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La Ferita 25 Mars 2021, 19h07, Palazzo Strozzi, Florence, Italie, 2021
La Ferita 25 Mars 2021, 19h07, Palazzo Strozzi, Florence, Italie, 2021
La Ferita 25 Mars 2021, 19h07, Palazzo Strozzi, Florence, Italie, 2021
La Ferita 25 Mars 2021, 19h07, Palazzo Strozzi, Florence, Italie, 2021
La Ferita 25 Mars 2021, 19h07, Palazzo Strozzi, Florence, Italie, 2021
La Ferita 25 Mars 2021, 19h07, Palazzo Strozzi, Florence, Italie, 2021
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La Ferita 25 Mars 2021, 19h07, Palazzo Strozzi, Florence, Italie, 2021
La Ferita 25 Mars 2021, 19h07, Palazzo Strozzi, Florence, Italie, 2021
La Ferita 25 Mars 2021, 19h07, Palazzo Strozzi, Florence, Italie, 2021
La Ferita 25 Mars 2021, 19h07, Palazzo Strozzi, Florence, Italie, 2021
La Ferita 25 Mars 2021, 19h07, Palazzo Strozzi, Florence, Italie, 2021
La Ferita 25 Mars 2021, 19h07, Palazzo Strozzi, Florence, Italie, 2021

La Ferita

25 Mars 2021, 19h07, Palazzo Strozzi, Florence, Italie, 2021

Sold out
5000
Dimensions : 39.5 x 27.5 inches approx.
Date : October 2021
New

Technique : 14 colors lithograph printed on Marinoni machine
Paper : White BFK Rives - 300 grams

Numbered /180 on the bottom left corner
Signed by JR on the bottom right corner (stamp and lead)

Description

La Ferita (The Wound) imagines the Palazzo Strozzi with a deep gash revealing the interior of the Renaissance building with some of Florence’s most iconic artworks occupying the space. Measuring 28 metres tall and 33 metres wide, the monumental photographic collage installation covers the primary façade of the Palazzo Strozzi and works like an anamorphosis, an illusion in which, observed from a specific viewpoint, various areas of the Palazzo Strozzi – the colonnade in the courtyard, an imaginary exhibition hall and a library – open up as a wound.

By including iconic works of Florence’s art heritage and directly citing real places such as the library of the Istituto Nazionale di Studi sul Rinascimento, JR proposes a direct and evocative reflection on accessibility not only to Palazzo Strozzi but to all cultural sites in the era of Covid-19.

Palazzo Strozzi becomes the spectacular stage for a symbolic yet painful wound suffered by all cultural institutions both in Italy and abroad: museums, libraries, cinemas and theatres forced either to restrict audience access or to shut down altogether. Looking « inside » Palazzo Strozzi also has the makings of an act of voyeurism designed to reveal that which cannot be seen: the depiction of a reality that goes beyond what one can customarily behold.

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