Eugenia Vanni

With the work of Eugenia Vanni on the well-known artist Giulio Paolini and his work on Lorenzo Lotto^[1], the museum's space is claimed - even our virtual one - as a place full of treasures with which artists must measure themselves. The artist would seem to disrupt the pictorial techniques always drawing from this imaginary museum but the truth, as she herself states, is that: "I do not modernise the techniques. In saying this, you’d suppose that the they are something ancient; I believe instead that the techniques are part of the world like many other things. They are not obsolete, most of them are still in use among artists. I am using the fine arts techniques enhancing their aesthetic and poetic qualities"^[2]. With this project the artist also deepens the relationship between painting and photography and creates yet another disorientation. In fact we go from the photograph (but on canvas) of a painting (Paolini / Lotto) to the painting of a photograph (Vanni/Paolini), deepening even further the role on the artistic authorship as well as the dynamics of appropriation and the relationship between these identities, extending the rapport between author, work and spectator.