Viafarini is pleased to announce the first solo show in Italy by German artist Katharina Grosse, entitled If Music No Good I No Dance. The exhibition, opening on Thursday November 18, 2004, is curated by Milovan Farronato and realised in collaboration with the Goethe-Institut Mailand and Edra.
The artist was born in 1961 and lives and works between Düsseldorf and Berlin. She is one of the most successful internationally known painters of the last generation.
Katharina Grosse appropriates the exhibition space by emphasising and at the same time transcending its architectural structure through the force of her colours and the energy of spray painting. Captured by the unrestrainable desire - or instinct – to modify and alter the environment, Katharina Grosse gives every space a new aesthetic configuration and a new cognitive value.
Her space visions are not meant to be strokes of lightning – like some avulse enrapturing event – but rather logic consequences of an experienced life that comes to light and that cannot be caught in all its stages. It is as if the artist was constantly pursuing her work, always behind it. Grosse carries on a dialogue and chases the painting matter to express her vision; to extend her existence (this is why her work is close to performance); to spontaneously translate her mental processes (this is why she uses spray painting); to go beyond the experience of reality.
Every single intervention by Katharina Grosse is absolutely site-specific, but it is also the carrying-on of the preceding and the starting point of the following one. Her production can be intended as a saga whose every single chapter is project and result at the same time. It is a never-ending movement in which the absence of shape and the dissolution of the contours are not a goal but an incident.
It is difficult to foresee how the artist will deal with the space: she might invade it integrally or her intervention might focus on some corners of the structure; the work might express concentration or dispersion, focus or chaos, and it is still open how these energies will be processed.
It is likely that the pictorial installation by Katharina Grosse will be visible also from outside the space, thanks to the large windows. Two visual perspectives will therefore be possible: one partial but impressive, the other one complete and more involving.
What is certain is that Katharina Grosse, thanks to the collaboration with Edra, will add an extra element to her work: the ordinary character of life. The pictorial installation will involve an intimate every-day dimension, too, the very heart of the work: an unmade bed, some clothing and a pile of books will become a further surface for the painting and a new reality on which to apply the colours’ energy.