coordinates on aesthetic increasingly diverse and inclusive than the intricate unfolding of contemporary artistic expression, the only imperfection programmatic offering a true short-circuit communication, seems to condense all the flourishing of a deformed conception of subjective vision that descends into an objective, no longer or not so illegal alien, from the path timing incorruptible West. Certainly in the East, between the very strong fuchsia redness of maidens and the bodies of Feng Zhengjie stripped of theatrically Xu Wentao, in line with all that school recognized by 2003 as Chinese painting photo, body size and body of the neo-figurative is compressed into a dialectic that if one party terminates only in a mirror and reiterante glossy superficiality and turgor , is certainly a possibility semiotics exploited to the full resources of its historical and artistic features.
The approval of the language of analogy in the synthesis media seems to play against the globalization of cultural heritage, as a spectacle aimed at the merger at any cost, of each element seducer, even and especially the naked body, emblematic of classical expression of art. And even in the canon of the West seemed to regain primacy figural nude with only a high quality of lineage in a reverse proportion to the production in this sense. Lucian Freud and his body broken, disfigured realistically on the beds, in poses that compensate for harmony in his Greek and curtains that exceed the ability to not feel the need for atonement, but rearranging geometry and implementing values \u200b\u200bof beauty extraordinarily houses and overturned. So the meaning is always that of the primitive language, a language to be restored under a renewed aesthetic content, the more fruitful dichotomy between East and West creation, in continuous contamination and denial of their formulas. You can find such striking similarities between the poses and movements of the household of John Xu Wentao el'iperrealismo Iudica. Women, modern worship with piercing, ankle bracelets, statues, silhouette, lost and overshadowed the alienation of their desire, in one case, and another of their daily boredom: wax figures lying against cold radiators or abandoned tanks water as observed from above to confirm the residual film ever touched ol'onnipotenza divine artistic ego. A superficial difference between East and therefore always shrouded in the mystery of his cantor tense all'icastica irreverence and a fleeting desire for immortality embodied by the West, a hic et nunc increasingly threadbare and misleading. And painters are far
extraction and yet united by a common perception voluptuous, hedonistic Dionysian of the human figure. Let's talk about Marco Grassi, Elisa Rossi, speaking of Constantine and many others, almost all sequencers correlative to the more famous American counterparts of that line of refined eroticism placed in Renoir, Monet, Klimt. It would appear the sign of a structural shock that could lead to extensive melting in the name of a truly global model where live the differences and similarities are enhanced by using the figure naked and not as a subject of art, but as a place of lost in the tension between classical philology and denial. However, it is the similarities that we need to base this research, noting that once again the dizzying era of the virtual, the image coincides with the increasingly be, and how the meat undergoing a visual phenomenon of lamination, material, semantics confuse the boundary between reality and fiction where the first one that mimics the second as noted in a book that is extremely sharp age of fiction. Art and society between reality and ecstasy Massimo Melotti Publisher Sossella published in 2006.
is interesting to see how all these artists, particularly attentive to the human figure to take the technique to confuse, rather than a reality of the difference between grain and synthetic media material made of humors, blood, hair imperceptible pores, bluish veins just under the skin, and no longer sublimated erotic nell'acme the lens of story, using the fall of pagan shame in re-packaging and industrial serial elide all passion and contact.
So this is perhaps the key, we are in the formal reconstruction of classical perfection sensual ecstasy where the meat is in his rosary ginned maze of icons from the Internet and television, while reassuring the beauty without wrinkles el 'horror of a body is falling apart, existential reflection denied any relationship with the metaphysical and natural with his alter ego, the dream. Perhaps bodies without souls, if projected onto the bottom of the screen where everything exists because it is visual. Certainly we are no longer at the terrible and magnificent deformity torn by Francis Bacon, where the deformity is more mental than anything before. But from an affinity with Bacon as one could find the necessary shock to a differential compensation in addition to normal overlays that spoil or improve on the classic bow to minimalism, relates to a survey that expressionistically us back to the myth of beauty or its opposite to a level truly superhuman, and then superstructure, as in painting extraordinarily open, corrupt, hard of Marlene Dumas. In art, the nude is classic aesthetic means that "mutton" of his physical, expresses the myth of the body, protecting the mystery of beauty (..) in the nineteenth century, Ingres immortalizes odalisques, devoted to the delights of turkish bath, modeled on the 'example of classical nudes. So recalls in an essay Jaqueline Ceresoli and find the cause of a rift between the nude in art as naturalistic or realistic, however, voyeuristic realism. Today, the nudes are indexes, as well as sexuality, integration between man and machine. The body has been transformed from an aesthetic reference, icon in the flesh of the pleasant pain of living in contemporary culture. If the Olympia Monet is the first nude modern bourgeois respectability where already in 1863 created a scandal with the pleasure of alchemy emerged from the scandal, we are at the point where the pleasure comes from the visual redundancy without shame that ignites the senses to to retract the same image of the nude in his blind recoverable, leaving a black hole on the screen of our indifference accustomed. So it is right to propose a semantic linking to the erotic nude paintings to his own dimension, with the nuances of content able to talk again at a high level with our true feelings.
However there is always at history as Gaugain who is already an exception in itself capable of sustaining any contradiction and a substrate combine emotional content and unique between West and East, mixed in rifuggente nudity without shame, because over and above any perversion or moral. So perhaps it all comes back full circle and exemplarity where the beauty of the creative power regains its healing and soothing without masks or the classics of modernism nor unfortunate. This justified the pages alongside the presence of a Polish artist, operating between Paris and New York, an artist in the declination of pure feminine beauty rediscovers the size the dream of a naked and real, but fleeting, sensual, no seducer, storyteller capable of dragging the world, but its conventions. You
Yarek Godfrey, gilder torn appearance of the video and the recognition given to painting warm, radiant and monochrome vision. We are not facing the emptiness of visionary art, but a painter more concrete than ever, the technique perfect, flawless, as is usual for any naturalist. Yarek joining pieces of flowers, fading to the human figure without the reluctance of the obvious, and is capable of combining with glazes and transitions, sinuosity and harmony of the tiger, female ancestral symbol of fertility and water, until to give us a share in a fire and wood. His views are no margin collage of fragments of time and memory illuminated by the warmth of life and also simplified mnemonics in their complexity: different levels under the same ocher background, in the vanity smug derision if not naively tries to evoke in the buttocks , as in the time of that rim size, the possibility at least in the art of a perfect world, where even the Sanctuary contains the most provocative of femininity and creates us maybe a little 'uncomfortable, finally, because it is completely alienating than the sweetness lies in their bodies, simply beautiful, desirable, perhaps irresistible, but without controversy, without mirroring shouted. His paintings have only scratched the passage of time, the inevitability of the course certainly sfiorirà vital that these bodies wither those breasts, but no regrets if we took the gift, yet the invitation to Carpe Diem, here the most heartfelt and deepest than ever.
Flow in the eyes of the many figures of Venus, Maya, of Olympia, with the triumph of the nudity that is the most direct way to reconnect with our identity: the nude is still ecstatic revelation of our being in the world and concluding with the words of Jacqueline acute Ceresoli, "a desire to avert the risk of dematerialization in the ether, being robotic or swallowed by the virtual space, where meat is a sham. "
Giuseppe Di Bella
Bibliography: The age of fiction. Art and society between reality and ecstasy, Massimo Melotti - Sossella Publisher 2006.
The new urban scene. ¬ Città strattismo and urban art, Jaqueline Franco Angeli Publisher Ceresoli-2005
China Contemporary Painting, Lorenzo Damiani Sassoli de Bianchi-editor
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