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In the principle of the last works of Vanessa Fanuele, a window. The one in front of which, walking through the Villa Malaparte, she will be struck down: that famous hole in the wall in front of the author’s office where, under the effect of the frame, a portion of the Mediterranean panorama is suddenly organized as a historia. The window – and likewise the canvas -, place of appearance of the image proposing only a view by essence distanced and fragmentary of the world. It is from this dialectic between opening and border, between perspective and screen that his recent paintings proceed. Her taste for landscapes had already led her to explore this very particular expression of the genre, the veduta – classical painting of urban views aiming at imitating, for memento, the high places of the Grand Tour. The previous series of Ultras is explicitly in this register. Vanessa Fanuele depicts a series of photographs taken from old magazines and faded Polaroids, compiling emblematic buildings of modern architecture – those of Richard Neutra, Pierre Koenig, Le Corbusier or Mies van der Rohe, as many souvenirs borrowed from her imaginary museum. With this difference however: where the representative and descriptive intentions prevailed for the vedutists, she does not bother with any fidelity to the optical perception. On the contrary, it questions it. ( extract from the text « Le ciel est plus loin » from Marion Delage de Luget )

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