MARION BARUCH

In 1948 she began her studies at the Bucharest Fine Arts Academy. The next year she had the great opportunity of emigrating to Israel; there she continued her studies at the Bezalel Academy of Arts and Design in Jerusalem, where she attended Mordecai Ardon's course. Four years later she held an exposition at the Micra-Studio gallery in Tel Aviv; the review of the critics was so good as to enable her to obtain a scholarship thanks to which she moved to Italy in 1954, where she studied painting at the Accademia di Belle Arti in Rome.

During the 60's Marion Baruch's pictorial language changed radically, steadily surpassing figurative art and striving towards a gestural approach aimed at abstraction, graphics, as well as that plastic language which would become apparent between the end of the 60's and the beginning of the 70's with a series of very big sculptures.

It is in this phase that the artist met A.G. Fronzoni, at first, with the help of whom she realized two very radical works of experimental design – Contenitore-Ambiente (1970) and Vestito-Contenitore (1970), which were masterfully photographed by Berengo Gardin. The images which Abitare and Domus published went around the world. The visionary design producer Dino Gavina fell in love with them, so he decided to invite Marion to participate in the project Ultramobile – a group of objects "non-objects" designed by artists the calibre of Man Ray, Meret Oppenheim, Sébastian Matta, and Allen Jones… This brief incursion into the world of design had a great influence in the way Marion Baruch would interpret her work; thus she did not just begin to assimilate a conceptual-type practice, but also to develop a great interest for industrial production as an unavoidable feature of contemporary production.

2012 saw the birth of a new group of plastic works, which were elaborated through the rediscovery of that formalism that the artist had long since abandoned. The scraps that Marion Baruch worked with were nothing else than the refuse of the Prêt-à-porter. The choice of how each piece is set creates a stratified linguistic complexity. From the artist's visual memory there surface images, dynamics, faces and techniques of an artistic practice that reunites different expressive dimensions, translates them into a simple gesture and takes into account the essential importance of the force of gravity.
Marion Baruch has collaborated with, and exhibited her works in, several famous institutions in Europe, such as the Kunstmuseum in Luzern, the Mamco in Geneva, the Palais de Tokyo, and the National Gallery of Modern Art in Rome, the Mambo in Bologna, the Gröninger Museum and the Turner Contemporary in Margate.

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