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Museum of New Art Presents Mariella Bettineschi |
Mariella Bettineschi.
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DETROIT -The
Museum of New Art (MONA) presents Mariella Bettineschi, on view through
June 30. Mariella Bettineschi's work derives from Arte Povera of the
1960s. At first that seems odd looking at the Italian artist's material
sleekness. The Arte Povera generation were informalists who dabbled with
detritus and made lyrical assemblies with basic materials. The work was
hands on, anti- or non-industrial, crude, and impoverished. They made
poetry of ruin and rags, tawdry neon and lead strewn around or
positioned in situ. With radical insight they criticized imperialism,
capitalism, and the position of institutions. They made you look at the
situation and "objects" in a new way.
Bettineschi does that too. Each installation, either outside or in a
museum venue, is so succinct that the viewer subtly becomes aware of the
artist's guiding. When you see her sources, they are as direct as the
previous generation. Though she now uses digital photography, printers
and computer manipulation, this technology is not beyond the grasp of
most viewers; we see mercantile windows done in the same occupational
manner daily. Such technology is quite common today. It is the nature of
the imagery, not its modus, that is different.
An artist is an alchemist. She sifts memories, fables, sand and silt
into the maw of the mind and spins threads of gold. The true artist
doesn't need a loom or a philosopher's stone to do this; the sibyl
herself is that catalyst that weaves sights into visions, sounds into
chorales, events into epics. Although purity of heart is to will one
thing, there are many kinds of saints, each with a varied path, each
with miraculous feats, tortures, and miracles. Some artists are
meteoric, glowing spectacularly then vanishing. Other artists grow more
slowly, incorporating their experiences like accretions of a shell to
gain breadth. Her works are more than the sum of plain parts.
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