• Vanessa Beecroft, Los Angeles, 2018, photo by Federico Spadoni
  • On left: Untitled, 2018.
    On right: Special Project Yucatan, Merida, Mexico, 2014.
  • On left: Vanessa Beecroft, Los Angeles, 2018, photo by Federico Spadoni
    On right: Vb46, Gagosian Gallery, Los Angeles, USA, 2001.
  • On left: Vb54, Terminal 5, JFK International Airport, New York, USA, 2014.
    On right: Vb70, Galleria Lia Rumma, Milan, 2011

Sublimations

Vanessa Beecroft

I had the desire to go back to that Italian and
European classicism and to sublimate it.

 

 

I use autobiographic references to represent the subjects of my performances. In my work there is no form of voyeurism but different degrees of identification.

KH You recently returned to the gallery setting for the rst time in a while. Tell me about the process behind the works pre- sented at Pio Pico Gallery.
VB Actually, I never left the galleries. I followed, indeed, my per- sonal life journey, which excluded certain aspects of the art world mainstream. The exhibition at Pio Pico was an exper- imental adventure realized in conjunction with my husband, the artist Federico Spadoni who made Pio Pico seem like a conventional gallery. The gallery is in East L.A., where both our studios are situated. There, I felt the freedom to work as I would have worked in my studio or for a museum.

The idea was to realize, at a very high-level, a sculptural and a draw- ing exhibition based on clay. Everything – from the initial performance to realize the mural, to the large and smaller sculptures and drawings – was made in a monumental way in clay. This exhibition took long to produce, we were conscious of the budget and handmade everything. It was my best exhibition so far. This proves that you can exist out of the mainstream of the art world. It may not be a success on an ordinary level but to last in history.

 

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