Dualism - Candida Ferrari
Dualism – Candida Ferrari

Di Sarro’s Centre hosts the exhibition Dualism where the languages of abstraction face themselves with the fleetingness of the speeches. The artists Candida Ferrari and Liliana Malta witness the expressive identity, the power of artistic pathway towards different issues.

Candida Ferrari is after the inner light of paintings ever since, accomplishing the colour on the edge of its being beyond any connection with surface and is immersed into the spatiality that defines its outlines. The dialogue with transparency is the constant of the artist that frees the colour or the language of any geometrical coercion and turn it again to be light in the light.

Plexiglas or thick cellophane don’t wrap and don’t shelter bodies, things, as commonly used but they are embraced by the painting. White marks, large lick of pure paint run for transparent rolls where the light of  the support creates pliable volumes talking with the emphasis on colours.

Liliana Malta has an ideation of  soft colour that finds here expressive density into historical awareness. The power of myth to be formed and to go through the times is next the power of soul to get organized in some artistic language, to become a bridge between times.

The exhibition makes the two artists talk within themselves. They share the wonder for loveliness, for the light of colour and its suggestions.

Vittoria Biasi


Le premier matin du monde, 2012 olio su tela cm 85 x100, Liliana Malta
Le premier matin du monde, 2012 olio su tela cm 85 x100, Liliana Malta


Il Centro Di Sarro ospita la mostra Dualità in cui i linguaggi dell’astrazione pongono in confronto la fuggevolezza dei linguaggi. Le artiste Candida Ferrari e Liliana Malta testimoniano l’identità espressiva, la forza del percorso artistico rivolto a differenti esiti.

Candida Ferrari è da sempre alla ricerca della luce interiore della pittura, conducendo il colore sul limite del suo essere oltre qualunque rapporto con la superficie e immerso nella spazialità che ne definisce i contorni. Il dialogo con la trasparenza è la costante dell’artista che libera il colore o il linguaggio da ogni costrizione geometrica e lo rivolge ad essere luce nella luce.

Il plexiglass o le carte di spesso cellophane non avvolgono e non proteggono corpi, oggetti, come in uso ormai tradizionale, ma sono abbracciati dalla pittura. Segni bianchi, lunghe pennellate di colore puro scorrono lungo rotoli trasparenti, in cui la luce del supporto crea volumi plastici in dialogo con la i cromatismi.

Liliana Malta ha una concezione di colore soffuso che trova la densità espressiva nel sentimento storico. La forza del mito di costituirsi e di attraversare il tempo è vicino alla forza dell’animo di costituirsi in linguaggio artistico, di divenire ponte tra i tempi.

La mostra pone in dialogo due artiste che hanno in comune lo stupore per la bellezza, per la luce del colore, per le sue suggestioni.

Vittoria Biasi


curated by Giorgio Bonomi and Enrico Mascelloni
from 7 to 30 March, 2013
opening Thursday 7 March at 18.30
visiting hours: Tuesday-Saturday 16.00-19.00

On Thursday 7 March at Di Sarro’s Centre will be open the exhibition Dualism – Giorgio Bonomi and Enrico Mascelloni, with works of two artists, Candida Ferrari and Liliana Malta. The juxtaposition is neither given by a common theme nor by a particular assonance of poetics but the curator thinks that it works very well to show together, even if in separate places, the works of the artists offering in such a way two one-woman exhibitions whose onlookers could appraise likeness and conflicts, affinities and discrepancies, but the harmony of “dualism” as well.

Candida Ferrari born and resident in Parma, with a long and prestigious curriculum – shows works of her last and recent years. It is most recent her anthological exhibition at the Municipal Museum of Reggio Emilia.

Her work is difficult to classify because it ranges from the round sculpture to that “built in”, from coloured paintings to the skilful use of materials, chiefly papers (from those discarded to the quality ones, from the gorgeous ones to those austere) and Plexiglas; “transparency “ is perhaps the word and the concept that sums up its artistic work. In fact her works are not only physically “transparent, considering the materials, but such a concept permits to seize the whole complexity of her work, in other words the light, the variation, the lightness, the movement and even more.

After ten years, the artist shows again in Rome with a wide range of her works.

Liliana Malta, of Calabrian origin and resident in Rome for many years, shows her latest works but for one. New but not different from her settled poetics, at the most such latest works delineate a further stage in her coherent path inside the art territory. First of all it is to be marked the consonance established between her original and never abandoned artistic technique, the sculpture (for the most part terracotta) and paintings. The last is made up over the free space of canvas with the same features by means the plastic work is articulated in empty space; both techniques have the same tectonics, the one in the assemblage of heavy matter planes, the other one in scanning of the planes on the surface and in the zonation of colours. The classic myth, favourite theme by the artist, finds now new pictorial creations, confirming her will to synthesize the past, the present and future, of unconscious and awareness.

The exhibition is accompanied by a catalogue with a text written by Giorgio Bonomi about Liliana Malta and by Enrico Mascelloni on Candida Ferrari.


a cura di Giorgio Bonomi ed Enrico Mascelloni
7 – 30 marzo 2013 (dal martedì al sabato ore 16-19)
Inaugurazione: giovedì 7 marzo, ore 18
Centro Luigi Di Sarro
Via Paolo Emilio, 28 – 00192 Roma  – – Tel.  +39 063243513

catalogo in galleria

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The Author

Vittoria Biasi

Vittoria Biasi

Vittoria Biasi is a Contemporary Art Historian and an Art Critic. She is a
Contemporary Art History professor at Florence’s Academy of Fine Arts. After
her humanities graduation she concerned herself with the Theory of White
following Hubert Damish at Paris *Ecole des Haute Etude*. Close to artists who
interprets the monochromy of white she devoted herself to the theoretical criticism realizing
national and international shows and exhibitions with a particular attention to the Eastern culture.
She attends conferences as a lecturer about the white and its light. Among the others: Lumière(s)
En Usage, Pèrigueux 1998. From 1996 on to 2000 she realizes the events of Light of Art for
Art’s sake at Rome, Parma and Padoa. For Homo Sapiens (1) first she translated Henry
Meschonnic from French, publishing some excerpts from Modernité (2). Some other
publications: State of White (3); In Line with Light, Light for Light’s sake (4). She wrote for the
magazine Lighting. Through a text of her she is attending Fabrizio Crisafulli’s Theatre of Places.
The theatre as a place and the experience at Formia (1996-1998), **G.A.T.D*., Rome, 1998. She
looked after the exhibitions for the book of artist in Italy and abroad.

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