QUOTES

Intro
Carol Rama interviewed by Lea Vergine, 1983,: “[…] My rebellion consists of painting. […]”, cited by: Brigitte Reinhardt, “Carol Rama. Zu den Radierungen“, in: Carol Rama, ed. by Brigitte Hausmann, [exhibition catalogue] Gutshaus Steglitz, Berlin 2021, p. 26.

Chapter I
Carol Rama: „[…] Everything and nothing is autobiographical. […]“, cited by: Lea Vergine, “Anxiety is a Trip: Interview with Carol Rama”, in: Carol Rama. Antibodies, ed. by Helga Christoffersen and Massimiliano Gioni, [exhibition catalogue] New Museum, New York 2017, p. 100.

Chapter II
Carol Rama in conversation with Rosma Schuteri, 1988: “[…] I was always an outsider, going against the grain; I never fitted in.[…]“, cited by: Brigitte Reinhardt, “Carol Rama. Zu den Radierungen“, in: Carol Rama, ed. by Brigitte Hausmann, [exhibition catalogue] Gutshaus Steglitz, Berlin 2021, p. 23.

Carol Rama: “[…] Madness is not something that is alien to us. […] Being overly certain that you’re on the right side is also madness. […]“, cited by: Gregor Jansen, “Abbildungen“, in: Carol Rama. Böse Zungen. ed. by Gregor Jansen, [exhibition catalogue] Kunsthalle Düsseldorf, Heidelberg 2012. p. 26.

Carol Rama in conversation with Tiziana Ricci, 1985: „[…]The outstretched tongue is the object of desire. […]“, cited by: Brigitte Reinhardt, “Carol Rama. Zu den Radierungen“, in: Carol Rama, ed. by Brigitte Hausmann, [exhibition catalogue] Gutshaus Steglitz, Berlin 2021, p. 56.

Chapter III
Carol Rama in conversation with Francesco Masoero, 1998.: “[…] I have no rules. I start however I want and keep going. […]“, cited by: Alexandra Wetzel, “Carol Rama. Stil und Mittel“, in: Carol Rama, ed. by Brigitte Hausmann, [exhibition catalogue] Gutshaus Steglitz, Berlin 2021, S. 56.

Carol Rama: “[…] I’m really happy I had this opportunity to fit in. […]“, zitiert nach: Guido Curto, „Carol Rama. Artist, not Personage“, in: Carol Rama, ed. by Guido Curto and Giorgio Verzotti, [exhibition catalogue] Fondazione Sandretto Re Rebaudengo, Turin, Mart – Museo di Arte Moderna e Contemporanea di Trento e Rovereto, Rovereto, and Baltic, Centre for Contemporary Art, Gateshead, 2004 / 05, Genf and Mailand 2004, p. 38.

Carol Rama interviewed by Barbara Codogno, 2003: “[…]I have always had my own little language that has served me. […]”, cited by: Alexandra Wetzel, “Carol Rama. Stil und Mittel”, in: Carol Rama, ed. by Brigitte Hausmann, [exhibition catalogue] Gutshaus Steglitz, Berlin 2021, p. 56.

Edoardo Sanguineti: „[…] These rules, the need “always to adapt to the equipment at hand, to a set of tools and materials that changes but is ‘finite’ […] as well as heterogenous,” namely the guidelines for any bricolage, are at the same time the ground rules of this new art that wishes to stop patiently at the reality that is immediately available, that does not bend and does not engage except with the closest reality, the most strikingly everyday, external to any project, related to anything that “it can always serve,” and that already seems to be culturally bound to a practical, differentiated destination, testimony to the history of an individual or a society. […]“, cited by: Edoardo Sanguineti, “Über die Bricolage“, in: Carol Rama. Rebellin der Moderne, ed. by Martina Weinhart, [exhibition catalogue] Schirn Kunsthalle Frankfurt, Frankfurt 2024, p. 95.

Carol Rama: “[…] Tires have brought me a lot of joy. Tires remind me of my father, of the factory; they remind me of power. […]“, quoted by: Rachele Ferrario, Le signore dell’arte, Mailand 2012, p. 11–42 (on Carol Rama), here p. 32.

Chapter IV
Carol Rama: “[…] I have always loved objects and situations that were rejected. […]“, cited by: Paolo Fossati and Cristina Mundici, “A Career”, in: Carol Rama, ed. by Cristina Mundici, [exhibition catalogue] Stedelijk Museum Amsterdam, Mailand 1998, p. 17.

Carol Rama: “[…] Everyday objects that give pleasure, that bring disorder and eroticism into everyday life.”, cited by: Gregor Jansen, Abbildungen”, in: “Carol Rama. Böse Zungen.” ed. by Gregor Jansen, [exhibition catalogue] Kunsthalle Düsseldorf, Heidelberg 2012, p. 26.

Carol Rama: “[…] I love fetishes and sex. Sex dreamed, imagined. […]”, cited by: Gregor Jansen, Abbildungen”, in: “Carol Rama. Böse Zungen.” ed. by Gregor Jansen, [exhibition catalogue] Kunsthalle Düsseldorf, Heidelberg 2012, p. 26.

Carol Rama: “[…] Those who live in an inner freedom are free, they are outside of iconography, outside of convention. […]”, cited by: Guido Curto, “Carol Rama. Artist, not Personage”, in: Carol Rama, ed. by Guido Curto and Giorgio Verzotti, [exhibition catalogue] Fondazione Sandretto Re Rebaudengo, Turin, Mart – Museo di Arte Moderna e Contemporanea di Trento e Rovereto, Rovereto, and Baltic, Centre for Contemporary Art, Gateshead, 2004/05, Genf and Mailand 2004, p. 37.

ORIGINAL ARTWORKS

Chapter I
Carol Rama, Senza titolo, 1967, ink, glue, doll’s eyes and spray paint on paper, 58 x 46,5 cm, Private collection © Archivio Carol Rama, Turin. Photo: Pino Dell’Aquila

Man Ray, Femme de sept visages, 1974, handwritten original text from the artist’s live-in art studio © Photo: Roberto Goffi

Chapter II
Carol Rama, Senza titolo, 1947–1953 (The canvas shows the footprints of Carol Rama’s friends and guests, including Felice and Francesco Casorati, Daphne Maugham-Casorati and her mother Mabel Hardy Maugham, as well as the painters Italo Cremona, Albino Galvano, Adriano Parisot and Filippo Scroppo) Casa museo Carol Rama, Turin © Archivio Carol Rama, Torino. Photo: Pino Dell’Aquila

Carol Rama, Marta, 1940, watercolor, tempera, and colored pencil on paper, 23×17,5 cm, Private collection, Turin © Archivio Carol Rama, Torino. Photo: Pino Dell’Aquila

Carol Rama, 1930–1931 brevetto n. 7H1261R (Appassionata), 1940, watercolor, tempera, and colored pencil on paper, 41,5 x 30,5 cm, Turin, GAM – Galleria Civica d’Arte Moderna e Contemporanea, Fondazione Guido ed Ettore De Fornaris. By courtesy of the Fondazione Torino Musei © Archivio Carol Rama, Turin, Photo: Studio Fotografico Gonella

Carol Rama, Appassionata, 1940, watercolor, tempera, and colored pencil on paper, 23 x 33 cm, Turin, GAM – Galleria Civica d’Arte Moderna e Contemporanea, Fondazione Guido ed Ettore De Fornaris. By courtesy of the Fondazione Torino Musei © Archivio Carol Rama, Torino. Photo: Studio Fotografico Gonella

Carol Rama, Amabile, 1939, watercolor and colored pencil on paper, 17 x 23 cm, Private collection © Archivio Carol Rama, Torino. Photo: Sebastiano Pellion di Persano

Carol Rama, Bricolage, 1966, pigmented plaster, mixed technique and dolls’ eyes on Masonite, 51 x 70 cm, Courtesy The Estate of Carol Rama represented by Galerie Isabella Bortolozzi, Berlin © Archivio Carol Rama, Torino. Photo: Graysc

Carol Rama, La mucca pazza, 1996, leather and canvas on US mailbag (including metal grommets) mounted on wooden frame, 70,5 x 57,5 cm, Collezione Mario De Giuli © Archivio Carol Rama, Torino. Photo: Pino Dell’Aquila

Carol Rama, Il chiodo di Corrado, 1993, bicycle inner tubes on leather jacket, ca. 82 x 58 x 8 cm, Private collection © Archivio Carol Rama, Torino. Photo: Pino Dell’Aquila

Carol Rama, Man Ray, 1984, ink and felt-tip pen on paper, 22 x 17 cm, Collezione Mario De Giuli © Archivio Carol Rama, Torino. Photo: Massimo Forchino

Man Ray, Self-portrait, 1943, photography © Photo: Granger – Historical Picture Archive / Alamy Stock Photo

Carol Rama, Omaggio a Carlo Mollino, 1969, spray paint, glue, mixed media and taxidermic eye on canvas, 70 x 100 cm, Private collection © Archivio Carol Rama, Torino. Photo: Pino Dell’Aquila

Carol Rama: Alexandre Jolas, 1984, ink, felt-tip pen and bronze powder on paper, 22 x 17 cm, Private collection © Archivio Carol Rama, Torino. Photo: Roberto Goffi

Chapter III
Carol Rama, Senza titolo, 1967, ink, glue and doll’s eyes on paper, 33 x 45 cm, Private collection © Archivio Carol Rama, Torino. Photo: Pino Dell’Aquila

Carol Rama, Senza titolo, 1951, pencil, tempera, coloured pencil and pastel crayon on paper, 50 x 40 cm, Privatsammlung © Archivio Carol Rama, Torino. Photo: Lucchini e Sanna Restauzi

Carol Rama, La linea di sete, 1954, oil on canvas, 60 x 50 cm, Turin, GAM – Galleria Civica d’Arte Moderna e Contemporanea, Fondazione Guido ed Ettore De Fornaris. By courtesy of the Fondazione Torino Musei © Archivio Carol Rama, Torino. Photo: Studio Fotografico Gonello

Carol Rama, Composizione, 1959, oil and various inclusions on canvas, 70 x 50 cm, Turin, GAM – Galleria Civica d’Arte Moderna e Contemporanea, Fondazione Guido ed Ettore De Fornaris. By courtesy of the Fondazione Torino Musei © Archivio Carol Rama, Torino. Photo: Studio Fotografico Gonella

Carol Rama, Presso il pungente promontorio orientale, 1967, ink, glue, and dolls‘eyes on canvas, 36,5 x 24,5 cm, Privatsammlung © Archivio Carol Rama, Torino. Photo: Roberto Goffi

Carol Rama, Senza titolo (Maternitá), 1966, enamel paint, glue and doll’s eyes on canvas, 90 x 70 cm, Privatsammlung Turin © Archivio Carol Rama, Torino. Photo: Gabriele Gaidano (Torino)

Carol Rama, Senza titolo, 1969, spray paint, glue and taxidermic eyes on canvas, 100 x 100 cm Privatsammlung © Archivio Carol Rama, Torino. Photo: Pino Dell’Aquila

Luis Buñuel, Un Chien Andalou, 1929, film still © Allstar Picture Library Ltd / Alamy Stock Photo

Dora Maar, Les Yeux: Element Pour Photomontage, 1935, Photomontage © Adagp, Paris. Photo: Guy Carrard – Centre Pompidou, MNAM-CCI /Dist. RMN-GP

Carol Rama, Autorattristatrice n. 10, 1970, inner tubes on canvas, 100 x 100 cm, Ursula Hauser Collection, Switzerland © Archivio Carol Rama, Torino. Photo: Roman März

Carol Rama, Definizione d’usura, 1977, iron hook with bicycle inner tubes, other inner tubes, and pastel crayon on black fabric, 170 × 130 cm, Courtesy The Estate of Carol Rama represented by Galerie Isabella Bortolozzi, Berlin © Archivio Carol Rama, Torino. Photo: Graysc

Carol Rama, Senza titolo, 1974, inner tubes on grey car-hood canvas, 170 x 130 cm, Courtesy The Estate of Carol Rama represented by Galerie Isabella Bortolozzi, Berlin © Archivio Carol Rama, Torino. Photo: Henry Trumble

Chapter IV
Carol Rama, Senza titolo, 1968, glue and doll’s eyes on glossy black cardstock, 50 x 70 cm, Private collection, Turin © Archivio Carol Rama, Torino. Photo: Gabriele Gaidano (Torino)

Carol Rama, Teatrino n.3, 1938, Watercolor and colored pencil on paper, 14,1×23,2 cm, Private collection © Archivio Carol Rama, Torino. Photo: Roberto Goffi

Carol Rama, Nonna Carolina, 1936, watercolour and coloured pencil on paper, 24 x 25 cm, Property of Fondazione per l’Arte Moderna e Contemporanea CRT – on loan at la GAM – Galleria Civica d’Arte Moderna e Contemporanea of Turin. By courtesy of the Fondazione Torino Musei © Archivio Carol Rama, Torino. Photo: Studio Fotografico Gonella

Carol Rama, Opera n. 15 (Dentiere), 1939, watercolor and colored pencil on paper, 24,2 x 33,5 cm, Private collection © Archivio Carol Rama Turin. Photo: Pino Dell’Aquila

Carol Rama, Brevetto n. 7689 R (Le palette), 1940, watercolor and colored pencil on paper, 14,5 x 23,5 cm, Private collection Turin © Archivio Carol Rama, Torino. Photo: Gabriele Gaidano (Torino)

Carol Rama, Opera n.47, 1940, watercolor and colored pencil on paper, 34,5 × 24,5 cm, Private collection © Archivio Carol Rama, Torino. Photo: Pino Dell’Aquila

Carol Rama, I tarocchi, 1948, Oil on canvas, 95 x 60 cm, Private collection © Archivio Carol Rama, Torino. Photo: Nick Ash

Pamela Colman Smith, The World, 1910. Photo: CC0
Pamela Colman Smith, Wheel of Fortune, 1910. Photo: CC0
Pamela Colman Smith, Ace of Wands, 1910. Photo: CC0


PHOTOGRAPHY

Intro
Carol Rama in her live-in art studio, 1994. © Photo: Pino Dell’Aquila

Chapter I
Carol Rama, 1961. Taken by an unknown photographer, this photograph was found at the artist’s home.

Carol Rama in Mantua, 1988. © Photo: Roberto Goffi

Carol Rama, 1954. Taken by an unknown photographer, this photograph was found at the artist’s home.

Carol Rama receiving the Premio Alfa Romeo, 1951. © Photo: Roberto Goffi

Carol Rama, 1994. © Photo: Roberto Goffi

Carol Rama in her live-in art studio (sitting in front of „Senza titolo“, 1968) 1969. Taken by an unknown photographer, this photograph was found at the artist’s home.

Man Ray memorabilia in Carol Rama’s live-in art studio © Photo: Nick Ash

Richly detailed arrangement of utensils. Detailed view of the Casa Studio Carol Rama © Stefan Giftthaler.

The work table in Rama’s live-in art studio. Detailed view of the Casa Studio Carol Rama © Photo: Nick Ash

Tubes and rubber tires staged like an installation. Detailed view of the Casa Studio Carol Rama © Stefan Giftthaler.

Another workstation in Rama‘s bedroom. Detailed view of the Casa Studio Carol Rama © Photo: Nick Ash

Working materials and tools dramatically illuminated. Detailed view of the Casa Studio Carol Rama © Stefan Giftthaler.

Photos of Rama with friends cover the wall. Detailed view of the Casa Studio Carol Rama © Photo: Nick Ash

Stacks of crates behind an exhibition poster of 1994. Detailed view of the Casa Studio Carol Rama © Stefan Giftthaler.

Turin’s landmark, the Mole Antonelliana. © Photo: Michele D’Ottavio / Alamy Stock Photo

Chapter II
Brygos Painter, Maenad and panther, 490-480 B.C., Tondo einer attic white grouns kylix from Vulci, 14.4 x 28.5 cm, Staatliche Antikensammlungen München, Inv. 2645. Photo: CC0

Corrado Levi, 2000’s. © Photo: Nanda Lanfranco

Carlo Mollino, 1938. Photo: CC BY-SA 4.0

Alexander Iolas, 1980‘s. Photo: by an unkown photographer

Chapter III
Carol Rama and Edoardo Sanguineti, 1994 © photo: Roberto Goffi

Chapter IV
Ex votos in an Italian church © Photo: lucamato / iStock

Wooden shoemaker’s lasts in a workshop © Photo: Dorota Szymczyk / iStock