Exhibitions

Mariella Bettineschi: Voyager

Project Room 2 May 13–Aug 19, 2006

+ Share Exhibition

 

+ Become a Member

Please support SMMoA by becoming a member today.

Learn More

+ Exhibition Support

Please support SMMoA’s exhibitions and public programs. 

Learn More

 
Buy Tickets/RSVP X

Online bookings are not available for this event.

Complete the secure form below. Tickets will be held under name provided. Fields marked with an * are required.

Step 1:Ticket-Holder Information

Please feel welcome to include your partner’s name here.

For international addresses, please contact us.

Step 2: Billing Information

(Not required for RSVPs)
Continue Next Step: REVIEW

Review your details below. Select Edit to make changes or Submit to complete the transaction.

Step 3:Review

EVENT
Mariella Bettineschi: Voyager
May 13–Aug 19, 2006

TICKETS

TICKET-HOLDER INFORMATION

BILLING INFORMATION

Edit

Step 4:Submit Payment

Submit
Processing. Please wait ...

Email Confirmation
Once your submission has been processed you will be sent an email confirmation.

Step 5:Print Confirmation

Thank you for your RSVP and/or purchase. You will receive a confirmation email.

You may want to print this page for your records. When you are done, click Close to return to the program details.

Print Close

Error

There was a problem processing your payment. Please Click the Edit button to go back and make corrections.

Mariella Bettineschi, Spaceship, 2005

Conceptual artist Mariella Bettineschi has garnered acclaim in her home country of Italy since the early 1980s. Voyager highlighted portions of her oeuvre from 1999 to 2005, and was Bettineschi’s first West Coast museum exhibition. Though abstracted, Voyager nonetheless told a science-fiction story–of a young woman’s journey through space and time on a quest for omniscience. For SMMoA, Bettineschi created an installation comprising two bodies of work that formed a visual mosaic. The first, a series of light boxes titled At the Speed of Light (2005), transmitted rich colored and gestural light drawings and motion-altered photographs suggesting extraterrestrial travel. The second, Spaceship (1999), consisted of images printed directly on Plexiglas in reflective silver and black, portraying real and imaginary flying machines. Both series used the transparency and luminosity of the glass to combine the poetic and the ethereal with the mechanized and the concrete. At once slick and haunting, Bettineschi’s work transported the viewer to an alternate universe.