Louis Carroll’s popular novel about a girl whose search for adventure led her into the realm of the grotesque marked the childhood of many. But, quite apart from falling into a rabbit hole – as a metaphor for entering an overpoweringly imaginary location – with her multimedial ambient installation Marta Bosi explores what happens when a woman tries to dive deep within her most intimate feelings. She reexamines the female condition, in a situation wherein women’s illusions of passing into a different, more felicitous world have suffered a sad reverse. Instead of hiding her fragility by introducing a make-believe universe, her work highlights the impact effected upon the human body by its surroundings and the individual’s own raw emotions. The basis for this exhibition of drawings of the female figure executed upon cheap notebook paper serves to underline the ephemeral and marginal position that such a vulnerable body may be subjected to. The installation has been conceived so that all its elements (bunnies in a cage, worn out ballet slippers, black holes without any depth) all point to a lack of fatalism which could otherwise, if not embellish, at least mitigate reality. Thus exposed, the situation may be defined as radical intimacy, based on works of British artist Tracey Emin (2007). Instead of rising above her own corporeality, the author insists upon withdrawing right into it. The absence of the imaginary makes us realize that sexuality as such is not unpleasant but that embarrassment comes from one’s own confrontation with the shadow of one’s most intimate feelings.
Marta Bosi (1978) graduated painting in 2001 at Tulane University of New Orleans, after having spent a part of her studies with the Academia Lorenzo de’ Medici of Florence, Italy. She has had her work exhibited in Serbia and abroad, and lives and works both in Belgrade and Rome. Her work indicates a crisis of gender representations and insists on the realistic perception of women.