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1976, Argentina

Luciana Rondolini’s artwork revolves around the way mass media influences human relations and behavior within the consumer world. Her pieces critique superficiality, glamour, and luxury design products that represent core values of the market.

The appropriation of images and the use of ready-mades are evident through her interdisciplinary practice that involves of sculpture, video, photography and installation.
Her Tiffany series is directly related to the concept of transformation. To age, and to become obsolete and the difficulties to accept it due to the artificial advertising images that are part of our collective consciousness and systematically hide this feature.

Her fruits embellished with plastic gems, depict how the brilliance of novelty makes us forget the real value of objects, and the fact that they are all perishable and doomed to become outdated. The impossibility of permanence is represented through these contemporary vanitas, reminding us of the deterioration and forgetfulness to which all things are subjected.
Likewise, her drawings of Pop-icons are a parody of the artificiality laying beneath idols such as Justin Bieber, Lady Gaga or Miley Cyrus, and the impact media figures have among worshiping teenagers.
Rondolini's work seeks to crystallize the banality encoded by the market of fame and point out the deception and empty appearance through ornamenting the faces and bodies of these icons, as if it was enough to preserve them from the passing of time and unavoidable disenchantment of the ephemeral celebrity culture that characterizes our society.

Rondolini, not only questions the way mass media influences us, but also, the way we choose to perceive reality. “We have trouble accepting the world as it is, and the false perception of reality is not only propitiated by the media but often originated in ourselves, who often prefer self-deception. We aspire to control and decorate reality by falling into ignorance, rejection and denial”. The artist explains.



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