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Rachel Feinstein

November 17, 2012–January 5, 2013
Rome

Installation view

Installation view

Installation view, photo by Matteo Piazza

Installation view, photo by Matteo Piazza

Installation view Photo by Matteo Piazza

Installation view Photo by Matteo Piazza

Installation view, photo by Matteo Piazza

Installation view, photo by Matteo Piazza

Installation view Photo by Matteo Piazza

Installation view Photo by Matteo Piazza

Installation view Photo by Matteo Piazza

Installation view Photo by Matteo Piazza

Installation view Photo by Matteo Piazza

Installation view Photo by Matteo Piazza

Installation view Photo by Matteo Piazza

Installation view Photo by Matteo Piazza

Installation view Photo by Matteo Piazza

Installation view Photo by Matteo Piazza

Installation view Photo by Matteo Piazza

Installation view Photo by Matteo Piazza

Works Exhibited

Rachel Feinstein, Panorama of Rome 2012, 2012 Oil enamel on mirror, 7 panels: 47 ⅞ × 469 inches overall (121.6 × 1,191.3 cm)

Rachel Feinstein, Panorama of Rome 2012, 2012

Oil enamel on mirror, 7 panels: 47 ⅞ × 469 inches overall (121.6 × 1,191.3 cm)

Rachel Feinstein, Panorama of Rome 2012, 2012 Oil enamel on mirror, 7 panels: 47 ⅞ × 469 inches overall (121.6 × 1,191.3 cm)Photo by Rob McKeever

Rachel Feinstein, Panorama of Rome 2012, 2012

Oil enamel on mirror, 7 panels: 47 ⅞ × 469 inches overall (121.6 × 1,191.3 cm)
Photo by Rob McKeever

Rachel Feinstein, Panorama of Rome 2012, 2012 Oil enamel on mirror, 7 panels: 47 ⅞ × 469 inches overall (121.6 × 1,191.3 cm)Photo by Rob McKeever

Rachel Feinstein, Panorama of Rome 2012, 2012

Oil enamel on mirror, 7 panels: 47 ⅞ × 469 inches overall (121.6 × 1,191.3 cm)
Photo by Rob McKeever

Rachel Feinstein, Panorama of Rome 2012, 2012 Oil enamel on mirror, 7 panels: 47 ⅞ × 469 inches overall (121.6 × 1,191.3 cm)Photo by Rob McKeever

Rachel Feinstein, Panorama of Rome 2012, 2012

Oil enamel on mirror, 7 panels: 47 ⅞ × 469 inches overall (121.6 × 1,191.3 cm)
Photo by Rob McKeever

Rachel Feinstein, St. Peter, 2012 Oil enamel on mirror, 46 × 26 inches (116.8 × 66 cm)Photo by Giorgio Benni

Rachel Feinstein, St. Peter, 2012

Oil enamel on mirror, 46 × 26 inches (116.8 × 66 cm)
Photo by Giorgio Benni

Rachel Feinstein, Girl by Fountain, 2012 Oil enamel on mirror, 26 × 24 inches (66 × 61 cm)

Rachel Feinstein, Girl by Fountain, 2012

Oil enamel on mirror, 26 × 24 inches (66 × 61 cm)

Rachel Feinstein, St. Michael, 2012 Oil enamel on mirror, 31 × 21 ½ inches (78.7 × 54.6 cm)

Rachel Feinstein, St. Michael, 2012

Oil enamel on mirror, 31 × 21 ½ inches (78.7 × 54.6 cm)

Rachel Feinstein, Monk, 2012 Oil enamel on mirror, 31 × 24 inches (78.7 × 61 cm)

Rachel Feinstein, Monk, 2012

Oil enamel on mirror, 31 × 24 inches (78.7 × 61 cm)

Rachel Feinstein, St. Christopher, 2012 Aqua resin, steel, wire, and wood, 104 × 76 × 35 inches (264.2 × 193 × 88.9 cm)Photo by Giorgio Benni

Rachel Feinstein, St. Christopher, 2012

Aqua resin, steel, wire, and wood, 104 × 76 × 35 inches (264.2 × 193 × 88.9 cm)
Photo by Giorgio Benni

Rachel Feinstein, St. Sebastian, 2012 Aqua resin, steel, wire and wood, 100 × 48 × 24 inches (254 × 121.9 × 61 cm)Photo by Giorgio Benni

Rachel Feinstein, St. Sebastian, 2012

Aqua resin, steel, wire and wood, 100 × 48 × 24 inches (254 × 121.9 × 61 cm)
Photo by Giorgio Benni

Rachel Feinstein, St. Michael, 2012 Aqua resin, steel, wire and wood, 102 × 56 × 30 inches (259.1 × 142.2 × 76.2 cm)Photo by Giorgio Benni

Rachel Feinstein, St. Michael, 2012

Aqua resin, steel, wire and wood, 102 × 56 × 30 inches (259.1 × 142.2 × 76.2 cm)
Photo by Giorgio Benni

Rachel Feinstein, St. Agatha, 2012 Aqua resin, steel, wire and wood, 100 × 48 × 38 inches (254 × 121.9 × 96.5 cm)Photo by Giorgio Benni

Rachel Feinstein, St. Agatha, 2012

Aqua resin, steel, wire and wood, 100 × 48 × 38 inches (254 × 121.9 × 96.5 cm)
Photo by Giorgio Benni

About

I'll do a drawing, and then drawings of the drawing, and keep getting away from the source as many times over as I can so I don't just replicate. I'm not interested in trying to copy the object itself. And then sometimes I'll cut up the drawing and hot glue-gun the whole thing into a three-dimensional paper drawing, and either that will become a sculpture on its own—because that weird, flattened, planed-wood sculpture will be really beautiful—or I'll use that as a skeleton, and then I'll add stuff on top.
—Rachel Feinstein

Gagosian Gallery is pleased to present a site-specific installation by Rachel Feinstein. This is her first exhibition in Rome.

Feinstein's multi-part installations, which contain autonomous sculptures and paintings, reveal her singular flair for synthesizing a myriad of cultural fascinations—religion, myth, beauty, mortality, decadence—into vignettes of the marvelous. Oil paintings on mirrored surfaces, flat propped sculptures reminiscent of stage dressings, and abstracted reworkings of classical sculpture confront persistent issues of artistic representation such as theatricality and illusionism. By layering quotations from diverse artistic, architectural, cultural, and stylistic sources—from religious iconography to Baroque sculpture, Romantic landscapes, and popular cartoons—art and history are charged with a burlesque sensibility.

In this latest of her compelling fantasies, Feinstein has covered the interior gallery walls with a panoramic wallpaper of an impressionistic Rome. Sourcing and collaging diverse artistic visions of the city from different historical periods, she first made a large oil painting on mirror depicting this heterotopia of her own invention, where an eighteenth century piazza scene buzzing with life jostles against ancient ruins and an Arcadian landscape. This was then printed on mirrored wallpaper, to which five diamond-shaped glass mirrors, painted with faces, are fixed, merging cunningly with the background panorama while catching and reflecting the passing viewer's gaze.

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Prima disegno, poi realizzo altri disegni dal disegno, allontanandomi sempre più dalla fonte per evitare repliche. Non mi interessa copiare l'oggetto in sè. Mi capita anche di tagliare il disegno e ricomporlo tridimensionalmente, in modo che possa diventare una scultura indipendente—perchè la superficie levigata del legno è bellissima-o che venga utilizzato come scheletro su cui aggiungere altri elementi.
—Rachel Feinstein

Gagosian Gallery è lieta di annunciare una installazione site-specific di Rachel Feinstein, la prima mostra dell'artista con la galleria.

Le complesse installazioni di Feinstein sono composte da sculture e dipinti e rivelano la capacità singolare dell'artista di presentare l'ampia gamma dei suoi interessi—dalla religione al mito, dalla bellezza alla mortalità, alla decadenza—racchiudendoli in racconti di fantasia. Attraverso i suoi lavori, tra cui dipinti ad olio su specchio, sculture bidimensionali che richiamano manichini, e reinterpretazioni astratte di sculture classiche, l'artista si confronta con tematiche artistiche ricorrenti, come la teatralità e l'illusionismo. Ispirandosi a diverse fonti stilistiche, architettoniche e culturali, dall'iconografia religiosa alla scultura barocca, dai paesaggi del Romanticismo alle vignette popolari, arte e storia si caricano di sensibilità "burlesque".

Nel suo ultimo coinvolgente racconto presentato a Roma, l'artista ha ricoperto interamente le pareti della sala espositiva ovale con un panorama impressionista della città. Unendo e sovrapponendo immagini da diverse fonti e periodi storici, Feinstein ha dapprima elaborato questa dimensione utopica dipingendola su una superficie multipannello a specchio, dove una piazza settecentesca con paesaggi arcadici e rovine antiche fa da sfondo alla frenetica attività quotidiana. Le stesse immagini sono state poi stampate su carta da parati specchiata, sulla quale volti ed elementi architettonici fanno capolino, dipinti su specchi romboidali.

Quattro sculture di grandi dimensioni, ispirate a santi e martiri della cristianità, dialogano con questa scenografia. Partendo da piccoli modelli di carta, i soggetti sono stati poi trasformati in sculture di legno e resina monocromatica. I loro contorni indefiniti e dinamici ricordano il vigore dell'estetica barocca tipica dell'ambiente romano.

Vi è l'arcangelo Michele, che sconfisse in battaglia il Demonio; Sant'Agata, vergine e martire, simbolo di tenacia, sottoposta a numerose torture per la sua irremovibile fede, tra cui il violento strappo delle mammelle per aver rifiutato le avances di un prefetto romano; San Sebastiano, trafitto da frecce per non aver rinnegato la fede, miracolosamente sopravvissuto, ma successivamente flagellato a morte; e infine San Cristoforo, il santo patrono dei viaggiatori che porta il peso del mondo intero sulle proprie spalle. Le quattro sculture, prive del dettaglio espressionistico che caratterizza le abituali agonie ed estasi, appaiono come ombre, presenze suggestive dei personaggi originari.

Rachel Feinstein (Fort Defiance, Arizona, 1971) ha studiato presso la Columbia University, New York e la Skowhegan School of Painting and Sculpture, Maine. La sua opera è stata soggetto di numerose mostre personali e collettive, tra le quali"The Alliance", Hyundai Gallery, Pechino, Cina (2008, e successivamente presentata presso la Hyundai Gallery, Corea); "Something About Mary", Metropolitan Opera House, New York (2009); "Rachel Feinstein: The Snow Queen", Lever House, New York (2011); "The Little Black Dress", SCAD Museum of Art, Savannah, Georgia (2012). Feinstein vive e lavora a New York.