proposing the unveiling of identity and role. The gods as archetypes, patterns of behavior and personality, fulfill the function of belonging to the collective. To the world of those who paint and those who look at the work of art. To the world of all souls who face the difficult path of purification and redemption through love. With an evocative and sensitive language, with refined and impeccable shots in the definition of forms, Consuelo Mura proposes a contamination between the physical world and the symbolic world without contradictions and without continuity. An opportunity that obliges us to listen and an invitation to prolong the life of the work of art in our very existence. "...
"Every gesture of the geisha is measured, the food that leads to the mouth must not touch her lips, the hair is gathered in a perfect hairstyle that requires very long preparation, the kimono and the very high hooves flip-flops force her in very small steps. An educated, elegant woman, a perfect woman with the sole task of pleasing and satisfying the man. I turn west and see a woman in a corset who doesn't let her breathe until she faints. In every latitude it was wanted a woman who could not move, run, sweat, make mistakes, in short be free as a man. Even in the dancers we look fascinated by the beauty of the foot, of its ankle neck laced in the laces of the pointy shoe, but inside there is often a deformed and suffering foot, forced into an unnatural position. And here I can not but think of the "lotus flowers" the famous feet of the noble Chinese women deformed already at the age of 5-6 years and locked in tiny shoes, with serious suffering." (C.M.)
Events at Rome Art Week
Vernissage Monday 24 Oct 2022 | 17:00-21:00
Vernissage Monday 25 Oct 2021 | 18:30-21:00
Vernissage Wednesday 23 Oct 2019 | 17:00