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Small session outflow from the head to winter moleskine

- the world peace and love is beautiful, it's intoxicating to be superior and distant from the more or less subdued aggression hatch and that people appear, but every now and allowed me an outlet? A lively and just a little princely statement of some of my ideas I was experimenting with back light and a pleasant sense of vitality in a time when I was a bit 'weak. Practice, in moderation
- are a bit 'shy and often do not ask. An unknown woman on the street was put under my umbrella asking (and giving himself an automatic yes) simply and happily a passage for a few hundred meters in a time when the rain increased. Immediately I jumped, and then I realized I was inspired sympathy. .. I also gave the little girl's bewildered before referring to the actual age. I'll remember I was glad to do a favor so banal the next time I'll need to receive it and hesitate to ask? Ask happily
- be in the grip of a mental blender and change your mind every five minutes, zero clarity, if not the fact that you are having thoughts messed up. If you do not like the moment of madness, not caziarti, look at the calendar and the measured temperature.
- printing shake, my neighbor's desk shake, a TV program broadcast media and most cunning of the simmering sense of imminent change. And I do not feel it, but obviously I'd like him enormously. I do not know if it is for the period of micucentrismo that overshadows my flickers spirit or if they are unsure of the meaning that can be attributed to a TV show. Enormous in a country where "values" are formed by too many people are there in front of the screen, but overestimated if the micro peak of free expression we see it was just a sop controlled. Watch
- the Indian summer, I do not remember ever having noticed it really exists. Observed and enjoyed

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PARENTHESES ON CONTEMPORARY DOLLS

Contemporary Art (today) brings with it the fault of his own presumed contemporaneity, because all that he can prove it was a perfect example of anachronism. Various Venice Biennale, along with countless events that revolve around the new art, are examples of hypertrophy of languages, which despite the acceleration, the sophistication, the alleged complexity of the issues that they want to treat, convey the same the same blank, and provide confirmation of the static global in which counts.
several years wandering in the air we see the names of Cattelan, Koons, Pistoletto, Abramovic, etc. One
children hanging from trees hung up, or show up at the thesis dressed like a donkey, is another heart-shaped balloons or hires porn star to be used as furnishings, the more broken mirrors, and the other spends hours to move around itself up to tire.
What I wonder is: what they have to tell these gentlemen?
Before answering this rhetorical question (because the answer is "nothing") would like to do a small part of those who were the avant-garde and what is their role.
In the twentieth century there were several art movements (in fact part of what are commonly referred to as historical avant-garde) that had as main interest to communicate their content through the form of their expression, thereby mold a search for technical or expressive precisely. The culmination of this research, we can say it has been touched by Duchamp, who with his work "The Bride mise à nu par ses célibataires, mem" inaugurated what is the conceptual phase of art.
The point is that later, so-called post-Duchamp (which would better define dushampisti post) turned out to be just more of the heirs dadaist crap (which was then moved by a sincere need for negation) and did not consider that to be artists must also possess a spirit, not just mischief, or the claim of a vague discourse on art (today very useless, and that nothing at all interesting).
So we see so many works, often tedious, and fascinated by the apparent seriousness of those we do catch and eat for that reason.
what is the fundamental problem in all this? I believe that today in art totally lacking any interest in facing the actual content, and we ask only more to form, still relegated to the centrality of 'appearance, to the point that the glacial ice is to move to the very existence of those who need them (collectors of toys) , with some I do not know what spiritual frigidity, where the eye is drawn from unnecessary details, without anything actually being said.

Art today speaks only of art, ie nothing.

Some say there is nothing to report. Of course, this is the current state of affairs so-called postmodern era, because we are living in a world that will even say goodbye to the statement, and welcomes the increasing hypertrophy of information by making the pad ready for the walk of widespread panic.
But what you can earn up to visiting a beautiful exhibition, you (if you're lucky) a 'emozioncina maybe positive, maybe negative, but always empty, almost conclusive in awareness of an end in itself, immobilizing.
artists or are interested in selling, and then prepared to find new ways to surprise, shock, investing the money they had earned in the previous show (basically comparable to normal business) or you are told that they do it for passion, and perhaps content with little, agreeing to do so as second job, find a term to address and develop and go on like this until you get tired, because "I was an artist because it's beautiful because you get fucked."
The point is that you come to this, because today it seems to have become puerile state of art as a profession. Perhaps
actually always been the greater part of 'art was just junk, courtiers, artists, and that's fine, nothing has changed.
But today that art is so widespread, is even more obvious that the primary expectation we place in it, and do not claim some kind of miracle: we expect that it trivially tell us something.
The point is that only who truly has something to say, can afford to do so. Who decides if a person can say something or not?
's urgent. What then should use all means he wants (and quite frankly can also find solutions cobbled together). Instead we
the usual, the usual desert.
need to understand that as long as the art world will go on with this competition to see who gets the bum before enrichment, beyond the economic gain and a nice pat on the back you will not get anything for sure.
You need to put the Spirit over the economy and the blind material plane on which they move these mercenaries bent on worship of anything. We need
someone tell us something. It is not necessary today to overload of ideas, often only harmful, but rather must move in the world with the attention it would remain in balance on a raft in search of a voice that moves a cry that stands between many of the songs of thousands of these sirens.
We no longer need to hallucinations, ask reality.

Luca Atzori

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Tania's work with black mouthpiece


Luca Atzori

The work opens with a black series of photographic exhibitions (painting) that will bring in ' set name dolls. The artist is
Tania Bocchino, lives in the canalside and is driven by the need to know that universe at times ineffable which is the body. Perhaps she is heightened interest because of an uncomfortable motor (which certainly does not appear as an obstacle to the feelings).
Tania's body occupies a liminal place between the inner and outer world, and this is perhaps the most important tool of knowledge. Each experience comes from those feelings that have collected on our skin, in our guts. The experience is undoubtedly the source, not the end.
Hence the title of the first series of works which refer to the first stage of the alchemical process known as blackness, or the phase where for the creation of a substance you start from the perfect source material, the lead that becomes gold.

entire history of art is littered with the theme of religion.
Art has always been a receptacle for all the sacred symbols, which is the most significant home immediately and directly to our unconscious. Tania
What is proposed is to illustrate the parallels between the life of Christ and of every man. Or rather, you might think about how each of us there is the potential for a demi. This series of paintings
it could be understood, more precisely, as a narrative of the myth which is that of Christ Gnostic Sophia.
Sophia is a figure that appears even in the Old Testament (Psalms, book of the prophets) to the apocryphal Wisdom of Solomon. In Christianity has become the female part of Christ (and not coincidentally overshadowed).
The issue revolves around which the art of Tania is really that of the sacred feminine.
The series begins in fact work to black with a work entitled kosmokrator which indicates the female uterus, seized by Tania after a Gnostic view of the array, which he considered Nature as a mere identification of the Woman. The womb of nature is precisely that "kosmokrator" generator of the cosmos. Hence the representation of the female body as a microcosmic image of the whole. So



as in the Eucharist, Memory and INRI me, or Deposition, Lamentation, where what is depicted is the passion of Christ, then the moment of death, and then the start of the rot, but only where they are represented and exclusively female subjects .





The figure of Christ is put on display is clearly derived from the pagan. Tania wants to show the contrary here especially as there is in charged of all those actions, ceremonies, icons, beliefs with which most of us grew up.
Unlike the common Catholic view, the body is conceived as a vehicle for liberation, not as mere prison. Maybe we could even consider that it is the very soul the prison of the body and not vice versa, and also because the one we're looking for (from the first phase of the black) is its unification with the universe, the complete unity between the ' high and low (est quod est sicut quod est Inferius superior). The soul is at the bottom of all our field of vision, including for this very symbolic in our fabric that we are locked, and from which we should leave (and this Christ is seen as an example).



Tania Mouthpiece is a careful reader of Camille Paglia, American author who has considered in his essay Sexual personae (C. Paglia, Sexual Personae: The Androgyne in Literature and Art, PhD thesis, 1974) the figure of woman as holy sanctorium of Nature, (in case of man, instead of Culture). This is obviously not easy to feminism cheap, but rather a form of feminism as well as machismo that could be defined before its time, where everyone takes their role and their place.
But like a kaleidoscope, in the work of Tania can be unearthed several interpretations. The most immediate is perhaps the most important and is on the erotic, as the reality of desire, but mainly to the universal. The man with his reason women want to put order into chaos. And love, as a return to the original womb, as a return to the heat source, protection.
Perhaps for this reason that Bataille would have said that "eroticism is the approval of life even into death."
(G. Bataille, L'erostismo, 1957).

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NOT MENTIONED IN VAIN THE TYRANT

note with particular dismay, that for some 'time now, there is nothing to come up with a scandal than a day, on time where there is implied that curious character who is our Prime Minister.
These are mostly matters that have to do with prostitution, the jokes are in bad taste, with the answers very embarrassing that offers a gift to whoever raises very serious questions, in short to reduce the bone, the now countless provocations.
I refer to themselves who have managed to become the only platform for discussion at hand 'opposition, which argues it all with a serious language awkwardly formal, indignant, and ambirebbe to raise awareness about the seriousness of the allegations, the character, its actions.
The point is that the scandals have no end, and made the knight a proud collector of contradictions, debauchery, licentiousness worthy of those described in a few scenes of Pasolini.
But the weapon of morality does not help solve anything. Indeed, it is certainly going to bother those skeletons in the closets (which do not want to show how policy but life, each fund owns, and thus become a double-edged weapons).
What should put more fear is the power that this man gives himself to tell jokes and go to a night of gang bang in a day at the family day.

But it should go beyond the fear itself, and ask new questions: What have we
in his hands?
What can we bring back? We have a plan in mind? We have a clear idea of \u200b\u200bwhat problems we find ourselves as Italians?
come to think maybe we are not making light of the remotely you are actually emptying out all of our "imagination" of opponents. We are sucked by a political figure (mainly television) that occupies the space where they should theoretically move our arguments, our proposals, our possible responses, and our very identity.

I believe that today the most important problem is their opposition, that does not work at all on herself, because lazy by the enemy, perhaps prompted by the secret hope of one day occupy the throne, without wondering if the Italians are in need of new monarchs or rather they need to solve their problem (more and more onerous than that).
may be necessary to stop a good time to take care of chores in the middle between the Machiavellian and Disney, and start thinking about what our intentions are, what our needs as our projects, and create an alternative form of government where you can currently only be found in the desert.
Strengthening the left, right? Anchored to and identify with a past that makes us fall in the pages of history books?
Needless to say, behind this is obviously a tactic (conscious or not, it does not matter) made in order to bring the king to become the only possible political topic, simply to waste time doing that part of the population fascinated by their resentment . We are fallen into the disease that sadly makes everything static and self-referential, where he proceeds only more for strategies.
All politics is now strategic, and serves to define the look of herself, showing only the most in its representation.
protest against education reforms, against unemployment, against the devaluation of the culture, etc is not enough, apparently. We must extricate himself from this attitude aimed solely and exclusively to the destruction of the other party, and propelled by the hope of a listening impossible. If we found ourselves in front of the fall of this government, we would have something ready to propose? We would know to move into the void?
Maybe the problems are serious when it is easier to deal solely and exclusively of the enemy, rather than seeking real solutions. Maybe we do not realize that our difficulty is a fundamental problem: the little freedom that still remains for us, and we do not know how to use. Why deal with problems without having the comfort of a handicap as that given to us by the figure of a clever criminal to the government, is something very difficult, because at that point the responsibility is ours alone.
You better hurry, and forget for a moment that boring argument we hear about every day. Now we all know well the face of our anger, we should make it constructive, or soon we'll all subjects chained to our own ineptitude.

Luca Atzori