vivawitt

The following are some books on my work: Collezionismo a Torino, Charta, Milano; Battaglie, Skira, Milano; Peripezie dell’Arte Italiana…, Einaudi, Torino; Mes Amis Mes Amis, Corraini, Mantova; E’ Andata Cosi’, Mondadori Electa, Milano.

Excerpts from Battaglie, Skira, Milano 2003.  The Battles of Art, by Achille Bonito Oliva: ” The outcome of the battles of Vittoria Chierici is the construction of a style.” pp.13; Art- Bataille by Franco Farinelli: ” Foucault called it ” the knowledge of the army”, and attached great importance to it at the end of his days, pointing out as a field of investigation to return to with urgency and to put into practice.” p.19; Battle Architecture. Vittoria Chierici strategist by Beppe Finessi: ” Ten years of battles. Of strategies set in form, in light, in colour. Vittoria Chierici, who was born into that world, having been her father and grandfather soldiers on the Russian front, has always breathed discipline, diligence, rigour, courage, determination, plus a touch of sane madness.” p.23; Why a battle? by Marco Meneguzzo: “…Vittoria Chierici’s obsession for the battle of Anghiari is of multiple interest, one that goes far beyond a personal historiographic doggedness that has marked this longstanding work of hers: why a battle? And why “that”  battle? ” p.27; The Fight and the screen by Federico Montanari: ” The fight of fights: the center of the battle is the maelstrom, or the spiral of the fight, the confusion…Where is Vittoria Chierici’s battle” Where is the Missing Leonardo located? We might say that it is a matter of “framing”: that is, to construct not only figures but spaces, better yet , screens. ” p.32; The Battaglia di Anghiari of Vittoria Chierici by Dario Trento: ” In undertaking an integral reconstruction of the Battaglia di Anghiari, has Chierici therefore put herself in the condition of creating a fake? ( or at any rate an unjust operation?…Even so, the current work is not unjust forced for two reasons: because of its impact on the mythic – poetic wake of the Leonardesque work, and because, thanks to her very individual instruments, she manages to highlight structures and otherwise elusive schemes in the Leonardesque fragments.” p.37

Adachiara Zevi, Peripezie dell’Arte Italiana…, Einaudi, Torino 2005: “…Among new art groups born in Milano during the eighties, one was based on the charismatic figure of Corrado levi, architect, writer and collector from Turin….Art critic Francesca Alinovi, while organizing the show “Italian Wave at the Holly Solomon gallery in New York in 1980, met Vittoria Chierici who was attending Columbia University and taking classes at the School of Visual Arts. Here Chierici met Manuela Filiaci, painter and founder of the art space on 15th street, the Parallel Window….In 1983 Francesca Alinovi invited Chierici to participate at the art show “Serata Enfatista” at the Neon Gallery in Bologna. One year later Chierici exhibited her work in the group show, ” Dall’Olio all’Aeroplanino” at the Studio S. Gottardo of Corrado Levi which had just opened in Milano. This was the first show of the group of young artists from Milano: Stefano Arienti, Amedeo Martegani, Mario Della Vedova, Marco Mazzucconi; from Turin, Pierluigi Pusole, Luigi Stoisa, Bruno Zanichelli; from Bologna Vittoria Chierici and Ivo Bonacorsi.…In 1989 Levi invited Chierici to represent Italy at the international exhibition, “The Seven Artists”, in Tokio...Chierici exhibited a series inspired by the Andy Warhol’s famous  Green Coca Cola Bottles…In 1993, after the Gulf War, Chierici started painting Battaglie ( Battles)…In 1997, Chierici focused on the Battle of Anghiari, the unfinished masterpiece by Leonardo da Vinci of which only copies and fragments of drawings came to our time. In such a partial condition, Chierici thinks, is the modernity of masters from the past.“

Alcuni testi dove e’ citato il mio lavoro. Grazie.