Italiano
In the work “The Muse and the artists”, two well-established contemporary painters create various works, all connected by the hints and suggestions provided by a young and politically incorrect muse. The muse always has the last word on the destiny of the completed works, which is to say that the works will become of public domain only if what the artists have realized satisfy the muse. Otherwise, the artists will have to destroy the works in front of her eyes, and no memory will remain about them. Hence why, of 10 works realized by the group in the last nine years, 9 have been completely lost. The identity of the three protagonists will be revealed only when the project will end because, appropriating the quote by Oscar Wilde, “The Muse and the artists” believe that “to reveal art and hide the artists is the ultimate end in art”.
Tecnicha: disegno
Loredana Denicola
Loredana Denicola is a documentary photographer who lives in London. She uses photography as a tool for her personal evolution which began with the discovery of her ‘psychological structure’, and then comprehension and self – destruction, using her artistic work as a powerful means of self-analysis, creating dialogues between herself and others. “I am your mirror” photography project clearly represents this process in which, establishing an intimate connection with strangers found on Internet, Loredana employs Photography as a mirror to reveal some of repressing feelings of both parts involved (the stranger & photographer), freeing ourselves, temporarily, of automatic behaviors that from habituation we play to protect ourselves, acting roles in life, that are not part of us, only to be accepted from Society. The result? An attack to the Identity’s concept. With photography we can unlock doors but we can also disturb ourselves, as when we look in a mirror. Do we like what we see? Who are we?
Alberto Barazzuti
My attention goes especially to themes that concern the individual and the identity in the current society of information and technology, hence to the economic and cultural processes that define the social dynamics, to processes of globalization and exclusion, to the invasivity of the multimedia world and to the pervasiveness of technology. I think it is important to develop a survival strategy starting from your own marginality; to decolonize your own imagination from those values that tend to homogenisation in order to formulate new hypothesis of participation.
ZEGRA production
The art of ZEGRA explores the intersection of linguistic and bodily perception, in light of the Italian feminist philosophy of difference. This work attempts to bridge the divide between abstract moral values and their manifestation as relational, sensible, realities.
ZEGRA poetry production is primarily connected to Enrica Giannuzzi’s activity as a philosopher ((http://www.iaphitalia.org/) and theater reviewer (http://nucleoartzine.com/), but it is also made up of multiple dialogues with visual artists and translators.
Nicolò Bruno
I have always considered art as a peculiar narrative and communicative tool, but the more I practice my job, the most I realize that art is actually more than this: it’s a practice of identification.
Recently I have been working on a painting series named “Eudemonologia”, which means the pursuit of happiness, based on a Schopenhauer’s essay. This painting series is populated by human backs with the aim of pursuing a physicality study concerning the human being, which mirrors the famous Latin statement “mens sana in corpore sano”.
While I was working on it, in a moment of reflection between doing and viewing, I found myself alone in a room, in front of dozen of figures standing one next to the other. They weren’t looking at me but they were turning their backs on me, and then I felt like my own work was rejecting its own creator. This amazement, this elusiveness are the real interests behind my research. I believe that art is a slimy, elusive, constantly mutable creature that acts independently from the observer’s will.
Rambelli e Bigi
’29 our circled world’ is a project realised by Silvia Bigi and Laura Rambelli and stressing the idea that the femininity and the today’s women’s space needs to be re-found searching for new direction.
The 70’s fights have of course helped to give all the social rights, material goods and space to women, but at the same time, they have created a big distance with their real nature. Women and men are not equals, they are different, but this is no one’s fault, this is not a matter of power. This diversity deeply lives in our body, our circled life, our biological and mental transformations. Our diversity is our strength, and – we think – the real nature and meaning of complementary love with men. It’s time to accept it. It’s time to develop a new way of communicating, really connected with us by stopping the search of this condition of “equality” that doesn’t exist. Women have their strengths, their fears, their pain. Men have their own. Man as a man, woman as a woman. We want to gently take action, without violence or strong speeches, this idea applied to today’s men and women.
Stella Stefania Gagliano
Stella Stefania Gagliano studied Visual Arts at IUAV, in Venice, and graduated in Bologna at the Fine Arts School. At the same time she practiced theatre, dance and contemporary dance.
She paints on blank canvases nailed to the wall using clay and black charcoal, working on the individual, the human being, evil and madness as well as each peculiarity that makes us different from the rest.
Anna Ramasco
Anna Ramasco inscena performances collettive volte a superare la diffidenza verso i “diversi” grazie a turbini leggeri, ironici e positivi che li vedono protagonisti. Ha particolare attenzione alle disabilità, soprattutto alla sordità. La performance “50 segnanti” si è svolta a Palazzo Grassi nel Maggio 2014 all’interno dell’atmosfera straniante di un’opera di Doug Wheeler.
Nella performance individuale “La fioraia” ArtVerona 2013 una sessualità a tratti drammatica, morbida o kitch viene festeggiata in una danza in cui falli fatti a mano o acquistati vengono inseriti in vasi di piante fiorite.