Democracy of enjoyment

aramu-022

Exhibition view.
Democracy of enjoyment

aramu-023

Exhibition view.
Democracy of enjoyment

aramu-024

Exhibition view.
Democracy of enjoyment

aramu-025

Exhibition view.
Democracy of enjoyment

aramu-026

Exhibition view.
Democracy of enjoyment

aramu-027

Exhibition view.
Democracy of enjoyment

aramu-028

Exhibition view.
Democracy of enjoyment

aramu-030

Exhibition view.
Democracy of enjoyment

aramu-031

Exhibition view.
Democracy of enjoyment

aramu-032

Exhibition view.
Democracy of enjoyment

igor-024

Exhibition view.
Democracy of enjoyment

igor-027

Exhibition view.
Democracy of enjoyment

igor-028

Exhibition view.
Democracy of enjoyment

igor-029

Exhibition view.
Democracy of enjoyment

igor-031

Exhibition view.
Democracy of enjoyment

igor-032

Exhibition view.
Democracy of enjoyment

JERNEI-FORBICI-WHAT-LIES-BENEATH-acrylic-and-oil-on-canvas-500-x-250-cm

Exhibition view.
Democracy of enjoyment

Jernej-Forbici-oil-and-bitume-on-canvas-200x200cm

Exhibition view.
Democracy of enjoyment

petulia-mattioli

Exhibition view.
Democracy of enjoyment

vicky-korakakis-1

Exhibition view.
Democracy of enjoyment

vicky-korakakis-2

Exhibition view.
Democracy of enjoyment

The exhibition contains works by 7 artists from Europe, that work in photography, painting and proposes a critical look at our habits of perception of the reality. In an era marked by a surfeit of visual culture that tends to express itself through images that provoke and shock and in which a virtual concept of reality predominates, the artists exhibited are apt to retreat from any interpretation of their personal reality.

The artists in this show in both opposite radical site exponents of the idea, which can be seen as a dichotomy between beauty and its opposite. The art works are an artistic manifestation that questions the role of art, the role of beauty adopting postures that strike at the frontal act of contemplation. The works present segments of reality by reducing its subjective content and emptying it of precise meaning. They offer open narratives so that the viewer will look at them and, by reconstructing his own relationship with reality, will give them a meaning by involving itself in the glance of the piece. For these artists, art acts as a two-way exchange between the work and the viewer, they use the fascination innate in the images merely to introduce multiple questions. The exhibition is thus an invitation to reflect about the experience of beauty and its opposite, through the deviations and ruptures caused by the works of art whose authors consciously operate on the delicate frontier between visual images, reality and cultural environment to which we are inevitably subjected as spectators and as individuals.

Igor Molin using joyful and vivid colors charms the feeling of the observer. In his painting series, a fast comparison between faces debates the ability to discern between natural and artificial. In fact, the connatural stillness of the eyes  becomes animated, but the natural movement of the bodies becomes stiff in a plastic crystallization. The expression is analysed like place of exploration, of emotions and of sensations, leaving space to numerous interpretations about the beauty and glamourose glance of women represented.

Nicola Aramu stores images of memory, each depiction is pseudo personalized by the titular qualifier “my”, in acknoledgement of its origin in his private field of remebrance, but remains foundamentally far. The images are paited carefully in small boards, 5, 10 centimeters maximum, entirely in cold colors: the brownes are accompanied by planes of blue and grey, slightly larger monochrome. As they comes from his memory where colours are lost during passing of time. The strategy reminded the Thomas Mann’s description of the sanatorium hall in “The Magic Mountain” (1924). “It was done in the style which knows how to give just the right touch of individuality to something in reality very simple”: a table with flowers, children toys, hot-airs baloons.

Marika Vicari, young italian artist in exhibition even as she looks at reality, she realizes her ideal world through her work. Her paintings are a delicate and intimate glance on her vision of the beauty of nature, with greens and earth tones of the perfect trees, trunks and grass. Her fairy idea of landscapes is scraped on the wood surface of the art works. It is a motionless reality, suspended in an utopic poetic vision.

In an opposite site stay the painting of JernejForbici, Vicky Korakaki and Petulia Mattioli. Jernej Forbici, slovenian, has a more abstract idea of the same subject of landscapes. His paintings are  contrast of colours when he uses a larger point of view, perfect reproductions in the smaller sizes. Like landscapes lived in by invisible but “disturbed” persons that have no respect of the Nature. The human intervention on the nature is marked by violence and wipeout.

Vicky Korakaki keeps the subject of her paintings, the embryos, silent. The world that she create is a device that allows the audience to move back and forth between unreality and reality. In her works, anger and outrage are transformed into a an energy that lies hidden in the work as a scream. A loud scream. The representation of existing destruction, are still reproductions of reality, which could almost lead one to think that the fragmentation, the destruction, the death is caused by external violence. Beyond figure, form and colour, beyond colour, we don’t know, there is no other possibility of composing anything that can tell us about something that might have existed beyond birth. The projection of being inside the locked and protected space of the womb is an experience which is deprived of memories. the interlacing of the two images in a life-death condition refers us to a claustrophobic and autonomous space, which tries to function without the viewers knowledge right into the unconscious thus overturning the data of post-embryonic life. Violence finds its expression in the passive movement of the image bringing the viewer face to face with traumatic experiences of an unconscious past. This is the opposite of “beauty” in the common sense we are used to think about.

The search for vital elements and for the possibility of recounting vital elements, Petulia Mattioli let us think we have to search further before getting lost or stopping beyond her whitened body bonded by barbed wire. Her white body, enunciating the social evils like, physical and mental violence, and social contempary limitations.

The possibility of conceiving images is directly linked to the discovery that they are not absence of verbal language. The creation of images is thus a rebellion against spoken language, a rebellion against relations with others based on the pursuit of well-being; a rebellion which costs, as is well-known, not only solitude but even the risk of not being understood. This is the reason of the wire bonded all around her body. And this is the condition of the women, either living in the Eastern or in the Western side of the world.

The bodies that build themselves, the bodies dissolving, the bodies changing, in any case, the bodies of imagine. And then, the cut, gradually, goes inside, it goes inside the interior flesh, like a more interior look. He goes back, out of the things, the products and composes” Still life”, big advertising and patined images, that don’t contain some products, but “subjects”,  “heavy” subjects, social subjects stopped by an objective anatomist. In the middle stays the art of Dusan Fiser. He creates an “external body” with the ability to contain, or better to incapsulate, our reality in a very simple way, even if we are used on complicated mental structures that we don’t even understand. Fiser bring us in a state of meditation about the manner that man treats nature and in the future let us think about our available spaces.

When and how the artists perception changed about human-body and nature-campain? In which way the artists work invites us to reflect on ourselves, on our perception of the real world? How do we interpret what happend inside and outside of our bodies? We must interrogate ourselves in which way we decide what is BEAUTY and what is BRUTAL, in a world that shows us every single day violence, brutality, misery and death, and which feelings do we manifest? We are becoming immune every day that pass or we prove shame, feeling our eyes violented of those images?

What is Beauty and what is Brutal?