12 February 2014
Fatima Messana. Winner of X edition of P.N.A - sculpture section
"In today’s society the speed of communication has reached its peak. In addition to
the normal means of broadcast, we also have social networks. We can go on-line
any time we like, anywhere we like and this has increased the number of users
and the spread of global brands and chains of every type. Communication has
become everyday, instant and occurs in real time.
Thanks to internet people can divulge all kinds of information – where they will
spend the evening, what they are cooking or where they are spending their
holidays. People can share a song, an article about politics - even photos of the
changes their bodies go through during pregnancy.
Internet is used to alarm “friends” about children spotted on buses with fake
parents, or make provocative statements. These news items often provoke strong
reactions and can spiral out of control, pushing people to refuse the news and run
away from their responsibilities. Social networks therefore, have a limited capacity
of communicating unpleasant information in a durable way. Paedophilia,
mistreatment, the exploitation of children, sexual violence, incest, the slave trade
and other issues are more widespread than we are led to believe. The result of the
divulgation of this type of news- before and after- does not change. Broken hearts,
broken lives and broken bodies increase rather than decrease.
In contrast however, the message inherent in the work of art remains indelible. In
my opinion this is what drives Fatima Messana’s work.
Messana is a young artist who has recently finished her studies at the Florentine
Academy and is the winner of the first prize in sculpture at the X edition of the PNA
held in Bari in 2013. She has a strong, determined personality and a sunny
disposition. She began showing in 2003, and tells of the violence towards children
and implicitly, of the impotence of those whose duty it should be to stop these
shameful acts.
Messana does not use filters - her message is totally clear in its expression of the
monstrous acts Man is capable of and the horror Man produces. In «Innocence»
(2008) violence has been inflicted on a thin childish body, pained, stricken and
totally impotent. There are no visible injuries, but the presence of the crucifix is an
immediate symbol expressing torture and sacrifice. The feet hang loose, the hands
are tied and the pubic area is uncovered. The realism of the work, made in
fibreglass and painted in oil, is made more violent by the presence of the long hair
which is real. This type of communication can seem crude, but it serves the artist’s
intention to involve the spectator and provoke thoughtful reflection.
Fatima’s views are very clear: “Man is a tamed beast and his mind is a dangerous
thing, an apocalyptic box he looks into and where he sees reflected the depths of
his own being .- what he cannot control is used against those who are
defenceless. The purity of an infant is what distinguishes him/her from the
masses who merely survive. A child who is robbed of his/her innocence is able
only to survive, by attempting to wipe out what has made him/her cold and
violated, condemning him/her to the indelible memory of his/her crucifixion.”
In the contemporary, international, artistic landscape Messana is not alone in using
the figures of infants to denounce crime. The public is often violently upset by the
artist’s choices – which are brutal and anguishing. However, it is important to point
out that the artist is certainly not the criminal who offends the common sense of
respect for a young life. It is the artist who is screaming her pain – pain which is
unfortunately widespread globally. The second work presented by Fatima at “Il
Cassero” is a female figure dressed in papal attire. The sculpture has never been
shown before. It was completed in 2014 and can be seen here for the first time. The
title «Testiculos qui non habet Papa esse non posset», is taken from the “Virility
test” by Francesco Sorrentino, regarding the episode linked to the legend of the
female Pope Joan who, in the mid IX Century, faked her way to becoming Pope
under the name of John VIII. However, when she became pregnant, she was
unmasked and stoned to death. An essential part of the legend is a rite invented by
the people and taken up by Sixteenth Century protestant writers with glee. It was
imagined that new Pope underwent an accurate intimate exam to make sure he
was not a woman dressed up as a man. The exam took place with the new Pope
sitting a stride a crimson chair which had a hole in it. The youngest deacons
present had to feel under the chair in order to make sure that the Pope possessed
the necessary manly attributes.
Since the XIX Century this event has interested writers and artists. In recent years
two directors have brought the episode to the big screen.
Even this work portraying the woman at the head of the Church as a static and
austere form – faceless and without identity – is to be interpreted as a further
criticism of the artist of the existing exclusion of women from positions of power,
which have been traditionally seen as the domain of men for centuries. The figure
blesses the population with one hand and wears the papal ring: with the other
hand the figure holds the globe. The symbols are traditional except for the cross
hanging around the figure’s neck – it does not have the crucified Christ, but shows
a female figure.
The third and last work on show is «Capra!» (Goat!) (2012). This is the sculpture
that won first prize at the X edition of the PNA in 2013. It is shown at “Il Cassero”
in the miscellaneous hall, surrounded by portraits of the permanent collection with
which the sculpture seems to speak. It is the bust of a man with a goat’s head
made in fibreglass and fabric. The polychrome of this work, which characterizes all
the works on show, is a result of the need for realism and linked to the ancient
pictorial technique practised by the artist. The idea was born from Vittorio Sgarbi, a
famous art critic who repeats the word “Capra!” insistently and at length every
time someone disagrees with him. The word “Capra!” indicates Man’s ignorance,
lack of basic truth and lack of knowledge. Therefore it is clear that “Capra!” is the
manifestation of Man’s refusal to see the horrors which afflict contemporary
society. However, the presence of the Red Lion, symbol of the Venice Biennial
present on the pocket of the figure’s jacket gives the work another dimension. The
figure denounces the system and the target this time seem to be the Art world-
especially the world of official, international shows. These are elite places where
talent is not always necessary in order to become famous, and where money
interests and business deals dominate, even though they have little to do with
genuine artistic creativity.
The work has an apparently ironic form but, in reality, it is also representative of
an existential condition in which the visible is illusionary and misleading. According
to Schopenhauer the illusion covers the face of things, hiding their true authentic
nature. According to Pirandello external reality , despite being unique and
unchangeable, hides one hundred thousand realities - as many as there are people
who invariably hide behind a mask.
The works of Fatima Messana come from the profound need to communicate social
unease: her sculptures are “direct” and strongly conceptual or, as she loves to
define them, pure visions, expressions which rise independently from her inner life."
text by Federica Marrubini - art's critic
"In today’s society the speed of communication has reached its peak. In addition to
the normal means of broadcast, we also have social networks. We can go on-line
any time we like, anywhere we like and this has increased the number of users
and the spread of global brands and chains of every type. Communication has
become everyday, instant and occurs in real time.
Thanks to internet people can divulge all kinds of information – where they will
spend the evening, what they are cooking or where they are spending their
holidays. People can share a song, an article about politics - even photos of the
changes their bodies go through during pregnancy.
Internet is used to alarm “friends” about children spotted on buses with fake
parents, or make provocative statements. These news items often provoke strong
reactions and can spiral out of control, pushing people to refuse the news and run
away from their responsibilities. Social networks therefore, have a limited capacity
of communicating unpleasant information in a durable way. Paedophilia,
mistreatment, the exploitation of children, sexual violence, incest, the slave trade
and other issues are more widespread than we are led to believe. The result of the
divulgation of this type of news- before and after- does not change. Broken hearts,
broken lives and broken bodies increase rather than decrease.
In contrast however, the message inherent in the work of art remains indelible. In
my opinion this is what drives Fatima Messana’s work.
Messana is a young artist who has recently finished her studies at the Florentine
Academy and is the winner of the first prize in sculpture at the X edition of the PNA
held in Bari in 2013. She has a strong, determined personality and a sunny
disposition. She began showing in 2003, and tells of the violence towards children
and implicitly, of the impotence of those whose duty it should be to stop these
shameful acts.
Messana does not use filters - her message is totally clear in its expression of the
monstrous acts Man is capable of and the horror Man produces. In «Innocence»
(2008) violence has been inflicted on a thin childish body, pained, stricken and
totally impotent. There are no visible injuries, but the presence of the crucifix is an
immediate symbol expressing torture and sacrifice. The feet hang loose, the hands
are tied and the pubic area is uncovered. The realism of the work, made in
fibreglass and painted in oil, is made more violent by the presence of the long hair
which is real. This type of communication can seem crude, but it serves the artist’s
intention to involve the spectator and provoke thoughtful reflection.
Fatima’s views are very clear: “Man is a tamed beast and his mind is a dangerous
thing, an apocalyptic box he looks into and where he sees reflected the depths of
his own being .- what he cannot control is used against those who are
defenceless. The purity of an infant is what distinguishes him/her from the
masses who merely survive. A child who is robbed of his/her innocence is able
only to survive, by attempting to wipe out what has made him/her cold and
violated, condemning him/her to the indelible memory of his/her crucifixion.”
In the contemporary, international, artistic landscape Messana is not alone in using
the figures of infants to denounce crime. The public is often violently upset by the
artist’s choices – which are brutal and anguishing. However, it is important to point
out that the artist is certainly not the criminal who offends the common sense of
respect for a young life. It is the artist who is screaming her pain – pain which is
unfortunately widespread globally. The second work presented by Fatima at “Il
Cassero” is a female figure dressed in papal attire. The sculpture has never been
shown before. It was completed in 2014 and can be seen here for the first time. The
title «Testiculos qui non habet Papa esse non posset», is taken from the “Virility
test” by Francesco Sorrentino, regarding the episode linked to the legend of the
female Pope Joan who, in the mid IX Century, faked her way to becoming Pope
under the name of John VIII. However, when she became pregnant, she was
unmasked and stoned to death. An essential part of the legend is a rite invented by
the people and taken up by Sixteenth Century protestant writers with glee. It was
imagined that new Pope underwent an accurate intimate exam to make sure he
was not a woman dressed up as a man. The exam took place with the new Pope
sitting a stride a crimson chair which had a hole in it. The youngest deacons
present had to feel under the chair in order to make sure that the Pope possessed
the necessary manly attributes.
Since the XIX Century this event has interested writers and artists. In recent years
two directors have brought the episode to the big screen.
Even this work portraying the woman at the head of the Church as a static and
austere form – faceless and without identity – is to be interpreted as a further
criticism of the artist of the existing exclusion of women from positions of power,
which have been traditionally seen as the domain of men for centuries. The figure
blesses the population with one hand and wears the papal ring: with the other
hand the figure holds the globe. The symbols are traditional except for the cross
hanging around the figure’s neck – it does not have the crucified Christ, but shows
a female figure.
The third and last work on show is «Capra!» (Goat!) (2012). This is the sculpture
that won first prize at the X edition of the PNA in 2013. It is shown at “Il Cassero”
in the miscellaneous hall, surrounded by portraits of the permanent collection with
which the sculpture seems to speak. It is the bust of a man with a goat’s head
made in fibreglass and fabric. The polychrome of this work, which characterizes all
the works on show, is a result of the need for realism and linked to the ancient
pictorial technique practised by the artist. The idea was born from Vittorio Sgarbi, a
famous art critic who repeats the word “Capra!” insistently and at length every
time someone disagrees with him. The word “Capra!” indicates Man’s ignorance,
lack of basic truth and lack of knowledge. Therefore it is clear that “Capra!” is the
manifestation of Man’s refusal to see the horrors which afflict contemporary
society. However, the presence of the Red Lion, symbol of the Venice Biennial
present on the pocket of the figure’s jacket gives the work another dimension. The
figure denounces the system and the target this time seem to be the Art world-
especially the world of official, international shows. These are elite places where
talent is not always necessary in order to become famous, and where money
interests and business deals dominate, even though they have little to do with
genuine artistic creativity.
The work has an apparently ironic form but, in reality, it is also representative of
an existential condition in which the visible is illusionary and misleading. According
to Schopenhauer the illusion covers the face of things, hiding their true authentic
nature. According to Pirandello external reality , despite being unique and
unchangeable, hides one hundred thousand realities - as many as there are people
who invariably hide behind a mask.
The works of Fatima Messana come from the profound need to communicate social
unease: her sculptures are “direct” and strongly conceptual or, as she loves to
define them, pure visions, expressions which rise independently from her inner life."
text by Federica Marrubini - art's critic
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