Artists - Visual Arts
Véronique Rizzo belongs to this family of artists who use time, not as a nostalgia, or a sore back. Nothing about melancholy in her work, which, however, appears to be declining forms of a game, of a pleasure, not without irony, however ... She seems to be using temporality as conceptual material. The artist refers explicitly to the utopian Gräzer Gusto, one of the regulars of Monte Verita, in the early twentieth century. This reference puts in light, not without contradiction, the spectral presence of a mind adventure in one of the most amazing laboratory of "reformation" of life. Confront this adventure (rather than refer to it), as an artist, besides the modernist sounding of plastic components brought into play in the works (painting, assembly, light projections of geometric shapes, moving in space) is mainly "to return to the time.
In the broadest tactile sense of a perceptual shock, as operating a backward movement on the time cursor of history, generating, as a repercussion, like a stone thrown into the water surface, a series of forms spreading and evolving. If the notion of "modern", in Baudelaire's work, reflects an "emotional" experience of time, distinguishing between melancholy of the past and surprise of the new, the plasticity of the so-called "postmodern" time is happening, not in the off time of the end of a story, but by game of time consequence, of tactile hitches, of micro-stories bouncing and generating forms and situations.
This is not the lesser quality of Véronique Rizzo's plastic work, to place us, we spectators, in this virtuous circle of opposite time.
Patrick Lhot - translation Matthieu Jorrot