ConTAMinAzione

Not without a hint of irony constantly and subtly present, Vania Elettra Tam always

focuses on anxiety caused by frustration, which causes the need to create

changing needs (often totally unnecessary) and that drives individuals to seek solutions

daring to solve non-essential issues.

The use of the self-same, distinctive feature of the artist's work, becomes more and more an excuse to break down in her "finite size" (that of everyday life, encapsulation in space

closed in which you are forced to spend most of our existence) and its

dimension "infinite" (to brake the schemes and disobedience to the rules).

A banal and everyday domestic interior can be transformed into Alice's mirror? The irrational

madness that eats humus life of the imagination is the prerogative of artists or inventors,

or perhaps, in all of us, even in the most ordinary housewives situations, it lies a flash of genius, an indefinable desire to escape that takes us beyond our physical rational dimension?

Vania with her sharp sign that touches the hyperrealistic style suggestions, tries to give an answer to these questions and, with an intelligent and sophisticated use of painting, explores the hidden desire of evasion that is hidden in each individual.

A succession of Women symbol, crossing the threshold of reality and solitude to domestic

embark on a journey to a undefined and coveted "beyond".

“Art Basel Mania” Miami USA; “Artists & Authors” San Diego Art Institute USA; “Meeting of young Italian artists” Giacomo Casanova Palace Praga CZE; “Book Art Project” Baglioni Hotel London UK. Of her work they have written: Edoardo Di Mauro, Ivan Quaroni, Igor Zanti, Alessandra Redaelli, Franche-Marri, Vincenzo Giulio Farachi, Ferdinand Crete, Iva Körbler ... Her personal in Trieste was presented by internationally renowned critic Edward Lucie-Smith.  Her works have been published in numerous books on art, literature and fiction. Recent examples: "The great tale of Ulysses "by Pietro Boitani and" The big story of the classical myths "by Maurizio Bettini published by Il Mulino. Vania Elettra Tam CONTAMINATION Mantua, Palazzo della Ragione - Piazza delle Erbe January 21st to February 26th, 2017 Opening January 21 at 5 p.m. Free entry Info: T: 0376 1505892 Infopoint T: 0376 288208 Hours: Tuesday to Sunday 10am-1pm and 3pm-6pm Monday closed Exhibition catalog Press office: Fracture scomposta Contemporary Art Magazine info@fratturascomposta.it - www.fratturascomposta.it

Realism does not mean to bring art back into reality. It means transport the reality in art;

not only to accept the vicissitudes of life but elevate them.

Laurence Olivier

I look at the first draft of "contamination" and comes me to mind the parallel between this Spreader of masterpieces and Charles Edouard Jeanneret, l ' " the one who walks away" of crows. But is it true that Le Corbusier eager to take credit for this pseudonym alluding to the man who drove the crows from homes? And if so, it was a choice dictated by humility or

the arrogance of being the architecture savior, the one who protected her from

“pigeon droppings” of crackling disfuguerers winged? Certainly Vania, in the painting that gives the title to this exhibition, is depicted as a domestic worker busy dusting the camera picta, with a real duty of humility profession. The idea that in the role of an artist is intent symbolically to remove the spiderwebs from the art of the past, in fact, it goes against her vis ironica indeed, primarily self-deprecating. Tam includes it in her paintings for a choice of responsibility, to share the neuroses of his characters, to affirm their membership in the category of housewives frustrated, the couch potatoes, the compulsive goers of the supermarkets, the dreamers from gravure, of incurable gullible, the warriors of everyday life. And 'its a "Let us arm ourselves and start", never an "arm yourselves and leave."

The everywoman Vania Elettra Tam clings to the dream, the fantasy, the sensitivity to the peculiar qualities of the woman, to escape the monotony of everyday life: an ironing board becomes a surfboard with which dizzying ride waves; great aspirations come to mind when you grab a vacuum cleaner; the lady with the broom, worthily replaces the ermine; while the shape of a chicken on the floor projecting our friend in an intriguing thriller, directly at the crime scene. No shortage shy and distant ladies(but only in appearance) of origami clitoral, or housewives sexy disturbing Gossip, surrounded by sex toys used in the most inappropriate ways, to pretend naive forgotten. Abnormal appears Kanon cycle - regoleferree where the ladies represented are trapped in strange torture mechanisms that secure their mouth, eyes, nose with some sort of chastity belts for the head, living witnesses of coercion and restriction of personality, where 'irony gives way to a less veiled social criticism than other cycles. But as always, talking about Vania Elettra Tam, lets not forget to emphasize the skill, rare graphics capabilities, the originality of the sign ... And 'the fate of those who have something to say and knows externalize with their art: the end there is such a perfect symbiosis between what everyone is and how is, that we focus not to measure the individual components of the work, as saying that the graphics is taken for granted in a display that resembles a script, in works visual that are in fact stories. In Vania is a clash: it is as if the mind defied his hand to realize their thoughts more complex and bizarre, but noone can ever be won in a draw without end that is the most precious gift and the less burdensome condemnation for Vania.

Carlo Micheli