There is also Fiber Art on display at the second edition of Contrappunto (Counterpoint), the artistic project of Casa Cavazzini, the Museum of modern and contemporary art in Udine, which opens its doors to the world of contemporary artistic production in the region to relaunch, through the eyes of today, the driving force of the museum.The title, borrowed from the world of music, indicates the desire of several voices to be together and so it is for Contrappunto 02, which until October 23, 2022 will put the civic collection, its authors, its works in dialogue with ten invited artists.
Among them, Loretta Cappanera and Manuela Toselli whose research and artistic practice has one of the preferred expressive languages in the textile medium, have developed their own counterpoint in the space assigned by the curators – Vania Gransinigh, curator in charge of the museum and Francesca Agostinelli.
The protagonist of Loretta Cappanera‘s works is the human being and the deep traces he leaves of his existence. For the CONTRAPPUNTO project she chose to work in dialogue with a graphic work kept in the Museum’s deposits – the Es-fragmenta folder – containing a poem by the poet Amedeo Giacomini and 3 engravings by Maestro Carlo Ciussi, published by Scheiwiller in 1985.
From this meeting / comparison was born the installation Travel Gardens where the garden is intended as a place of Origin, a nostos from which we are born and to which we return. Here the work becomes a synthesis of the sign that is itself a trace and of the word that becomes poetry and that as such digs into the human soul: forty-eight ‘flower beds’ made on linen and cotton loom-woven canvas in which the sign is the result of an obsessive concatenation of a thread stitch through the fabric, the colors recall the earth, water, a rhythm, a sign writing, even a meditation.
With Point of view, Manuela Toselli for CONTRAPPUNTO instead chose the work in the permanent collection “Jerusalem”, created in 1887 by Bernhard Fiedler also for the adventurous story of this painting, a Nazi release from seizure, formerly owned by the Brunner family of Jewish origin, then deposited in the Museum at the beginning of April 1945 by the Monument Protection Office of the German High Commissioner for the Adriatic Coast. Starting from the historical event and from the analysis of the painter’s point of view, Toselli has created a large diptych in silk threads, a transposition of the oil colors of Fiedler’s painting freed from the limits of form, a sort of distillation of the work and of the reality itself in which the features of a landscape that is not precisely identifiable are perceived – a non-place that is all places at the same time.The abstract composition is readable as a whole only in the proximity of the two parts of the diptych, giving back to art the ability to unite beyond the dark forces of history that have worked to divide.