Antonia ARTEMIS TORTI in open heart

“Mama Roma”. The film of Pier Pasolini comes to mind when one enters the universe and the work of Antonia ARTEMIS TORTI. Initially because it was born in Rome as the Italian realizer whom it knew, then because this artist who decided at the 8 years age to be a painter does not make any compromise, following the example realizer, with the pangs generated by an artistic advance require and the loneliness which can result from this when the laid down social rules are hustled.
Even if it means to surprise and divert. One believes Antonia Artémis Torti Italian until the end of
nails; it has of it the generous, solar side and baroque; it is discovered impregnated Greek reminiscences: T she does not work not on the myth of Artémis since years?

The course of Antonia Artémis Torti can be connected with that of an Italian film heroin on
which planes the shade of the Greek tragedy; a shade materialized by this silhouette, an obsessing black print which haunts the fabrics of the artist whose existence is enamelled dramatic turns of events and hard blows. It enters to the School of the Art schools of Rome at the 17 years age, meets Giorgio of CHIRICO of which it becomes the pupil and who teaches the taste of metaphysics to him and not “to regard painting as a therapy”. Antonia Artémis Torti learns quickly from him and others. It also retains the lessons of Marcel Duchamp and engages from the start in an ambitious formal research: to make a conceptual painting, to speak about the vacuum, to make painting without inevitably using traditional mediums of the painter.

After one year of work in the workshop of Chirico, this last him enjoint to fly of its own wings, as this mysterious eagle which strews number of the fabrics with Antonia Torti. It is 18 years old and it saw its painting but it chokes already. Its meeting with Mario Schifano, painter Italian near to Pop art, is determining. It leaves to the United States and works in Factory d' Andy Warhol and fact of scenography for Rolling Stones. This break changes its artistic approach radically: “by seeing the musicians playing in any place, I stopped considering that there was on a side the life, other my workshop painting”. In fact Antonia Artémis Torti will leave its painting the support, the framework, the place and of the concept of dating in history of Article She works only with prints, creating her plugs on paperboard, cork or plastic according to sound
artistic remarks and its objectives.

When it mixes references to pop icons with a work matierist and to urban art, or quotations, it symbolizes the question of the complexity of the identity by the recourse to a protean work where signs abound kabbalistic and of the superimposed or hidden plans.

When it decides to subject its cotton fabrics gullied the time proof by letting them outside undergo the bad weather during one year, it is not free. She engages in a setting with naked which is a setting with died of the certainty.

She practices photographic transfers on veils of boat. In its recent creations centered on the report/ratio with the statuary and the sculpture (the vacuum always), it does not revisit the large Masters but “prefers to quote a way of painting, a manner rather than a table”. … “Sic mundo transit”…. With for only witnesses traces left by the artists.

The unit of time joined that of a place which is a prototype, because Antonia Artémis Torti travels with Rimbaud in a drunk boat of which it detached the veils, releasing the mooring ropes to reach a country without physical localization. The detachment of Antonia Artémis Torti at the place of the material contingencies is impressive and confers on its work a timeless force. The ancient reminiscences dispute it with most contemporary. With opened heart, with lost body, Antonia Artémis Torti is itself and the largest collectors which follow it since years do not mislead there. Exposed to the FIAC, present in the deprived public collections and, Antonia Torti, such Artémis Diane of the Romans pursues his target as an insatiable huntress of Article.

Text of Brigitte Camus 

Antonia TORTI

1970 Rome - Palazzo Barberini, collective.

1971 Rome - Gallery Ancora, collective.

1972 Rome - Luce Monachesi, collective.

1973 Rome - Levi Gallery, personal.

1974 Milan - Levi Gallery, personal.
Rome - “It Sistema”, text of Albani. Costes Monotti.

1975 Paris - Gallery Clert Iris, personal.
Report in “Vogue”

1976 Paris - Gallery Clert Iris, collective.
Rome - “Paese Will be”, text of Marcello Venturoli.

1977 Sao Paulo - Biennial International
Paris - F.I.A.C Large palace, Gallery Clert Iris.

1978 Rome - Galleria Gualdi, personal.
New York - “Factory”, happening.

1980 Paris - Gallery Nina Dausset, collective.
Acquisition of a work by the Funds National of Contemporary art.
Rome - R.A.I maintenance on the Center Georges Pompidou.

1981 Paris - France Culture, maintenance Jerome D' Astier.
Acquisition of a work by the Funds National of Contemporary art.
Mantoue - Price “Lubiam” by the Gallery of France.

1982 Paris - Gallery Jan Six, collective. Jan gallery Six, personal.
Report in “House & Garden”.
Acquisition of a work by the Funds National of Contemporary art.
“The New Newspaper”, text of A. Parinaud.
France Culture, discussion with Jean Daive.
Artémis with naked by its spaces inetrmédiaires.
Jean Daive. Text Gilbert Lascault and Gilbert Browstone.

1984 Martinique, Guadeloupe, Guyana
“Of reality to imaginary” by the Ministry for the Culture.

1985 Paris - Realization of two tapestries by the Manufacture of the Goblins

1986 Paris - Gallery Marie-Helene Grinfeder, personal.
Gallery Marie-Helene Grinfeder, collective.

1988 Paris - Gallery Beautiful Lizard, collective.
Gallery Beautiful Lizard, collective.
“Gibellina” Museum of Contemporary art, personal.
“Tele Scirocco”, discussion with Gilbert Brownstone.
“Report”, Giornale di Sicilia.

1992 Paris - Sale of Kites artists with the profit of Assistances, Drouot Montaigne.

1993 Paris - “Discovered and Creative” for the benefit of Delta 7, Drouot Montaigne.
Montrouge, 38ème Living room of Montrouge.

1994 Beauvais “Goblins” 50 tapestries 1964/1994.
National gallery of the Tapestry.
Paris - “Art for Assistances”, Cardin Space.

1997 Paris - “Actéon Punito”, performance with the Gold Arrow.

1998 Montrouge - Living room of Montrouge.

2000 Paris - “Aspect of Crowned”, performance, Alive Table. Room of the processes, Vanves.
Madrid - Encuentro Impossible, Gallery Belarde 20.

2001 Barcelona - Maeght Gallery, personal.

2002 Paris: Collective gallery B.S.T.

2003 Paris: Collective gallery B.S.T.

2004 Paris: Collective gallery B.S.T.

2005 Paris: Collective gallery B.S.T.
Prague - “Art-Prague”.
International exhibition of Contemporary art.
Rome - Gallery Ca' D' Oro, personal.
Decoration for the world tour of Rolling Stones.

2006 Paris - Left the book “50 years of tapestry” of AIberte Grynpass Nguyen - Flammarion Editions. Paris - Performance “the Scene”.
Paris - Died Creatures, alive Paintings.
Decoration for the world tour of Rolling Stones.

2007 Paris - Thuillier Gallery, collective.

Talbot 2008Paris-gallery personal, collective
German Holy 2008-art of the Meadows
2008¬-place in the Artist-Place Monge Paris - First living room iinternational of contemporary art in the open air
2008-Beauvais National Gallery of the Tapestry Chiefs of work of the Tapestry of Beauvais--XVIIe-XXIe