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SKIN
S. Cosulich Canarutto (Edited by) - G. Pezzoli (Contributions by)
Villa Manin Centre for Contemporary Art, SPACE FVG, Passariano, Italy
Artistic Director: Francesco Bonami - Curator: Sarah Cosulich Canarutto
23 July - 11 September 2005
published by Azienda Speciale Villa Manin, Passariano, 2005, www.villamanincontemporanea.it

Perfect imperfection
edited by Giulia Pezzoli

The imperfect surface of the skin, the consistency of the hair, the light expressions of common faces become in the works of Vania Comoretti real presences, images which are strong, direct and pure. The most minute details are analyzed, captured and reproduced by the artist to become new and unexpected centres of attention, to show a known but ignored reality, to emphasize apparently insignificant details and carry us on a journey towards the intimity of the subjects. Her hyper-realism departs from the confines of classical portraiture in order to become universal representation of human nature, of its flesh and skin, and to show us how time can mark our fragile appearance.

Trough a merciless magnifying lens we are invited to look at the body of others as if were ours, to recognise fault and flaws, to become aware of common experience and destinies. The subjects are mostly women, caught in their weakness and fragility who, without veils or artifices, show themselves to the public in their complete nakedness: that of their skin, that which reveals the first traces of age. A vulnerability underlined by the customary feminine anxiety for a perfect face which in this case makes them appear truthfully for what they are, more exposed than any unclothed body.

The execution of the small works follows an acute observation and patient reproduction, revealing how the time factor becomes a key to read and interpret not just the subject but also its relationship with the artist. Vania Comoretti seems to slowly and inexorably enter a typically inaccessible visual space, seems to observe her models so closely to be able to turn the surface of their bodies into abstract landscapes. It is only through a systematic and methodical work that the artist can capture the imperceptible and thus generate a photo - realist universe which is, at the same time, yielding, tender and unsetting. And it is always a "temporal" sequence, like that of a film, which appears in the diptychs and triptychs of the young artist who describes every face from diverse points of view, while light strikes them from different angles emphasising ruthlessly every smallest defect.

Bare souls, as the very titles suggest, but also interstities, clefts and holes like those represented in the series INTRA, where the sings left by the constant and prolongued pressure of everyday accessories and clothes become distant subjects, recognisable but menacing in the revelation of the natural weakness of the human flesh. As light membranes on which the traces of our lifes deposit themselves, Vania Comoretti's water-colours (water-colours, Indian ink and pastel on paper) become receptables of daily auras, of existence and of its matter. By turning into filters between us and the sensitive word, they reveal the profound relationship which exist between man and the surrounding reality but, at the same time, they move further away to generate a new universe of microscopic abstract shapes. As small biological landscapes, Vania Comoretti's works represented familiars images from such a close-up point of view that they become distant, uncanny and intimidating in the moment in which we recognise within them a natural and living pat of our own face.


CONTEMPORARY ANNUAL 2006
(special yearly issue: 50 international emerging artists)
Various Authors, published by Contemporary Arts Magazine, London (UK), 2006, p. 36

Vania Comoretti
edited by Gloria Vallese

PHOTOREALISM has become highly fashionable in Italy in the last four or five years. More so since leading operators in the art market have seen in it a means to make contact with a public deterred by the too-experimental edges of contemporary art. Probably at the top f the commercial scale stands Enzo Ghinato, who paints details of luxury cars and has received wide recognition after entering the stable of the powerful Galleria Contini. One can imagine only too well his shiny details of winning prototypes - Ferrari and so on - hanging behind he desks of influential people in present-day Italy.
Not all photorealism, however, is conniving or commercial. Vania Comoretti develops portraits from photograph taken by her self, mainly of friends and fellow students at the Accademia di Belle Arti. These are then translated into paintings (or, strictly speaking, into large drawings, since their medium is pastel, gouache and ink on paper). Unflattering, almost monochromatic except for a slight blue or sepia hue, the faces and details of bodies recall, at first, forensic photographs; especially as each work often comprises a sequence of three or four pieces: full face, profile, back of the head. In spite of the unforgiving formula, the results are surprisingly sympathetic. These paintings are, in fact, deceptively objective; keen observation and a superb technical virtuosity push them where photography, even scientific photography, does not usually reach.
One discovers how different in structure hair can be from person to person, and how expressive of health and mood, even when arranged in the most casual way. The skin of each individual becomes a thrilling landscape: hair, pores and worry lines, seen from close up with the clear enlargement of a lens, become landmarks of an alien and rather scary land, discovered at enthralling slow motion.
In the past decade, the fascination with forensic and documentary approaches has inspired striking photographic work, such as Rosangela Renno's "Vulgo" series of 1998, or Rineke Dijkstra's Israeli men and woman soldiers from 1999-2000. Looking for similar worlds in painting, Comoretti goes to the core of the relationship between the two media with a conceptual clarity unparalleled since Chuck Close's ironic self-portraits of the mid-sixties. Promotion of young art is a recognised weak spot in the Italian art system but, in the case of Vania Comoretti, a burgeoning mechanism for the promotional of young art seems to have been successfully triggered, promoting her in a couple of years from the Accademia to the first steps of a promising career.

Gloria Vallese is Professor of Art History at the Accademia di Belle Arti, Venice.


TECHNè. PAINTING_RESEARCH
S. Simi de Burgis (Edited by)
Fondazione Bevilacqua La Masa
Palazzetto Tito, Venice
19/11/2004 - 06/12/2004
published by Fondazione Bevilacqua La Masa, Venice, 2004, p. 28 - 31

edited by Vania Comoretti

The body, living ad vulnerable matter, revealing frailty and subtle discrepancies, a sensitive anatomy in which the subject is transformed: skin, eyes, lips watched from very close become something else, even a smile is no longer such, it becomes a bundle of minute furrows that you wouldn’t notice from the distance.
What attracts me in a face are slight anomalies, the unforseeable harmony that springs from the coexistence of many imperfections - imperfections that materialise in every body as sediments of our experiences, our desires, our frustrations.
Wether the subject appears concerned or passively and scientifically investigated, nothing is immediately revealed: there is silence but not calm in the young faces that I often portray while a slight and progressive change of expression is spreading across them.
In my works I simply tackle the many and various forms of normality.


CONTROLUCE
Event within the Venice Biennale – 51st International Art exhibition
edited by S. Simi de Burgis
published by Marsilio Editori, Venice, 2006, p. 84 - 87

edited by Simi de Burgis

In her work Vania Comoretti offers a close examination of her subject in an almost scientific manner, particularly in her attention to details, as though it could have been concluded in a medieval herbarium. In her drawings, created using traditional techniques, she cleverly brings together water-colour, Indian ink and pastel on paper. We could almost call the results vitruoso without, however, wishing to diminish them, and she gets results in the finished pieces that, even to an expert eye, could easily be mistaken for actual photographs.


EYE WHISPERS
M. Sciaccaluga - G. Vallese (Edited by, Contributions by)
Andrea Arte Contemporanea, Vicenza
20/03/2004 - 17/04/2004
published by Andrea Arte Contemporanea, Vicenza, 2004, p.8 - 9

edited by Maurizio Sciaccaluga

...Vania Comoretti focuses the lens of her accurate painting on faces, glances, on others’ eyes. She depicts hidden fears, subtle strains, tense and vibrating worries and does this with an extremely silent style that doesn’t concede anything to exhibition, even mystifying her exceptional depicting ability. The artist portrays close ups of pupils and frightened glances cast towards the void, watching with terror which turn the universe is taking, and penetrates them, dives deep into them. The minimal world of Vania Comoretti is the soul of the people she portrays, their desperate anxiety, their daydream that everything will suddenly change for the best...


CATALOGUES

-Various Authors - Mirella Brugnerotto (Contribution by): Hicetnunc Rassegna d'Arte Contemporanea (Hicetnunc Contemporary Art Exhibition), published by Edizioni Biblioteca dell'Immagine, Municipality of San Vito al Tagliamento, 2003, p. 44 - 51: "Spring. Opere di studenti dell'Accademia di Belle Arti di Venezia" (“Spring. Works by artists of the Venice School of Fine Arts”)
-Various Authors: 87.ma Mostra Collettiva Fondazione Bevilacqua La Masa (87th Group Exhibition Bevilacqua La Masa), published by Fondazione Bevilacqua La Masa, Venice, 2003, p. 22 - 23
-M. Sciaccaluga, G. Vallese (Edited by): Eye Wispers, published by Andrea Arte Contemporanea, Vicenza, 2004
-S. Simi de Burgis (Edited by):Technè pittura-ricerca (Technè Painting-Research), published by Fondazione Bevilacqua La Masa, Venice, 2004, p. 28 - 31
-Various Authors: 88.ma Mostra Collettiva Fondazione Bevilacqua La Masa (88th Group Exhibition Bevilacqua La Masa), published by Fondazione Bevilacqua La Masa, Venice, 2004, p. 26 - 27
-M. Sciaccaluga (Edited by) - F. Meli e M. Sciaccaluga (Contributions by): Entropia, published by Image Furini Arte Contemporanea, Arezzo, 2005
-S. Spata (Edited by): Anteprima (Preview), published by Galleria Ibiscus, Ragusa, 2005
-G. Vallese (Edited by): Atelier Aperti. Evento nell'ambito della Biennale di Venezia - 51. Esposizione Internazionale d'Arte (Open Ateliers. Event within the Venice Biennale – 51st International Art Exhibition), published by Marsilio Editori, Venice, 2005, p. XIV, 6, 167
- La Biennale di Venezia - 51. Esposizione Internazionale d'Arte. L'esperienza dell'arte. Sempre un po’ più lontano. Partecipazioni nazionali, progetti speciali, eventi nell'ambito. (Venice Biennale – 51st International Art Exhibition. The experience of art. Further and further. National participations, special projects, events within the exhibition), Marsilio Editori, Venice, 2005, 3 voll.
-S. Cosulich Canarutto (Edited by) - G. Pezzoli (Contribution by): Skin, published by Azienda Speciale Villa Manin, Passariano, 2005
-Various Authors: Corporalia. Alessandro Bellucco - Vania Comoretti, published by Galeria d'Art Mito, Barcelona (Spain), 2005
-G. Vallese – P. De Grandis (Edited by): Atelier Aperti Work In Progress. 10 artisti al Fondaco Marcello. Evento nell'ambito della Biennale di Venezia - 51. Esposizione Internazionale d'Arte (Open Atelier Work in Progress.Ten new artists at Fondaco Marcello. Event within the Venice Biennale – 51st International Art exhibition), published by Massimo Anselmi, Contemporanea, Verona, 2005, p. 19 - 21
-Various Authors - G. Vallese (Contribution by): Contemporary Annual 2006 (special yearly issue: 50 international emerging artists), published by Contemporary Arts Magazine, London (UK), 2006, p. 36
-S. Simi de Burgis (Edited by): Controluce. Evento nell'ambito della Biennale di Venezia - 51. Esposizione Internazionale d'Arte (Backlight. Event within the Venice Biennale – 51st International Art Exhibition), published by Marsilio Editori, Venice, 2006, p.84 - 87
-R. Gozzini (Edited by) - P. Terreno (Contribution by): Oltre Lilith. Il Femminino Sacro (Beyond Lilith. The Sacred Femminine), published by Gangemi Editore, 2006, p. 24, 112 - 117, 202
-Various Authors: 90.ma Mostra Collettiva Fondazione Bevilacqua La Masa (90th Group Exhibition Bevilacqua La Masa), published by Fondazione Bevilacqua La Masa, Venice, 2006, p. 30 - 31
-Various Authors - M. Mojana (Edited by) - V. Comoretti (Contribution by): clan(destino)arte, published by Eikonos Arte, Milan, 2006, no. 2, p. 12
-L. Beatrice (Edited by), Whispers, published by Guidi & Schoen Arte Contemporanea, Genoa, 2007
-L. Spagnesi (Edited by) - L. Beatrice (Contribution by), 8° Premio Cairo 2007 (8th Cairo Award), catalogue enclosed with “ARTE” no. 410, October 2007, Giorgio Mondadori Editore, Milan, 2007, p. 18 - 19


ARTICLES

-M. Brevi, A. Riva, M. Sciaccaluga: Young artists grow, in "ARTE", June 2002, no. 346, p.80
-G. Vallese: The girls of photo-realism, in "ARTE", March 2004, no. 367, p.143 - 147
-E. Gravagnuolo: Five ways of facing reality, in "ARTE", August 2004, no. 372, p.88 - 89
-Various Authors: Art Award 2004, in "ARTE", December 2004, no. 376, p 46
-N. Cobolli Gigli: Lectures on anatomy, in "ARTE", February 2005, no. 378, p.82 - 86
-C. Campnini, M. Sciaccaluga: Preview, five youg talented artists in Ragusa, in "ARTE", June 2005, no. 382, p.180
-D. Sensi, L'iperrealismo di Vania Comoretti, in "TUTTO ARTE ON LINE", 2005
-T. Giuga: Vania Comoretti, in "FLASH ART", April - May 2005, no. 251, p.149
-F. Tessaro: The disorder of the soul, in "IL NUOVO FVG", 4 March 2005, no. 194, p.21
-M. Puleo: Vania Comoretti – Entropia, in "EXIBART" (http://www.exibart.com/notizia.asp/IDNotizia/12394/IDCategoria/58), 29 March 2005
-M. Mojana: Room for the young talented in the land of masterpieces, in "IL SOLE - 24 ORE", 23 May 2005, no. 140, p.30
-Various Authors: Skin, the works of Vania from today at Villa Manin, in "IL GAZZETTINO", 23 July 2005, p.I
-Various Authors: "Skin" at Villa Manin, in "IL GAZZETTINO", 23 July 2005, p. XII
-O. Spiegel: cultural column - in "LA VANGUARDIA", 19 November 2005, Spain, p.44
-A. R. Alós: cultural column - in "EL MUNDO", 30 October 2005, Spain
-C. Campanini: New gallerists for brand new artists, in "ARTE", April 2006, no. 392, p.120 – 128
-R. Diez: Landscapes of the soul, in "ARTE" - art & market review, August 2006, no. 396, p.158
-Various Authors - L. Beatrice (Edited by): Pagine Bianche d'Autore (2°edition) - selected artist's file, in "Pagine Bianche Udine e Provincia 2006/2007", telephone book Seat Pagine Gialle, 2006, p.15 - 18, www.paginebianchedautore.it
-F. Sarigu: Vania Comoretti, in "TISCALI ARTE" (http://arte.tiscali.it/atupertu/06/10/comoretti.html) - a tu per tu, art review, 6 October 2006
-I. Oriente: Beyond Lilith, in "STILE" (http://www.stile.it/articoli/2006/10/27/stile_oltre_lilith.1045137.php), Ottobre 2006
-M. de Leonardis: Beyond Lilith. The Sacred Femminine, in "EXIBART" (http://www.exibart.com/notizia.asp/IDNotizia/17600/IDCategoria/61), 19 October 2006
-Various Authors - T. Macrì (Edited by): Pagine Bianche d'Autore (3°edition) - selected artist's file, in "Pagine Bianche Udine e Provincia 2007/2008", telephone book Seat Pagine Gialle, 2007, p.15, www.paginebianchedautore.it
-C. Campanini: Start in Genoa – Faces and implications. In the horizon of the hyper-realist portraits of Vania Comoretti, in "ARTE" - art & market section, September 2007, no. 409, p.191
-A. K. Grenninger: Ung konst inviger nytt galleri, in "OSTERMALMSNYTT", September 2007, no. 38, p.9
-L. Spagnesi: 8th Cairo Prize. The 20 finalists, in "ARTE", October 2007, no. 410, p.86 – 92
-N.D. Angerame: Vania Comoretti, in "EXIBART" (http://www.exibart.com/notizia.asp/IDNotizia/21249/IDCategoria/75), 26 October 2007
-Various Authors: Genoa - Whispers, in "FLASH ART ITALIA", December - January 2007, n° 267, p.52
-C. Bertola: Endurance test – Veneto hovering between irony e frailty, in "FLASH ART ITALIA", June - July 2008, no. 270, p. 86 - 87
-Various Authors: Dictionary of the young venetian art , in "FLASH ART ITALIA", June - July 2008, no. 270, p. 91

inTRA n°5

2005
water-colour, indian ink and pastel on paper
cm 27 X 40

inTRA n°8

2005
water-colour, indian ink and pastel on paper
cm 25 X 53

LUCE

2005
water-colour, indian ink and pastel on paper
triptych cm 90,6 X 60,5

UMANO

2004
watercolour, Indian ink and pastel on paper
diptych cm 50,5 X 56

PROIEZIONE

2007
watercolour, Indian ink and pastel on paper
polyptych (four drawings) cm 150 X 60,4

WHISPER

2007
watercolour, Indian ink and pastel on paper
triptych cm 53 X 90

ANIMA

2004
water-colour, indian ink and pastel on paper
diptych cm 49,44 X 56,4

ANATOMIA

2007
watercolour, Indian ink and pastel on paper
cm 42 X 27 (each)