Véronique Rizzo on Caszuidas screen, Amsterdam.

As part of the “VIDEO GUIDE – Marseilles” screening series on CASZUIDAS screen – Moving Images in Public Space – Videospread is pleased to present Véronique Rizzo’s solo show “Split Screen”. The programme will be launched in November 2008 and screened for one year.


Profession: Artist
Gender: Female

Over one hundred years and the determination of many women were necessary to break the bonds that tied female artists to their social status of being Women: excluded from Fine Arts training, from signing contracts with gallery owners without their husband’s consent… A handful of women lead the way and fought to obtain an identical and equal status as the men, in a field that had long been a masculinist territory.

The networks and groups of women artists, authors, gallery owners, patrons… that arose in Paris in the pre, in-between and post-war years, were not so much associations or partnerships based on the sharing of professional, sexual, social or cultural values, standards or interests, but rather a community which allowed others to act knowing that they were part of a shared reality.

Marie Laurencin, Tamara de Lempicka, Sonia Delaunay, Iris Clert, Niki de Saint Phalle, Annette Messager and Louise Bourgeois – to state only a few – have in turn asserted themselves in a professional context which was for long ruled by the only will of men. They have, by their achievements, allowed other women to overstep purely formal issues, to take part in the reflection and construction of the global Art theory.

Véronique Rizzo’s programme – Split Screen – launches a series of seven solo shows dedicated to contemporary women artists who have chosen Art as a field for research, expression and personal development.

Véronique Rizzo
Split Screen

– Text by Guillaume Mansart –

Véronique Rizzo’s work is drawn upon a thorough knowledge of Art History’s recent moments. Oriented essentially towards abstraction (from Russian avant-garde to Op art, Bauhaus or concrete art…) this specific understanding sets the foundations to a body of work which (re)defines, breaks from, challenges and/or amplifies these theoretical grounds.

Rizzo operates at the source of the world’s transformations, the questioning, the success or failure of our great ideological theories and programs, that have accompanied modernist abstraction. Setting an ironic or supportive viewpoint on this formal thinking, she draws her visual vocabulary from these significant geometrical shapes. May it be Vasarely’s motifs in the video Tilos, Jean Arp’s or Pol Bury’s in Gestalt, they characterize the foundations of an Art, which, at the time of digital techniques, will replay, animate and mix visual experimentations…
After the fixed image of painting, follows video and its movement. To the narrow and restrictive idea of the shape as a self-sufficient entity, is substituted the acceptance of motifs originating from our popular culture: closing credits from television programs and 60’s and 70’s movies, comic strips, sci-fi, urban culture, electronic music, psychedelia… In her body of work, all is brought together.

As all utopias have been broken down by rational political strategies, as kinetic forms have been absorbed by the marketing industry, visual identity, and images’ persistency, Rizzo acts on these, and plays the card of the sensory and the sensational.

Her video -installations- have an undeniable vibrating value, invariably placing them in the field of “physical experience”. Somewhat oppressing (Panopticon XXXX), resonating (Tilos), narrative (Labyrinthe Vert) or hypnotic (Sun1), all of her works express and celebrate the emotional strength of shape and form. If Rizzo’s work can be perceived as a questioning, it also has to be understood as an assertion. That is, the validity of motif on physical reality; and it is precisely this strength, which is given straightforwardly to us as a lively and sensible geometry.