The contemporary art project ‘Vetrina’ inaugurated its second cycle of presentations in February 2024. After exploring the broad theme of nature through the site-specific works of the first nine invited artists, the focus has now shifted to the theme of activism, exclusively involving women artists who are enterprising and provocative in different ways and who have always, in their works, provided space for a proactive reflection on the contemporary world. The 2025 exhibition programme included “Night Eyes” by Mariana Hahn, “Tarocchi” by Isabella Staino, and “The Stream” by Manuela Kokanović.
For Vetrina#16, Vino Vero has invited Sarah Brahim (Riyadh, 1992), a visual and performance artist whose research-driven practice – initiated during her medical studies – explores the biological and emotional potential of the body. In her work, the artist examines how bodily gestures can give voice to pain, metamorphosis, the invisible, and our relationship with nature, exploring questions of embodiment and cycles of connection, whether social, spatial, or spiritual.
For this occasion, the artist will present a site-specific installation conceived as a choreographic scene of hands inhabiting the Vetrina. Inspired by the display windows of glove shops in Italy and Venice and their choreography of colour and hands, Brahim transforms the space into a composition of gloved hands carrying different gestures and postures. The installation will explore the symbolism of the glove as accessory, protection, working tool, and cartographic surface.
“Vetrina” is a series of exhibitions curated by Mara Sartore for Vino Vero, in collaboration with Lightbox. After exploring the broad theme of nature through the site-specific works of the first nine invited artists, the focus has shifted to the theme of activism. This phase exclusively involves female artists, bold and provocative in different ways, who have always used their art to foster constructive reflections on the contemporary world. The challenge is to present works of art in a limited space and in direct contact with the public, where the Vetrina becomes an integral part of the artwork itself, rather than just a place for exhibiting goods.
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