ENGLISH VERSION ITALIAN VERSION - HOME PAGE
According to Seneca, when freedom of action arises from fortunate
circumstances it does not reward man’s true happiness. All pleasures born of
materiality lack sound foundations; any attempt to disguise this basic truth does nothing
but wrap actual intimacy in stubborn nonsense. Indeed, a patient soul is not affected by
the fear of losing material enjoyment; it overcomes waiting times by filling them with
creative experiments. Art is the core of this belief; with its fruitful sediments, it
points out Seneca’s saying and lives the positive show of actual conquest: Mutio
won over fire, Regolus over torture, Socrates over poison, Rutilius over exile and Cato
over death by sword. We too must win over something. Young artists also follow this
principle: they mistrust team work and get ready to uproot any doubts and vain
resolutions. Their battlefield is a nagging society that makes flexible plans to follow
its need for new wonders. Society wants to be astounded in a very short time, speeding up
to reach its goal with no room for personal involvement as a pre-requisite. This is the
case with the latest trends in transgenetic crops, which head a unique, unforeseeable
chapter in the history of mankind.
Yet the latest research and developments also concern art, which nowadays insistedly
mirrors the familiar, parasitic types we find in everyday life. In fact, thanks to
technological developments, late-20th century artistic parallels learn to adapt
to an alternative collector’s dimension, no longer orderly enclosed within the strict
boundaries of painting, sculpture or photography. The so-called artistic scenery stretches
to encompass new aesthetic rules and consider new, possible alliances; the most different
materials co-exist in the oddest and most peculiar shapes. The artistic horizon stretches
to the infinite and new ironic, stimulating codes are created. Such latest experiences as
digital manipulations hint at an extended usage of the work of art, balancing upon direct,
lightweight, straightforward images; perhaps this is why this communication encoding and
the world of advertising are more and more alike. Undoubtedly, high-tech leads us to be
embraced by a fictitious reality, through synthetic representations that help preserve a
fanciful world, which is only alive in our imagery.
Art has always embodied unrestrained élan; however, the latest trends seem to
point to a newer path, one of more sophisticated, ethereal creativeness. This trend will
thus mark the history of modern art, dealing with the period involving us all (as swift
gladiators). These representational creations try to puzzle the will, while disassembling
the fixed features of reality at the same time. As in play, fancy and illusion willingly
convey a deft exhibition of creativeness, though deeply imbued with concise dreaminess.
Young artists thus enter a multi-dimensional cultural background and make expressive
attempts, eventually rescued by their playful quips. This interesting multi-faceted
restructuring process houses six young Italian artists who create their combinations in
new systems which are yet to be tested.
Emanuela Barbi’s installation works propose her new
elegant icongraphy, which harmonizes signs from different cultures in an unusually
perceived dimension and observes the sacrality of the body in its most radical
transformations. Her videos produce a neat language joining the parts into a consistent
whole.
Through his sensitive research. Marco Bragaglia is able
to express the historical roots of his background, enlivened by mixing with the features
of modern life. The messages given by his videos are identified as commercials, that can
modify the habits of a generally passive audience.
Gianluca Cosci shows an accurate analysis of his body,
often involving the personal dimension of his behaviour. His images convey sincere
relationships where private life tends to take up the task of giving a service to the
general public. Enlarged prints, framed in light boxes, aim at specifying the aesthetic
neatness of this work.
Francesca Gentili’s painting recalls images of an
alienated reality with upsetting life-likeness. This reality insists upon surviving in the
slow motion of its robots.
The commitment of man leads us to mistrust a mask of strong enthusiasm.
Everyday actions, whether simple events or episodes of family life, are the foundations of
Luciana Livi’s artistic experience. Her
installations, both pictures and videos, recall images from memory, living again within an
arcane context of deep sensuousness.
Fabrizio Sacchetti’s photographic research
proposes an ideal of absolute beauty which partially refers to fashion shows. As both
addresser and addressee of his message, the artist involves the public through the
gracefulness of his modelling.
Each artist shows different research methods but they all greatly contribute to this
exhibition. Their commitment makes waiting enjoyable.
