L’opera in esposizione fa parte di una serie - esistono altre tre più piccole su carte - che si ispira al racconto L’Amant di Marguerite Duras. Un racconto di appena 100 pagine. Scrittura fotografica, rapsodica, una sorta di collage di ricordi frammentati dove spazio e tempo confluiscono in un magma di coscienza tra l‘io lirico e una terza persona alla ricerca proustiana del tempo perduto. La Duras considera questo racconto, tra...

READ MORE > fondazione isabella scelsi · irmela heimbächer

“We have begun to understand our origin: we are star matter meditating on the stars." So reasoned Carl Sagan in Cosmos, around 1970, not long after Joni Mitchell had sung "We are stardust/ We are golden/ And we've got to get ourselves/ Back to the garden" (Woodstock). If, in those now-remote years, both the scientist's statement and the singer-songwriter's verses might have seemed far-fetched or still a bit rarefied, present-day physics....

READ MORE > [in]ter [side]ra versor · anna maria panzera

Guardare le opere di Edith Urban ha significato per me cercare nella poesia unapossibile chiave interpretativa della sua visione emotiva. E’ certamente inerente alla poetica di Edith lavorare su questo doppio registro tra parola e immagine, poesia e pittura. E anche il titolo ...All at once I was looking at a stranger (all’improvviso mi sono sentita un’estranea) tratto da un’opera di Siri Hustevedt (Minnesota, 1955) A Plea for eros...

READ MORE > un certain regard · tiziana musi

The presence of texts – generally fragments of poetry extracted and inscribed into the body of the colour – is a constant and defining feature of Edith Urban’s art. But what is the relationship between painting and poetry in her works? Generally, simple juxtaposition and an insubstantial connection between image and text is the greatest risk and constant limit affecting artistic practices that attempt to relate text and image...

READ MORE > edith urban · image of poetry, poetry of the image

I do not entirely agree with the approach based on the poetics of the fragment proposed in almost all the critical writing on Edith Urban’s art1. In my opinion, it is more appropriate to look at the profound nature of the pictorial text than the evident intrusions of writing. So whilst the source of the phrase cited is essential, more than the phrase itself, what is important is the pictorial nature of what is written, its calligraphy, which is a particular variant of painting... 

READ MORE > between the lines · a semiotic exploration of pictorial writing

lines like these words written by lou reed, removed from their original context, take on an autonomous and incisive meaning when transplanted into the paintings of edith urban. her writing is delicate but determined, and the words seem to be notes taken by the artist during the creative process, but in fact they are crucial commentaries that determine the character of each individual painting on various levels. ...

READ MORE > what do you think i'd see if i could walk away from me

maria and marie represent examples of different images of women figures that have developed over the centuries in different social and historical settings.

in paintings, religious and secular literature, in theatre, opera texts and also in contemporary media,  women characters are to be found which, in ›condensed‹ form incarnate female roles with specific character traits, attitudes and ...

READ MORE > maria und marie · women. voices. roles.

una serie di quadri di piccoli formato, acrilici su legno, che richiamano il formato del libro aperto,  meno per la dimensione e più per la presenza di suddivisioni e cornici grafiche caratterizzanti la superficie pittorica, determinano il nuovo corso nel lavoro di edith urban.  si vedrà subito come peraltro l’ambiguità del mezzo (quadro o libro) si trasferisca anche alla superficie...

READ MORE > donne.voci.

in the horizontal world of edith urban’s paintings we contemplate plains and desert, and the windblown flatlands at the edge of the baltic. we imagine a solitary figure immersed in a wheatfield, where the absence of limits to our sight induces a pleasure in emptiness. in scanning from left to right, back to the left, and then again to the right, we reproduce the action of reading: landscape metamorphoses into the pages of an open book...

READ MORE > visioni orizzontali

an important feature of edith urban's work is the constructive balance of different colour-fields, of light and dark, heavy and light surfaces. it relates to a tectonic principle of composition, which evocates associations to architecture, but it also offers  landscape and space as an additional option. often different layers of colour are placed one on top of the other...

READ MORE > painting/painting over/not painting

edith urban places one beside the other, 4 copies of the feet of Jesus, nailed to the cross, making apparent by the fragmented form, the pain of the torture, which is lost in the anestheticized portayals of the whole body [christ on the cross]. the fact that the beholder looks through a sketchily drawn fence serves to emphasize and widen the scene...

READ MORE > a reviewal of motifs

»..let us see, if we can find way out, but I myself believe there is none« – text fragment to the title »odyssee, 10.song II«. the scene reveals danger, expresses doubt about an escape, but what is to be seen in the picture? a broadly painted frame and within a rectangle, formed of diogonal stripes of colour in red and yellow tones, all of which is spread over with traces of dilapidation,..

READ MORE > richness of form

d’altronde, se si volesse avere un esempio di come uno stesso segno o figura elaborato in diversi ambiti conoscitivi assuma un significato »altro«, valga come esempio quello che edith urban ha formalizzato nel suo quadro »psalm«, (dal titolo di una poesia di paul celan) ove vediamo la medesima curva utilizzata da fridman, e, qui, nemmeno epurata da dettagli, graticci, segni ...

READ MORE > insiemi non disgiunti