Anna's Wintercollection mostra personale di Anna Dosso
a cura di Igor Zanti.

06 Ottobre – 05 Novembre 2010 presso UBS, Lugano
Vernissage: martedì 5 Ottobre 2010 - 18.00 - 20.00

Galleria Barbara Mahler presso UBS, Piazzetta Posta, Lugano
info + 41.76.586.05.55

The air gradually gets colder, the days grow shorter, night becomes longer than day and everything slows down.
This is winter, the time of year for staying at home, the season of family festivities, of Christmas, of days in the mountains, brightly burning fires, of thick woolly sweaters and the smell of snow. An idyllic scene, worthy of a Victorian postcard where rosy-cheeked children in overelaborate, middle-class drawing rooms decorate enormous Christmas trees in front of a log fire under the complacent eyes of their elegant parents, whilst thickly falling snow flakes are filtered by lace curtains at the windows.
These images are nothing like Anna Dosso’s winter; this polyhedric and tireless ferrywoman of objects from the dimension of everyday life to the metaphysics of art. Anna’s winter flows onto her chair sculpture - the real fetish of her creativity – suffocating it with a hyper-decorativism totally lacking in style, with her love of hoarding and her barely disguised horror vacui.

Anna, self-taught, an artist perchance but not by chance, ironically performs and reproposes the ancient Duchampian gesture of decontextualization, of functional translation, using a creative thaumaturgical touch to breathe life into the work of art that is to be found in every object, from a urinal to a chair.

Each chair, or better, every installation – because we are talking about real, complex installations that conceal the ghosts of bourgeois séances – is an opportunity for Anna to give vent to her imagery, which alternates between memories of a not-yet-quite-lost infancy and a mordant spirit, sometimes even biting, hidden beneath an exterior of charming innocence.

Anna Dosso offers us the chance of a fantastic, ironic journey through her personal winter where, between linguistic nonsense and ironic pairings, we forget the Victorian postcard and rosy-cheeked children and immerse ourselves in the irreverent world of this woman who hides a polyhedric and courageous artist behind an outward appearance that is quite beyond suspicion.