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Il Denaro I Piazzadispagna9 presenta María Ángeles Vila Tortosa

Dopo l’evento inaugurale a marzo di quest’anno dell’esclusiva dimora che è anche galleria d’arte e palcoscenico per performance artistiche, Piazzadispagna9 torna sulla scena romana presentando al mondo dell’arte e dell’alta società romana l’artista Spagnola María Ángeles Vila Tortosa.
La Maison più raffinata e poliedrica che abbia mai conosciuto la città eterna ha aperto il 26 novembre nuovamente le sue porte con un nuovo volto, questa volta ancora più intimo grazie alle opere dell’artista Vila Tortosa che si appropriano dello spazio come se fossero nate per lo stesso.
L’incontro felice tra l’artista e Stefania Grippo, ideatrice di questo progetto sperimentale, nasce intorno alla Caja habitada, il baule in legno grezzo foderato da carte incise e lavorate, che troneggia nel cuore degli ambienti conviviali. L’opera assume nel contesto dell’albergo, le sembianze di un bagaglio simbolico rappresentando un invito al viaggio e allo stesso tempo, il tramite con il luogo di appartenenza.
Come questa, si inseriscono perfettamente anche le altre opere di María Ángeles Vila Tortosa che popolano ogni ambiente dell’albergo, gli spazi comuni così come quelli privati. Il percorso espositivo è composto da un corpus di lavori realizzato tra il 2009 e il 2014, che abbraccia le sue diverse modalità di espressione, spaziando dai lavori su carta a quelli su tela. L’arte di María Ángeles Vila Tortosa ha un carattere narrativo, ogni opera racconta un vicenda che prende le mosse dall’esperienza dell’artista per arrivare a toccare il vissuto di chi la osserva. Per questa ragione i suoi lavori, come le opere della serie Souvenir di Piazza di Spagna, realizzate appositamente per la mostra, si prestano ad una visione intima, che in questo contesto avviene nelle camere dell’hotel, aperte eccezionalmente ai visitatori. Sobrevuela si ispira al viaggio, all’alloggiare temporaneamente in un luogo evocativo di altri, portando il fruitore in una dimensione onirica.
Piazzadispagna9, con le sue ampie vetrate accoglie Roma al suo interno, e Stefania Grippo ha risposto alla città aprendo il suo albergo all’arte, offrendo al viaggiatore un modo nuovo di conoscere e vivere Roma, ai confini del classico, dell’arte e della moda, scrivendo nuove pagine della (dolce) vita. Il sincero interesse di Stefania Grippo per l’arte, si articola, in linea con le più moderne tendenze internazionali, in un progetto che vede una galleria d’arte contemporanea inserirsi in un contesto sociale dinamico, quale solo l’attività alberghiera può essere, in un susseguirsi di mostre personali di artisti da lei selezionati con la cooperazione di Memi Crimi, art coordinator di Piazzadispagna9.


November 26 I STILL WATER I, Sole Exhibition of Dirk Vogel, photographer of international fame

Capturing the naturalness of being, of living, is one of his leitmotifs, through which he displays his rich artistic sensitivity. Vogel manages to see a story behind a face – strong personalities, lives and souls are caught in an instant in an image capable of recounting the kaleidoscope of life…..

Tania Welz

Tania Welz

Fabrics, threads, canvases, textures … an ancient universe. An attitude of man since the dawn of time. Weaving is one of the most archaic artisan activities to which human beings have ever dedicated themselves, and has done so to satisfy their primary need to protect themselves from the elements. In Tania Welz’s art of weaving has also become a metaphor referring to the life of men. In the collective imagination of our ancestors – -and the suggestion endures even today — the entanglement of the fabric, the interweaving of different threads, the infinite possibilities of creative solution that weaving has allowed, are easily identified with the life paths of individuals, even when not aligned with the destinies of the whole.

Commonly, it is used to say that “life is hanging by a thread”, or that our destiny inevitably depends on events: and the verb to-hang, in fact, evokes the image of something that “hangs” from a thread . In this sense, Greek mythology has given us the most fascinating stories: just think of Penelope, wife of Ulysses, who in his weaving the canvas by day and undo it at night waiting for the beloved’s return, represents the attempt to master his own destiny escaping, thanks to deception, to marriage with one of the Proci; to Arianna, who by delivering to Teseo the thread that will allow him to get out of the Cretan labyrinth after having killed the fearsome Minotaur, binds the survival of the hero to a brilliant intuition; to Aracne, whose skill in the art of weaving condemns her to a spider (destined to spin for the whole existence) by a furious and envious Athena; finally, to the three Parcae (or Moire), powerful creatures who presided over the entire course of human life, twisting, enveloping and finally cutting the thread of life of each mortal being.

Like a modern heroine, Tania Welz uses the variety and versatility of the fabric to tell her own version of the world, to trace a path, to represent a destiny … perhaps that of the whole of humanity. In the interweaving of the fibers of a canvas, it is evident, in fact, the parallel with that dense weave that invariably links the phenomena of life and the fate of men to one another. For Welz, the fabric is an eclectic and flexible material like few others: it does not have the bi-dimensionality of a canvas, it does not have the rigidity of clay or marble … it is a lively and vital tool, multifaceted, in its expert hands, which they are skilled in giving a new life to the fabric by contaminating it with other elements, with grafts of different fibers, or by mistreating it and then recomposing it.

The art of Tania Welz, although profoundly contemporary, is an art of archaic taste, which refers to the ancient tradition of the tapestry, widespread since the most remote times throughout the world, from Africa, Japan, up to the Pre-Columbian America, but developed in Europe especially since the early fourteenth century (the word “tapestry” comes from Arras, the city of France where, in the Middle Ages, the best tapestries were produced). However, the artist aims at a new use of fibers, which leads her to choose fabrics and “finished” fabrics and to connect them to each other, through cuts, assemblages, burns and upholstery, to create large abstract works with a strong chromatic and material impact. Such compositions are always the tangible expression of an inner movement, which becomes a resonance box of social malaise: a widespread malaise at the planetary level, which Welz feels intensely, and which results in conflicts of various nature – class, race, of sex, religion, culture – from which no civilization is immune.

However, the moral task of the artist, which Tania Welz does without reserve, is to look beyond the ugliness of the world, to see a way out, to provide through the mysterious – but universal – language of art the solutions invisible to the most. And this is why, next to the cuts and tears, from the wounded surface of the canvas, an element of color, hope and beauty emerges unfailingly, like a bud in a barren plain. Through the combination of poor materials such as jute recycled with fabrics or precious inserts (gold, silk, brocade), Welz shows contemporary man a chance to care, a healing perspective that passes only through the potentiality creative inherent in each of us.

The same titles of the works have a remarkable evocative force, which fits perfectly with the juxtaposition of colors and materials of each tapestry: they tell stories of suffering, lacerations, conflicts, but also of hopes, dreams and aspirations (“And then comes the sun “,” Clash of classes “,” Bride’s end “,” Following the treasure map “, just to name a few).

The exhibition project sees a dialogue between them of 12 large works, plus a series of small works – a polyptych – that represents a kind of summa, of minimalist synthesis of Welz’s poetics, of which a preparatory drawing by her is also on show watercolor (modern equivalent of the “cardboard”, the real-sized model that was painted by a painter, often renowned, for the realization of a tapestry).


A special mention deserves the series of tapestries entitled “Be-longing”, from 2016, made from kilim rugs: in these works, as the artist himself explains, “the protagonists are used and worn carpets, fabrics by people of all world. The series represents the territorial and psychological perception, visible and internalized, of our roots. Global migrations, uprooting and the search for a new home are more and more collective phenomena of our time that require the development of a broader concept of heimat (German word that describes an inner drive of belonging to someone, something or some place): which expands beyond territorial identification and embraces cultural and individual nuances, creating new ways of being in today’s world. ”

In conclusion, through his tapestries, Tania Welz becomes the privileged interpreter of the contradictions of the world, in the conviction that only art – in the relationship that it necessarily interweaves with the surrounding environment – is able to reaffirm with force and passion what man denies, violates and debases, that is life. While we, human weavers, remain suspended and depend on that thread that we ourselves (like Aracne) secrete and govern. And despite the philosophy, the science, the technology, the evolutions of culture, our life continues to be a dense and varied fabric, an immense canvas of Penelope, of which only partially we can identify and master the threads.

Raffaella Salato


Serafino Maiorano was born in Crotone (Calabria, Italy) and graduated at the Academy of Fine Arts in Catanzaro (Calabria, Italy) in 1983. Almost immediately after he moved to Rome. Maiorano has accomplished several solo and group exhibitions both in Italy and abroad. Among the latest, we can mention the participation at the 54th International Art Exhibition – La Biennale di Venezia. His personal “Respiro di Luce” (Breath of Light) in 2010 at the gallery Emmeotto of Rome, in 2009 the solo exhibition at Tornabuoni Art Gallery in Milan, and a solo exhibition in the Historic Apartments of the Royal Palace of Caserta, curated by Danilo Eccher and Martina Cavallarin. Some of his works are in the collection of the Farnesina Ministry of Foreign Affairs, in some museums and several private collections. He exhibited at the Hotel De Russie in 2007 with an exhibition entitled “Pace Velata” (Veiled Peace), in cooperation with the Traghetto Gallery of Venice.

Some distinguished critics of art wrote about him, such as: Dario Micacchi, Enrico Crispolti, Barbara Tosi , Italo Mussa, Massimo Bignardi, Arnaldo Romani Brizzi, Tonino Sicoli, Olga Real, Fernando Miglietta , Francesca Alfano Miglietti, Franco Solmi, Ada Lombardi, Cecilia Casorati, Patrizia Ferri, Francesca Pietracci, Ludovico Pratesi, Gianluca Marziani, Martina Cavallarin, Danilo Eccher, Paolo Aita, Alan Jones.