Sheltered from the world by Victoria Stagni

Victoria Stagni

Bordeaux, AQUITAINE - France


Victoria Stagni, painter in Bordeaux. Born in Buenos Aires of a Paraguayan father and an Argentinean mother, Victoria Stagni apprenticed in oil painting at Pierre Lafage (a graduate of the Beaux-Arts in Paris and Bordeaux) in the Atelier Fine Arts of Bordeaux.

At the same time, she set up her workshop in the Bordeaux district of Chartrons.

Since 2015, Victoria has been part of the collective of international artists "Human Beings, What Unifies Us?" made up of Cuban, European and American painters, sculptors and photographers. This collective was created following the reopening of relations between the United States and Cuba and aims to propagate beauty and peace in a feeling of brotherhood.

In June 2016, the artist participated in the group's inaugural exhibition at the Ortiz Gallery in the city of Trinidad, Cuba.

Between October 2016 and April 2019, the artist connects personal and collective exhibitions in various places of choice in Bordeaux: in particular at the Lerme Market (personal), on the billboards of the Center of Bordeaux - Oboem campaign (collective), at the Bernard Magrez Cultural Institute (personal), at the Halle des Chartrons (personal), at the Saint James - Bouliac (personal), at the Espace Saint-Rémy (collective) and at the Monkey Mood gallery (personal).

Two of his works, "Animal Kingdom" and "Autoportrait aux Amaryllis", are part of the Private Collection
of the Bernard Magrez Cultural Institute.
To see the entire Bernard Magrez Private Collection: https://www.institut-bernard-magrez.com/copie-de-artistes

From October 2020, the artist will participate in two collective exhibitions in Bordeaux, at the Halles des Chartrons during the Latin America and the Caribbean Week (SACL) and at the Lerme Market with the Pucéart association. She will also soon exhibit her work in solo exhibitions in Paris, as well as at the Union des Producteurs de Saint Emilion and at Château Castera.

Artist statement

Texts about the work of the artist

"We could easily place the works of Victoria Stagni in a tradition of so-called naïve painting of the nineteenth century as the filiation with this art jumps at first sight to the eyes and the spirit. Certainly his figurative pictorial universe takes up all its codes and its plastic characteristics. Victoria Stagni traps us first in her colorful skits. She is the main character surrounded by a fantastic bestiary with thousand plumages and enchanting furs peculiar to the animal world of the tropics or poles. Each painted animal is an aesthetic event. His mental-minded landscapes take us on a journey through the globe as he dives into exotic jungles or pristine ice floes before the ice melts. They are attractive, animated and static like freeze frames in dreams that would be appropriate for the surrealists. His first scenes are as playful and jovial as a swing or a slide on the neck of a "Giraffe". They transpire an idealized relationship between man, animal and nature like "The Magic Mountain". A prettiness that is accentuated by the childishness of his paintings. It is then that she portrays herself as a feminine and lonely Eve who has long since abandoned her Adam, preferring the company of animals. At this point, she invites us again to explore the reminiscence of a careless Eden. However, the one who still hopes for the return of this lost paradise should divert his gaze as quickly as possible so as not to face the reality. The black veil that is about to cover the work "One hundred years of solitude" is a harbinger of an obscure future.

Victoria Stagni shares her exacerbated sensitivity to the world. She tells it through stories painted in oil that oscillate between personal stories and collective stories. She sometimes feels them more than she conceptualizes them. She says that they are often instinctive or unconscious and that she is driven by a vital, even visceral, need to paint them. This is his outlet. It is the violence of our time that overwhelms it. Paradise is long lost. "Real disasters are here and there" *. We leave the exoticism of the nineteenth century to find ourselves in the era of the Anthropocene. From her golden cage, with solitude and through her self-portraits, she speaks of multiplicity. Like a contemporary allegory, she uses her own image to highlight our collective responsibility, which she does not hesitate to endure in the face of disaster. This disaster is ecological. In his last two canvases his self-portraits give way to a representation of Trump. Maybe she disappears because she has become an animal. From the "pack" man, she extracts an anomalous being, a political beast, billionaire, racist and misogynist in a tie suit, the president of the world's leading power that alone symbolizes this catastrophe by mass contagion : "The degeneration of social practices with an abject mass-media, with a blind collective faith in the ideology of the" market "" 1. The self-destructive war machine is running. With his fake this pack leader is a symbol of death. In the painting "Borneo", it is no longer the deposition of Christ in question here, we are witnessing our own crucifixion. It is no longer Mary who holds Jesus dead in her arms, but an Orangutan who carries us, animal in danger of extinction because of our consumption of palm oil. We do not come down from the cross anymore, but from a devastated forest. Power and vulnerability rub shoulders in the paintings of Victoria Stagni. She is on the lookout, in a state of alert. In the painting "Climate", she becomes bear, in

"Make Nature Great Again", she becomes a white-headed pyguarde, the emblem of the United States. Becoming-animal is a work on oneself that requires asceticism. It is undoubtedly since this state of immanence that Victoria Stagni paints. Becoming-animal is an inner exercise, it is a becoming-imperceptible that invites us to deterritorialize.

© Nadia Russell Kissoon

1 Félix Guattari, What is Ecosophy?, Éditions Lignes, IMEC, series: "Critical Thinking Archives", 2013, P.512


"Victoria Stagni's work consists primarily of representing the living from a human subject that she immerses in a dreamlike composition. And if the artist often chooses the self-portrait to do so, it is because, like Frida Khalo, she is "the subject that [she] knows best".

The artist uses the dream to be completely free. On the web, she can authorize everything she wants to evoke the mystery of the world. When she creates, Victoria Stagni looks for images that will surprise and enchant, even if this dream is on the verge of a nightmare. It is concerned primarily with the image as such, its inexplicable nature, rather than the idea.

In the end, through her painting, Victoria Stagni seeks to share her sense of belonging to an enigmatic and wonderful world.

Her subjects are feminine because the image of a woman's body or face is spontaneously imposed on her face to the canvas. Thus, his painting is deeply feminine, even feminist. When it is not a question of herself, she likes to paint strong women, sure of them, mistresses of their destinies.

Her relationship to painting is sensory and sensual. Before starting a new painting, the painter takes particular care in the choice of colors. The latter, by their brilliance and vivacity, retranscribe his feelings and sensations and give their equilibrium to his creations. As Matisse said: "I feel the paintings by the colors, it is according to the colors that my paintings are organized".

Victoria Stagni finds animals fascinating because, according to her, their graphic power is unparalleled. Vectors of poetry and mystery, they feed his paintings. All inspires him at home. With hairs, feathers or scales, their beauty is immediately obvious. Friendly or threatening, she plays with them, with their looks, their expressions, their postures. For her, they are wonderful intercessors with symbolic and sometimes political significance. In fact, too often despised by Man because of their mysterious and misunderstood intelligence, animals are constantly suffering and are threatened because of our civilization. Thus, in his paintings, the artist feels the urgency to celebrate our common nature, to restore this vital link between beings. Just like our ancestors, who already painted a marvelous bestiary on cave walls in the light of a flickering flame, Victoria Stagni has the greatest respect for those of whom we share the reign. They are his totems, his divinities." Bernard Magrez's Cultural Institute

"The Victoria Stagni exhibition invites us to an animal dream. His subject, topical: tribute to the animal powers, these other tenants of the Earth that humanity tends to forget. Its oil formats celebrate their beauties, mixing realism and fantasy. Figure of the tiger or gigantic crocodile, become elements of a landscape or piece of fantasy furniture.

She places the human silhouette that she masters best, her image, to play with our perceptions and develop a lush pictorial language. Animality throne as the centerpiece of a cabinet of curiosity where express the ancestral feelings of the psyche: fear, anger, laughter." Bertrand Boucquey, The Rendez-vous Bordelais

Local shows

Collective exhibitions:
- September 15-November 12, 2020: Maxwell Baynes- Christies / Bordeaux Agency
- October 2020: Lerme / Bordeaux market
- October- November 2020: Halles des Chartrons / Bordeaux
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