AH. Vittoria Chierici, you have been painting battles for a long time. From the 1992 Gulf War until your most recent work, Leonardo’s The Battle of Anghiari. Why battles?
VC. My generation often defended an idea of reality even when it conflicted with direct experience. I attended a school where Pop Art was considered the most influential trend in the 20th century. It was a given, therefore, that the most important world events would provide the frame of reference for my ideas for many years. In this sense, the Gulf War was the input for “my” battles. It wasn’t a matter of exposing the political issues or of emphasizing their journalistic, iconographic value. Rather, I was trying to provide many potential scenarios for abstract representation. As always happens in my more complete works, I would choose a topic that instinctually allowed interpretation on two levels – the present and the historical". Anna Hilbe, Leggere Donna, a bimonthly journal of cultural information, Ferrara, Italy, March April 2002.
Vittoria Chierici interviewed by Anna Hilbe
Exhibitions
Circolo Artistico, Battles, Faenza, Italy, 1996. Essay by Pietro Bellasi, unpublished poems by Roberto Roversi.
See link
Studio Ercolani art gallery, Vittoria Chierici, Bologna, Italy, 1996.
Fabbrica Eos art gallery, Message in the Battle, Milano, 1997.
Palazzo della Battaglia, Il Leonardo Scomparso, Anghiari, 2000.
Palazzo Pubblico, Sala del Risorgimento, La Battaglia di Montaperti (The Battle of Montaperti), Siena, Italy, 2001.
Villa Venier, Perche' Battaglie ? (Why Battles?), Verona, Italy, 2003, Curators Nadia Melotti and Dario Trento.
Palazzo Sabatini, Battaglie ( Battles), Arezzo, Italy, 2003.
Reviews
Pietro Bellasi, Roberto Roversi, War and Vittoria Chierici’s Soldiers, Circolo Artistico, Faenza, Italy, 1997.
Dario Trento, Vittoria Chierici and the poet Roberto Roversi, La Repubblica, April 17, Bologna, 1997, Italy .
Maria Perosino Paolo Fossati, Vittoria Chierici , Stories – Tales, Studio Ercolani art gallery, Bologna, 1997
Maria Perosino Paolo Fossati, Message in the Battle, Fabbrica Eos art gallery, Milano, 1997
Giovanni Pintori, Three Heads in a Battle, Studio Ercolani art gallery, Bologna. 1998
Dario Trento, Vittoria Chierici, cosa fa vera una battaglia in pittura, ( Vittoria Chierici: What makes real a battle in painting ), Siena, 2001.
Un quadro ricorda la strage di Nassirya ( A painting honoring the Nasiryah bombimg, Iraq 2003 ), L'Informazione, November 9, 2011, Bologna, Italy.
Anna Hilbe, L'Arte della Guerra (Art from War), Leggere Donna #97, 2002 p. 30-31,
Dario Trento, Battaglie (Battles), Skira, Milano 2003. Essays by Achille Bonito Oliva, Armando Cherici, Franco Farinelli, Beppe Finessi, Marco Meneguzzo, Federico Montanari, Dario Trento.
Corrado Levi, Voglia di Stravincere, Via Dogana, issue #68, Milano, Italy 2004.
Battaglia e Guernica #1, 1998, oil, acrylics, and digital airbrush on canvas, 130 x 170 cm, Modern and Contemporary Art, City Museum, Arezzo, Italy
Battaglia sui fiori - Nikolayevka, 2002, vinyl, oil, and digital airbrush on canvas, 300 x 210 cm, Museo della Guerra, Rovereto, Italy
Kits, 1999, oil, acrylic, and digital airbrush on canvas, 70 x 400 cm, National Gallery, Rome, Italy
Kits in Black and White, 1999, acrylic, oil, and digital airbrush on canvas, 45 x 50 cm, private collection, Turin, Italy
La Battaglia di Montaperti, 2001, oil, acrylics, and digital airbrush on canvas, 192 x 432 cm, Public Art collection of the City of Siena, Italy.
Opening, Palazzo Pubblico, Sala del Risorgimento, La Battaglia di Montaperti, Siena, Italy, 2001.
Catalogue, Studio Ercolani art gallery, Vittoria Chierici, Bologna, Italy, 1996.