Si è appena conclusa la mostra "Imago Mariae" held in an old room of a small provincial town, Terlizzi. A show that I'd define 'artistic half . Yes, because there was so much of art, but to be objective, this "time" does not exceed the anti-artistic. In short, anti-artistic and artistic tie during this exhibition.
But let's start from the artistic as well. Byzantine icons, celebrating the Virgin Mary, carpet the floor of the exhibition. So, first is the classic. Byzantine icons suggest, unequivocally, the East. Even those who rarely approaches to art history - the simple art history, daughter of the manuals, you will - Knows how much importance is given to the icons in the East and in any Orthodox church. To be brief, in this floor, we are led to venerate these icons, pointing out some features. Byzantine icons do not allow any room for originality: it is not allowed to sign the iconography of his work nor to reveal his state of mind and the delay of the brush. Byzantine icons are the worship of the faithful and for this to be imbued with spiritual and supernatural . The face painting has nothing but human flesh, nor is, in effect, a celestial body. Mary is depicted in Byzantine icons such as Theotokos, that is, Mother God Of
stairs connecting the upper to the lower of the exhibition. No continuity between the two plans.
Downstairs we can see paintings operations concerning effettuatti Madonna with the use of various artistic techniques. The works are all, or nearly signed: marked by the name of the artist in turn. Originality is the main characteristic of these paintings. The emotions unleashed by the painter appears, are stricken from the shackles of tradition, classicism .
are recovered folk motifs that bind to the representation of the Virgin Mary known indigenous or folk festivals nearby. Neither lack of matching bizarre: in paintings, Mary is portrayed according to the code of contemporary art, with mostly Pop Art Still. A taste sweeter and classical art gives us, finally, the image of Mary holding the infant Jesus
I try to find a common thread, a kind of glue that holds together the artistic content of the upper and the downstairs. I find only one and, among other things, I is suggested by the observation of an unforgettable Edith Stein, who defines her as the "woman truly liberated, emancipated from all forms of slavery, the archetype and model of every woman" . I understand then that the era of tissue and burqa - that, apart from diversity of appearances, have the same effect as the one to get rid of the woman - the imago Mary is the most elegant and effective challenge to the female to remember his dignity as a woman, mother and wife. The poets of the brush, which made this exhibition (Maria Bonaduce, Valentina De Marco, Giulio Giancaspro, John Morgan and Joseph Vallarelli), and above all emotions can tear us to reflect on the ontological value of femininity. Just a humble tribute to Our Lady (Notre Dame, the French would say) to save the woman by the orgy of shame and ignominy.
We now turn to what I call opening in anti-artistic. Anti-art is In my opinion, the place chosen to set up this exhibition (narrow and not accessible to everyone). The lower floor is connected by stairs to the upper impervious. If Art is such only if there is accessible to all, Anti-judge the artistic presence of architectural barriers in an art gallery. Secondly, the location of the works seems almost accidental. No channel seems to regulate the system of works which, while having the same object, are entirely different. The result is a hodgepodge that makes it dark and enigmatic understanding of the exhibition. Indeed, the understanding of the artistic message is to be supported also by the systematic position of the works. Accidental little studied and is also the lighting. In short, there is no hurry nor minutiae In the exhibition ... Anti-art, I think.
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