Federica Marangoni, Italian

Federica Marangoni, Venetian artist and designer, working internationally, has throughout her career researched on various materials and technological media. Alongside the sculpturing career, following a precise professional and cultural choice which developed a very eclectic way toward all areas of communication, grows her design activity. In 1970 she sets up in Venice her own design studio: Fedra Studio Design. In the same year she begins to use and experiment with glass working with continuos frequency in many Muranese furnaces. She creates both design objects for the production, as well as glass sculptures and large installations in which the technological media as video and neon light combined with glass make her work unique in the panorama of contemporary art.

From the early '70 the use of electronic technology will always continue to be the way of expression in Marangoni's work.

From 1976 to 1989 she is assistant professor of the Dept. of Art and Art Education at New York University. She holds seminars at NYU an summer courses in Venice with a workshop on glass. She also holds lectures and courses in many universities in the United States and cultural centers: Wayne State University, Detroit, Michigan (1977); Center for Creative Studies, Glass Dept. , University of Art and Design, Detroit, Michigan (1979); Patterson State College, N.J. (1978); Columbia University, New York, NY (1978); Parson School of Design, Altos de Chavon, Dominican Republic (workshop, November 1984); Pratt Institute, New York, NY (1995); Virginia Beach Art Center (1996). These last lectures focus on a theme Marangoni has long been inquiring: "Art, Art&Craft, Design: confrontation, analysis and interactivity". Many of her lectures focus on a theme Marangoni has long been exploring: "Art, Art&Craft, Design: confrontation, analysis and interactivity."

F M has exhibited in many museums and international shows:
MoMA (New York 1980), Musèe des Arts Dècoratifs (Lousanne 1988/92) Museum Bellerive (Zurich 1988), Palazzo dei Diamanti (Ferrara 1980/1983), Palazzo Dugnani (Comune di Milano 1984), Hara Museum (Tokyo 1990), Kunstmuseum (Dusseldorf 1990), La Biennale di Venezia (Ve 1979/75/80/95/97), Hivernacle (Ajuntamient de Barcelona 1989), Holly Salomon Gallery (New York 1995), Center for the Arts (Virginia U.S.A. 1996), Palazzo Ducale 'Aperto Vetro' (Venezia 1999), Skulpturen-Glaskasten Museum Marl ( D E - 2000). Venice Biennale: glass-video sculpture "The Electronic Rainbow" (Venice 1997).

Public sculptures:

  • SEVILLE, SPAIN, THE TRAP OF MEMORY, 1992.
    Fountain-sculpture installed on the Paseo Torneo, Seville, diameter 12 m.
  • BARCELONA, SPAIN, THE BIRTH OF LIGHT, 1992.
    Public work commissioned by FECSA Group, large coil in rusted iron, blue neon and glass.
  • VIRGINIA BEACH ART CENTER, USA, ENERGY OF NATURE, 1995.
    Split sphere covered in glass shards, monitors with images of fire, reflecting mirror and sound.
  • DUSSELDORF, GERMANY, THE ARCHIVE OF MEMORY, 1996.
    Media installation 300x270 cm, stratified glass sheet, two sheets of curved glass.
  • VENICE, ITALY, THE ELECTRONIC RAINBOW, 1997.
    Multimedia video-installation, promoted by the City of Venice, for the Venice Biennial,
    laminated glass, multicoloured shards of glass, iron structure, 15 monitors, VHS tape 3D.
  • VENICE, ITALY, JACOB'S DREAM, 2001.
    Venice, Biennial of Visual Arts, public installation, blue leds lights, metal cage
    and blue raw glass. Now included in a great sculpture Park , Rossini Foundation Collection Italy.
  • CHIANTI SCULPTURE PARK, ITALY, RAINBOW CRASH, 2003.
    Site specific-sculpture. Iron column with polychrome neon flow on both sides,
    glass sheets rainbow, Murano glass shreds.
  • TENERIFE, CANARIA ISLANDS, SPAIN, CAGE OF LIGHT, 2004.
    Public installation for the Canarian Guvernement square:
    metal cage with moving lighting device, lavic stone with
    writing: "The Light is Always Free".
  • GENOVA, MEDESIGN, ITALY, A BRIDGE FOR THE MEDITERRANEAN, 2004.
    Sculpture in iron structure with polychrome neon and glass.
  • TEGLIO, ITALY, THE HEART OF ART, 2005.
    Cage cm 220x220, red neon, metal container and Murano raw Glass fragments.
  • BORGHOLM, SWEDEN, NO MORE, 2005.
    Global Art Glass, 2005, layered glass stripes, red neon inscription and raw red glass, cm 250x300,
    central breach with raw red glass breaking through.
  • MADRID, SPAIN, CONTINUITY, 2006.
    Multimedia site specific sculpture for the Patio of the Italian Institute of Culture calle Major, Madrid Spain
  • BORGHOLM, SWEDEN, NO MORE, 2005.

"It is the shape of an emotion that perceptively fills the spectator in front of the scenographic glass and neon wall, No More. The same emotion felt and transcribed by the artist in her vision of light, colour and virtual movement. The transparency of the flat, cut and stratified glass sheets with their rough finish and red middle ground, veiled by translucent sheets of neon writing, the one switched on in the foreground, and of the heaped fragments at the foot of the wall, are all striking metaphorical elements. There is an immediate reference to the idea of a barrier, separation and repression, in the figure of the wall presented to the collective imagination. The wall as an archetype of social and racial, religious and political discrimination, of confinement to the sanctuaries of folly, of an ordinary daily violence that is a story of fear, hunger and tears. The English words No more refer to all the anonymous writings of love and hate, tolerance and intolerance, transmitted daily by the walls of cities to a fragile, disenchanted, tragically absent-minded and hurried humanity, in its hectic rush towards a dimly lit future. The central fracture, separating the two written words, out of which gushes a symbolic cascade of flame-red scrap, expresses the energy of a subject in revolt against pointless bloodshed. The uneasy yet aesthetically seductive installation No More reveals once again the conflictual connotation which this artist’s work has always visualized".  from Viana Conti, "Federica MARANGONI, NO MORE, project", Global Art Glass Triennial, June 2005
 

MEDIA :

  • Layered flat glass stripes, sealed between layers, obtaining a solid
    Structure, an architectural wall irregularly broken at the centre.
    The edges of the layers are rough, not polished, therefore the glass
    structure will diffuse the light and shades of the people walking in
    the back side of the wall.
  • Red Neon words NO MORE, featuring the words written all over on the walls of our towns.
  • Red pile of raw Murano glass, representing the energy, blood and
    strength of people in order to brake walls and barriers.
    H 230 cm L 300 cm.

MADRID, SPAIN, CONTINUITY, 2006.


"The rainbow is at once subjective and objective, in our mind and in the world, as shown by the fact that no one can see someone else’s rainbow. And yet the rainbow is not a mental image, an incorporeal idea; the rainbow is a physical event outside the boundary of our body. The rainbow is partially in the cloud and partially in our brain. It represents a fundamental structure of reality: a process. The rainbow is not something that is (there in the cloud or here in the brain). The rainbow takes place."  from Manzotti R. (2006), «Consciousness and existence as a process», in Mind & Matter, accepted.

Multimedia sculpture (May 2006). Commission by the Italian Institute of Culture in Madrid for the patio of the building in calle Major. The rainbow, symbol of man’s infinite dream and of life itself, is a good omen, a welcome sign placed at the entrance to the patio and extending into the interior. With its coloured arc soaring almost to the second floor, it looks as if it were trying to occupy - without weight, but with light and transparency - the whole possible space. Like flexible oneiric architecture, this work seems to have descended from above and to have settled in the patio.



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