Exhibitions, Italy, Arezzo, Cortona, 09 May 2010
Press
Roberta Coni
Mea Culpa - The seduction of sin
by Maria Perilli Laura
4th to 27th May 2010
Opens May 9th, 2010 at noon at the Triphè gallery of Cortona (ex Church of St. Carlo Borromeo), the exhibition Mea Culpa-the seduction of sin by Roberta Coni, a path around Eva and temptation.
Works inspired iconographic atlas for excellence that is the Bible, the artist Roberta Coni tells us a myth the origin of humanity and has always pervaded the art, faith, Western culture, but giving a new vision and does not meet the ethical standards and classical iconography.
The first free interpretation is given by the depiction of Eve alone, without his Adam .
Why, we do wonder? The answer is in the story through a spectacular gallery of paintings included in two monumental polyptychs by the fifteenth century inspiration, where the talent is obvious in the painter's figurative description of Eve in delicate forms and mischievously sexy teen and a ' Eve however, no longer young. Roberta Coni seems to take a bold position through a modernized route of the original sin which acquires a not more negative value.
Ivana Lustrissimi
Eve's naked body is inserted into the preciousness of Gothic frames on one hand symbolize the historical path along which you carry out, until its dissolution, the existence of other physical and pay homage to Beato Angelico and his triptych in the Museum Diocesan city, Cortona.
The artist, for the first time, contaminates 'fine painting' here almost hyper realistic on the purpose of research, using 4 implants of video art dedicated to the sense of sin (creating video by Alessandro Anemona) . The APPLE which is rotting in the video and then slowly return to life in an endless loop in comparison with the body of Eva already get older and the snake looking, with his fixity that swallows the viewer to the young Eva, are, along with the characters, this further exploration.
Young Eve is winks on her nakedness, Old Eve is an impressive sculptural disassembled by the gaze softened by the time. In her hand she holds a conch shell symbol of receive, of letting it flow, just as the shell receives the sea without restraining him, so we should let life flow without trying to stop it. Finally, its ability to produce pearls, in response to an irritating stimulus, reminds us that all suffering and every discomfort, can be transformed into an opportunity to grow, any wound can become our very special jewel.
Both are 'the experience' Progenitor Eve inspired the masterpiece in Ghent 'mystical adoration of the lamb' by Jan Van Eyck, 1432. There are two extremes of the human path littered with choices between good and evil that God gave us liberal, obstacles, possible defects, as stated Francois De La Rochefoucald: 'defects ahead. ... As guests from which sooner or later we must pass', so a pyramid of red eden apples dominate the center aisle of the gallery, ready-to be stolen ...
In the room of the ex- sacristy there is dark with just 2 screens : the mouth of Eve biting voraciously a pyramid of apples ... and invites the stranger Voyer to attend the banquet ...
A theme, this, on which the artist in collaboration with Galleria Triphè, wants to open a process of reflection! Ask ourselves how much of our existence sinks into sin and what is attributable to the disease and in particular the pathology of genetic origin. Reflection that comes from a passage of 'Gates of Sin' Monsignor Gianfranco Ravasi when stresses: 'We went from an ethical horizon to an amoral sphere, where the scene is only one patient and not a sinner or a vicious' therefore' that that first interested the philosopher, the theologian, the moralist or the confessor now goes simply to the psychiatrist or psychotherapist, losing any connotation of ethics'.
However Roberta Coni not limit her search to the specific topic of sin, pathology and genetics, urgent debate at a human so strong decay and relativism, but thus attempts to return to figurative painting that immediately, on a complex topic, now lost in the maze of art too often cryptic, made of outdated and discounted provocations, now formalized, and the preserve of elites mental.
Roberta Coni wants to return to figurative painting, long considered neglected and out of time, an educational stimulus by means of a strong structure only intentionally hidden behind an apparent simplicity.
So, 'no longer a disinterested ipersubjectivism communication' but 'the desire to convey a world view'.
Maria Laura Perilli
Gallery Triphè
Roberta Coni, Mea Culpa-the seduction of sin
TRIPHE'-contemporary art gallery
Via Maccari, 3 52044 - Cortona (Ar)
tel + 39 0575 6296 9 Mobile: + 39 053 339.7105
E-mail: info@triphè.it / www.triphe.it
Opening May 9th, 2010 12:00
4th to 27th May 2010
hours reception: 10.00-13.00/16.00-20.00 (closed on Monday)
Roberta Coni
Mea Culpa - The seduction of sin
by Maria Perilli Laura
4th to 27th May 2010
Opens May 9th, 2010 at noon at the Triphè gallery of Cortona (ex Church of St. Carlo Borromeo), the exhibition Mea Culpa-the seduction of sin by Roberta Coni, a path around Eva and temptation.
Works inspired iconographic atlas for excellence that is the Bible, the artist Roberta Coni tells us a myth the origin of humanity and has always pervaded the art, faith, Western culture, but giving a new vision and does not meet the ethical standards and classical iconography.
The first free interpretation is given by the depiction of Eve alone, without his Adam .
Why, we do wonder? The answer is in the story through a spectacular gallery of paintings included in two monumental polyptychs by the fifteenth century inspiration, where the talent is obvious in the painter's figurative desc
Ivana Lustrissimi
Eve's naked body is inserted into the preciousness of Gothic frames on one hand symbolize the historical path along which you carry out, until its dissolution, the existence of other physical and pay homage to Beato Angelico and his triptych in the Museum Diocesan city, Cortona.
The artist, for the first time, contaminates 'fine painting' here almost hyper realistic on the purpose of research, using 4 implants of video art dedicated to the sense of sin (creating video by Alessandro Anemona) . The APPLE which is rotting in the video and then slowly return to life in an endless loop in comparison with the body of Eva already get older and the snake looking, with his fixity that swallows the viewer to the young Eva, are, along with the characters, this further exploration.
Young Eve is winks on her nakedness, Old Eve is an impressive sculptural disassembled by the gaze softened by the time. In her hand she holds a conch shell symbol of receive, of letting it flow, just as the shell receives the sea without restraining him, so we should let life flow without trying to stop it. Finally, its ability to produce pearls, in response to an irritating stimulus, reminds us that all suffering and every discomfort, can be transformed into an opportunity to grow, any wound can become our very special jewel.
Both are 'the experience' Progenitor Eve inspired the masterpiece in Ghent 'mystical adoration of the lamb' by Jan Van Eyck, 1432. There are two extremes of the human path littered with choices between good and evil that God gave us liberal, obstacles, possible defects, as stated Francois De La Rochefoucald: 'defects ahead. ... As guests from which sooner or later we must pass', so a pyramid of red eden apples dominate the center aisle of the gallery, ready-to be stolen ...
In the room of the ex- sacristy there is dark with just 2 screens : the mouth of Eve biting voraciously a pyramid of apples ... and invites the stranger Voyer to attend the banquet ...
A theme, this, on which the artist in collaboration with Galleria Triphè, wants to open a process of reflection! Ask ourselves how much of our existence sinks into sin and what is attributable to the disease and in particular the pathology of genetic origin. Reflection that comes from a passage of 'Gates of Sin' Monsignor Gianfranco Ravasi when stresses: 'We went from an ethical horizon to an amoral sphere, where the scene is only one patient and not a sinner or a vicious' therefore' that that first interested the philosopher, the theologian, the moralist or the confessor now goes simply to the psychiatrist or psychotherapist, losing any connotation of ethics'.
However Roberta Coni not limit her search to the specific topic of sin, pathology and genetics, urgent debate at a human so strong decay and relativism, but thus attempts to return to figurative painting that immediately, on a complex topic, now lost in the maze of art too often cryptic, made of outdated and discounted provocations, now formalized, and the preserve of elites mental.
Roberta Coni wants to return to figurative painting, long considered neglected and out of time, an educational stimulus by means of a strong structure only intentionally hidden behind an apparent simplicity.
So, 'no longer a disinterested ipersubjectivism communication' but 'the desire to convey a world view'.
Maria Laura Perilli
Gallery Triphè
Roberta Coni, Mea Culpa-the seduction of sin
TRIPHE'-contemporary art gallery
Via Maccari, 3 52044 - Cortona (Ar)
tel + 39 0575 6296 9 Mobile: + 39 053 339.7105
E-mail: info@triphè.it / www.triphe.it
Opening May 9th, 2010 12:00
4th to 27th May 2010
hours reception: 10.00-13.00/16.00-20.00 (closed on Monday)
Comments 0
Say something