The triangle: Il, elle, l'autre

1. Base: Apology of the triangle From the dictionary of the Italian language under the triangle: (Tri-an-go-lo), s.m.1: Polygon of three sides and three corners; respect to the angles, depending on whether that figure has a right angle or an obtuse angle or all acute angles are said respectively triangle, obtuse-angled, acute-angled, with respect to the length of the sides is distinguished in an equilateral triangle (all sides equal), scalene (all different), isosceles (two equal sides) 2: Any object that has the shape of such a geometrical figure, in particular: a) it is said triangle of a sponge type of diaper for babies of that shape; b) percussion musical instrument made from a metal bar bent so as to form a triangle, on which it delivers with a small rod of the same metal getting a ringing sound; c) danger signal consists of a metal foil red reflective bent so as to form the sides of an equilateral triangle that on rural roads, according to the current rules of the Highway Code, must be placed on the roadway behind a stationary vehicle that takes up the road 3: fig. complex of three elements placed so as to occupy the vertices of an ideal triangle. Frankly, as he sang Renato Zero, the triangle I had never seen, much less had considered starting a critical text just talking about a triangle, but the situation demands .... If we turn away for a moment from the literal meaning of the word triangle, and we pay attention to its meaning in a figurative sense, perhaps, you will understand, more accurately, because the first image I see when I was asked to curate the exhibition Dive, Has been that of the triangle. In the world of art and culture the triangles have always been "considered": think of the triangular relationship of Jules, Jim and Catherine, born to endless triangles in the shelter of the Boulevard Saint Germain on the chairs and the tables in the café Flore and Deux Magots , between Sartre, Simone de Beauvoir and the endless list of their lovers, you think, still, the morbid and destructive triangle noir world's most famous "Les Diabolique" or all'incestuoso triangle narrated by Bertolucci in The Dreamers, to love triangle which has as its background the art world narrated by Sergio Rubini in his new film Glance. If the cinema, especially the French, gives us an endless series of triangles sentimental and not even the record, since ancient times, not lacking them. If Helen , Paris and Menelaus, perhaps, the examples seem far away, and even the recantation of Gorgias has been able , in time , to clarify the responsibility of the beautiful Spartan that has caused countless deaths from the Achaeans , the most recent history can include the dramatic and triangular relationship that bound the divine Callas, Onassis ambiguous and open-minded , to the refined and ethereal Jacqueline Bouvier Kennedy 's widow . The triangle , on the other hand , is a perfect figure , is a symbol of profound religious values ​​that has always occupied a prominent place . Maybe they wanted to create a perfect show boastfully or perhaps with more modesty , create a balanced show in which the three sides of this triangle are built by our metaphorical work of three young artists , different in culture , nationality and background: the Croatian Khody the Italian Arianna Crossa , the Hispanic- Brazilian Manuel Pérez Vida .

A side: Khody 

This curious name is the pseudonym of a young artist of Croatian origin who ,for years now, lives and works in London. Khody exhibition presents a series of portraits of great pop matrix, where the search for a hyper-realistic painting is combined with a sensitivity film.The subjects of his works are the divas, with a particular fondness for the actresses of international cinema who , giving up their humanity, have become absolute symbols of the culture of the twentieth century. Khody, however, is not limited to portray with a black and white worthy of Richard Avedon , but sublimates , turning them into fairies, goddesses in, in Queens , emphasizing the magnetic gaze of Liz Taylor with a sensual string of pearls or enhancing the natural glamor of Audrey Hepburn with a hat worthy of a deity Inca . For Khody this exhibition is one of the first artistic experiences in Italy. It'azing how the work of this young man, who was trained abroad ,fits easily in the wake of the successful and fruitful neo-figurative culture that ,in Italian, is living a happy season , picking up rave reviews from critics and collectors.

        

        

        

        

        

2 . Height: The perimeter of the triangle is the sum of its sides.

B-side : Arianna Crossa 

The pork Genoese Arianna Crossa has exhibited two ceramic sculptures evocatively titled : The tail dl Faun and The Power of Ninfa. The Carossa , whose sculptural work has been defined by Luca Beatrice, in a recent article published in the magazine Art , " subtle , aesthetic and feminine", questions the value of the sacral generating force that underlies the creation and regeneration of the world . Deals with the concept of masculine and feminine in a metaphorical sense , presenting two works , which, although independent, are closely related to each other. The mythological references are used in an evocative sense , with references to a sacred pagan in nature . The fauns and nymphs , divine entities linked to the cult of Dionysus , according to a reading type niciano , embody the irrational and primitive man, the aspect that brings us back to the origin of human life and its close link with nature. The young Genoese artist , recovering this ancient symbolic value of the figure of the faun and nymph , creates icons, minimizing the impact heroic and erotic supplied through a sublimation material, and the predominance of white. Although Arianna Carossa only a little over a year you are comparing with sculpture ceramic , offers an interesting job , almost a natural evolution of his painting work , an evolution that allows her to explore new and unexpected poetic accents . 

        

 

side C: Manuel Perez Vida' 

If is plausible to belive in the influence of the genius loci on the work of an artist, the case of Manuel Pérez Vida' is extremely symptomatic. Surely its in the Hispanic-Braziian led in the course of his artistic life to put his attemtion on the world of bullfighting. Bullfighting, its the ritual, the sacredness of the figure of the bullfighter, the ancient spirit and heroic underlying the bullfighting, have influenced generations of artists of Spanish culture, think about how the bull and its emblematic figure are present in all production of Pablo Picasso. Vida' shares with Khody a hyper-realistic painting style, even if his attention does not arise, as the Croation artist, on the evocative value of the subject, but on the baroque richness of the garments of the bullfighters, the shafts of light that cut through the 'arena in an almost metaphysical space, the ritual gesture of plastic, of a coloring load enhanced by a warm and intense brightness. The pictorial material Vida'is pasty and sensual, even in the field of hyper-realistic, suffers from a matrix almost late Caravaggio. The artist placing itself in the wake of neo-figurativo culture performs an action of abstraction of the human figure, although it is always present in his works, is sublimated iconic sense. 

        

        

        

 

3. Base times height divided by two The area of the triangle But what is the lowest common denomination that unites so firmly sides of the ideal triangle formed by these three interesting artistic personalies? If, on the one hand, and Khody and Vida' share a similar artistic act, using a hyper-realistic painting style, on the other, Arianna with her sculpture and refined aesthetic that sometimes you notes abstract vein, departs from her fellow. However, overcoming the purely formal aspects of the works presented in the exhibition and playing attention to the value and deeper meanings of the work of these three young artists, one can understand that the common element in all three languages and reserched ways different is sacred. Are not the sacred personages of the Diva of Khody, the artist become the subject of a pagan cult and art? Its not, as we have already said, at times tinged with a sacred ancestral artistic research of Arianna? Are there not comparable to the priests of a pagan cult and very old matador of Perez Vida' with their rich liturgical garments and their ritualized gestures? Not surprisingly, in conclusion, that these three artists have come to different paths to the same point and I that this research is not so obvious but is hidden beneath the complexity of three languages very different from each other, but making art means, as said herman Hesse, revealing God in everything. 

Igor Zanti