Carol Rama is an artist apart from all others; I am stunned by this strange woman who knew Man Ray, Pasolini, and even Andy Warhol. I am struck by the differences among these artists, who were eminent during the rise of Italian fascism, whose work was on display this year at Musée d’Art Moderne de Paris in the temporary exhibition Dolce Vita.
In the 1930s, she is obsessed with desire which she represents directly in the form of nude women, taking blood-red tongues of provocation that sometimes become dangerous weapons, sort of like wolves…
Stylized feet and shoes make up an essential part of this erotic process; Carol Rama does not beat around the bush, but rather she represents the result of a dissection, revealing to us the mystery of this goddess as a cutaway.
The raw side of her desire is determined by the refinement of her drawings, the soft colors, and lyricism. I was told that she worked not in a studio bathed in light, but rather in darkness; she was simply surrounded by her subjects to which she gives new importance by placing them in her compositions in a “ready-made” way.
« Poiché non volevo studiare, né apprendere, facevo l’asilo, andavo dappertutto . È importante non studiare »Suddenly, she leads us into another abstract universe with geometric shapes and even heartbeats appearing on paintings: we are in the 1950s. Carol Rama is on display as she opens up an inner part of herself. » Carol Rama
Her watchful eyes observe and scrutinize us like little spies, teeth and claws mired in her paintings that her friend, poet Edoardo Sanguineti, calls “arts and crafts.”
I greatly appreciated the elegance of this artist who, even though her work may seem frightening, is sincere in what she produces. She places us right in her reality that she meticulously dissects, and we are captured by the myth that she displays.
Florence Briat Soulie
Musée d’Art Moderne de la Ville de Paris
From April 3-July 12 2015
Most of the exhibition is Rick Owens’ furniture, which definitively binds us to the artist with those big black and white benches, prolonging the fantasy of Carol Rama.