- Jeanine Brito,
- Linda Carrara,
- Lulù Nuti
There is water sleeping at the bottom of each memory
For its opening, Sotto presents There is water sleeping at the bottom of each memory, a project that assembles the research of three artists: Jeanine Brito (1993), Linda Carrara(1984) and Lulù Nuti (1988). In the exhibition, which takes place at the lower floor of Renata Fabbri’s, there is a selection of paintings and sculptures that explore the act of diving – in the intimacy of memories, in the matter that constructs the world, in the places we live in- hinting to the depth of the contest in which the artworks are exposed.
Gaston Bachelard in L’eau et les rêves (1942) – essay that inspires the title of this exhibition- writes that “to dream deeply, one must dream with matter”. The philosopher used these words to indicate the moment when imagination transforms the matter of a natural element – water in this case – in the free matter of dreams and artistic creation. By comparing the different expressive language of the three artists, this exhibition aims to highlight the common purpose of holding back and giving form to this silent and fleeting variation, through the artistic gesture. By transporting us into the depth of our subconscious, into the womb of terrestrial globe, or in the recesses of physical and mental landscapes, the exhibited artworks examine the liquid and oniric nature of thoughts, in an intense dialogue made of visual affinities and conceptual references.
For its opening, Sotto presents There is water sleeping at the bottom of each memory, a project that assembles the research of three artists: Jeanine Brito (1993), Linda Carrara(1984) and Lulù Nuti (1988). In the exhibition, which takes place at the lower floor of Renata Fabbri’s, there is a selection of paintings and sculptures that explore the act of diving – in the intimacy of memories, in the matter that constructs the world, in the places we live in- hinting to the depth of the contest in which the artworks are exposed.
Gaston Bachelard in L’eau et les rêves (1942) – essay that inspires the title of this exhibition- writes that “to dream deeply, one must dream with matter”. The philosopher used these words to indicate the moment when imagination transforms the matter of a natural element – water in this case – in the free matter of dreams and artistic creation. By comparing the different expressive language of the three artists, this exhibition aims to highlight the common purpose of holding back and giving form to this silent and fleeting variation, through the artistic gesture. By transporting us into the depth of our subconscious, into the womb of terrestrial globe, or in the recesses of physical and mental landscapes, the exhibited artworks examine the liquid and oniric nature of thoughts, in an intense dialogue made of visual affinities and conceptual references.
Linda Carrara, l’Adda, 2022Oil on linen applied on wood, 13x18 cm. Ph. Alberto Fanelli.
Linda Carrara, La prima passeggiata, 2021Oil on canvas, 54x78 cm (each). Ph. Alberto Fanelli.
Linda Carrara, La prima passeggiata, 2021Oil on canvas, 54x78 cm. Ph. Alberto Fanelli.
Jeanine Brito, Summer roses after rain, 2022Acrylic on canvas, 122x91,4 cm. Ph. Alberto Fanelli
Lulù Nuti, DIVISO 4, 2021Concrete, pigments, 22,5x45,5x22, 5 cm (each);
(in the background: Linda Carrara, l’Adda, 2022). Ph. Alberto Fanelli.
Jeanine Brito, Communion, 2022Acrylic on canvas, 152,4x122 cm. Ph. Alberto Fanelli.
Jeanine Brito is an artist and designer based in Toronto, who develops her research around the themes of memory, decadence and desire by means of the representation of still lifes and self-portraits. Her paintings recall personal memories, fantasies and fragments of everyday life, which crystalized through the pictorial medium, generate imaginative and surreal settings. Marked by the presence of unusual and unexpected elements – a peach tied up in a bow, a fish in a bouquet of roses, an elegant gloved hand – Brito’s works question the reliability of our memory, pointing out its illusory and fallacious nature. By placing herself inside seductive and enchanting scenarios, the artist engages with self representation, asking herself how much of this corresponds to reality and, on the other hand, how much it is the result of the imaginative process able to twist our perception of ourselves and our memories. In the attempt to store the latter, Brito captures ambiguous and sophisticated details, sweetening them and coating them in refined nostalgia.
Jeanine Brito (Germany, 1993) lives and works in Toronto, Canada, where she received her B.Des in Fashion Communication from Toronto Metropolitan University in 2015. In 2014 she studied at the Amsterdam Fashion Institute, completing a minor in independent fashion magazines. Her work has been exhibited by galleries such as Prior Art Space in Berlin and Eve Leibe Gallery in London, and is collected internationally.
Jeanine Brito is an artist and designer based in Toronto, who develops her research around the themes of memory, decadence and desire by means of the representation of still lifes and self-portraits. Her paintings recall personal memories, fantasies and fragments of everyday life, which crystalized through the pictorial medium, generate imaginative and surreal settings. Marked by the presence of unusual and unexpected elements – a peach tied up in a bow, a fish in a bouquet of roses, an elegant gloved hand – Brito’s works question the reliability of our memory, pointing out its illusory and fallacious nature. By placing herself inside seductive and enchanting scenarios, the artist engages with self representation, asking herself how much of this corresponds to reality and, on the other hand, how much it is the result of the imaginative process able to twist our perception of ourselves and our memories. In the attempt to store the latter, Brito captures ambiguous and sophisticated details, sweetening them and coating them in refined nostalgia.
Jeanine Brito (Germany, 1993) lives and works in Toronto, Canada, where she received her B.Des in Fashion Communication from Toronto Metropolitan University in 2015. In 2014 she studied at the Amsterdam Fashion Institute, completing a minor in independent fashion magazines. Her work has been exhibited by galleries such as Prior Art Space in Berlin and Eve Leibe Gallery in London, and is collected internationally.
Linda Carrara (Bergamo, 1984) lives and works between Milan and Brussels. Her works consist of pictorial levels that differ in time, light, material and visual logic, which once layered and overlapped, generate apparently coherent and univocal worlds. While at first glance, her paintings seem to evoke and almost mimic the surrounding reality, it is only by approaching them – entering into a relationship with the pictorial surface – that hints and details of reality gradually lose their sharpness, turning into an abstraction of gestures, traces, manners and pictorial experiences. Poised between reality and fiction, Carrara questions the pictorial medium by showing it to be the subject of a figurative logic that calls on the material itself to transform into something else, thus opening it up to the imaginative and the incidental.
In 2006 she graduated at the Academy of Fine Arts of Brera, then she got an M.A. at the Kask School of Gent in 2014-2015 and in the same years she collaborated with Michaël Borremans as studio assistant.
Solo shows include: Centrul de Interes, Cluj-Napoca, Romania (2022); Riss(e), Varese (2022); Contemporalis, Paris (2022); The Open Box, Milan (2021); RizzutoGallery, Palermo (2020); Boccanera Gallery, Trento (2019); Galleria Iragui, moscow (2019); Istituto Italiano di Cultura, Brussels (2018); Musumeci Contemporary, Brussels (2017). Her work has been featured in many group shows: Fondazione ICA, Milan (2022); Renata Fabbri, Milan (2022); AIS gallery and Rinko-KAKU [Tea Room] Japan (2019); Museum Floris Romer, Gyor (2019); Casa Testori, Novate (2019 and 2018); Villa d’Este, Tivoli (2018); Artopia-Rita Urso Gallery, Milan (2018); Villa Vertua, Nova Milanese (2018); Boccanera Gallery, Trento (2023 and 2016); L.A.C. Lieu d’Art Contemporain, Sigean (2016).
Residencies include: Palazzo Monti, Brescia (2020); Musumeci contemporary, Bruxelles (2018); NCCA, St.Pietroburgo (2017); LKV Trondheim, Norway (2016); Momentum world wild, Berlin (2015).
Linda Carrara (Bergamo, 1984) lives and works between Milan and Brussels. Her works consist of pictorial levels that differ in time, light, material and visual logic, which once layered and overlapped, generate apparently coherent and univocal worlds. While at first glance, her paintings seem to evoke and almost mimic the surrounding reality, it is only by approaching them – entering into a relationship with the pictorial surface – that hints and details of reality gradually lose their sharpness, turning into an abstraction of gestures, traces, manners and pictorial experiences. Poised between reality and fiction, Carrara questions the pictorial medium by showing it to be the subject of a figurative logic that calls on the material itself to transform into something else, thus opening it up to the imaginative and the incidental.
In 2006 she graduated at the Academy of Fine Arts of Brera, then she got an M.A. at the Kask School of Gent in 2014-2015 and in the same years she collaborated with Michaël Borremans as studio assistant.
Solo shows include: Centrul de Interes, Cluj-Napoca, Romania (2022); Riss(e), Varese (2022); Contemporalis, Paris (2022); The Open Box, Milan (2021); RizzutoGallery, Palermo (2020); Boccanera Gallery, Trento (2019); Galleria Iragui, moscow (2019); Istituto Italiano di Cultura, Brussels (2018); Musumeci Contemporary, Brussels (2017). Her work has been featured in many group shows: Fondazione ICA, Milan (2022); Renata Fabbri, Milan (2022); AIS gallery and Rinko-KAKU [Tea Room] Japan (2019); Museum Floris Romer, Gyor (2019); Casa Testori, Novate (2019 and 2018); Villa d’Este, Tivoli (2018); Artopia-Rita Urso Gallery, Milan (2018); Villa Vertua, Nova Milanese (2018); Boccanera Gallery, Trento (2023 and 2016); L.A.C. Lieu d’Art Contemporain, Sigean (2016).
Residencies include: Palazzo Monti, Brescia (2020); Musumeci contemporary, Bruxelles (2018); NCCA, St.Pietroburgo (2017); LKV Trondheim, Norway (2016); Momentum world wild, Berlin (2015).
Lulù Nuti (1988) lives between Rome and Paris. Expanding from sculpture and installation to drawing, Lulù Nuti’s practice is based on a strong belief in the intelligence of matter, in its power of being a vehicle for sensitive information, which go beyond the limits of words and language. Her work depicts the feeling of responsibility and powerlessness that are engendered by the age we live in and affect human beings. She experiments with various construction materials, creating sculptures and installations that dialogue with space.
After graduating from the Ecole Nationale Supérieure des Beaux Arts de Paris in 2012, Lulù Nuti has exhibited in Italy and abroad in public and private institutions including Biwako Biennale (Fairy Tale, Japan, 2012); La Panacée (MFW, MO.CO., Montpellier, 2018); Istituto Italiano di Cultura in New Delhi (Living in the Chtulucene, India, 2019); Museo CAMUSAC (Rilevamenti 2, Cassino, 2020) and in private galleries including Galleria Alessandra Bonomo (Part 1, Rome, 2017); Galerie Italienne (La Musée, Paris, 2020); Galleria Renata Fabbri (SOTTO, Milano, 2022). In 2022 her sculpture Too much heat, nothing to eat travels around the world ( IIC New-York, USA; IIC Seoul, Corea; Changijang Museum of Contemporary Art, China ) with We Love Art, vision and creativity Made in Italy, a project promoted by Italian Ministry of Foreign Affairs and CDP, curated by Ludovico Pratesi and Marco Bassan.
Solo shows include the site-specific exhibition Sistema, at archeological site Case Romane del Celio (Rome, 2015) and Calcare il Mondo at Galerie Chloé Salgado (Paris, 2018). In 2018 she founded the artistic duo LU.PA together with Pamela Pintus, an artistic identity that operates through performance actions and site-specific works.
Lulù Nuti (1988) lives between Rome and Paris. Expanding from sculpture and installation to drawing, Lulù Nuti’s practice is based on a strong belief in the intelligence of matter, in its power of being a vehicle for sensitive information, which go beyond the limits of words and language. Her work depicts the feeling of responsibility and powerlessness that are engendered by the age we live in and affect human beings. She experiments with various construction materials, creating sculptures and installations that dialogue with space.
After graduating from the Ecole Nationale Supérieure des Beaux Arts de Paris in 2012, Lulù Nuti has exhibited in Italy and abroad in public and private institutions including Biwako Biennale (Fairy Tale, Japan, 2012); La Panacée (MFW, MO.CO., Montpellier, 2018); Istituto Italiano di Cultura in New Delhi (Living in the Chtulucene, India, 2019); Museo CAMUSAC (Rilevamenti 2, Cassino, 2020) and in private galleries including Galleria Alessandra Bonomo (Part 1, Rome, 2017); Galerie Italienne (La Musée, Paris, 2020); Galleria Renata Fabbri (SOTTO, Milano, 2022). In 2022 her sculpture Too much heat, nothing to eat travels around the world ( IIC New-York, USA; IIC Seoul, Corea; Changijang Museum of Contemporary Art, China ) with We Love Art, vision and creativity Made in Italy, a project promoted by Italian Ministry of Foreign Affairs and CDP, curated by Ludovico Pratesi and Marco Bassan.
Solo shows include the site-specific exhibition Sistema, at archeological site Case Romane del Celio (Rome, 2015) and Calcare il Mondo at Galerie Chloé Salgado (Paris, 2018). In 2018 she founded the artistic duo LU.PA together with Pamela Pintus, an artistic identity that operates through performance actions and site-specific works.
- Sarah Fripon
- Edoardo Manzoni
- Lulù Nuti
Palazzo Collicola, Spoleto (PG)
June 6 – Oct 16, 2023
Curated by Saverio Verini
- Sophie Ko,
- Serena Vestrucci,
- Lulù Nuti
Feb 3-5, 2023
Main Section
Pav. 25 – Booth B27
- Sophie Ko,
- Matthieu Haberard,
- Lulù Nuti
Nov 4-6, 2022
Main Section
Hall Red – Booth 11
Renata Fabbri is delighted to announce that the artist has been chosen to create a project for the Croatian pavilion at the Sixtieth Venice Biennale, to take place April 20 to November 24, 2024.
