On next november 25-29, at P.A.N. (Palazzo delle Arti Napoli)
Magmart festival, in collaboration with the collective ‘Urto!’ presents: Women’s glance, screening of videoart by women, curated by Enrico Tomaselli 12 videoartists, from Italy and other countries, show 12 videos:
CESTA – Marta Daeuble
CYANIDE – Barbara Agreste
CRY ME – Francesca Fini
EVA/EVE – Loredana Raciti
DEVOTIAMO – Silvana Sferza
O SNU – Lucija Mrzljak
PASSING BY – Maria Korporal
ROSE IS A ROSE – Evelin Stermitz
QUEST’ESTATE LE ZANZARE SARANNO PIÚ CATTIVE – Silvia De Gennaro
TASTE – Maarit Murka
THEM ME – Nisrine Boukhari
TU-BI – Lidia Meriggi
Artists interviews are curated by Giuseppina Di Pasqua and Lorenzo Mantile, of Ar.C.A.Na Project. * the interviews will be available on www.magmart.it, by vernissage date, on November 25
ART SHAKE Festival III edition part 2 >>>Berlin
1 Night of 15 Video Installations, Performance and Live Set
ART SHAKE Contemporary arts festival Created and directed by Emanuela De Notariis
…***** ART SHAKE . III edition _BERLIN
curated by Fabio Campagna
Saturday November 27th, h 19.00
performance h 21:30
91mQ Art Project Space
Landsberger Allee 54 – Berlino
The third edition of ART SHAKE festival is nomadic, changed and changing being born from the instability of existence. It spreads like a virus, deadly to the lethargy of feelings only, and after its succesful one week event in Rome, takes new life in Berlin. Where in 91 mQ Art Project Space it presents a one day event with videoart, performance and music, conceived as a synergetic exchange between the two cities.
ART SHAKE promotes art charachterized by hybrid languages and multiplicity of media, able to soothe the wounds of reality with wonder.
A fil rouge connects the different arts, all made of the blood of the controversial age we are living in. They metabolize conflicts and uneasiness of our age, skinning it and gutting its socio-cultural superstructures. And then sewing new skins over it, made of imagination.
Today blogs and poetry, comics and art history are all equal sources of inspiration, masters of a language of signs with an highly sensitive power, remedies made of imaginary, for a schizoyd society.
November 27th, 2010
Ambra Pittoni – Yusuke Yamasaki – Square Noises
curated by Fabio Campagna
Barbara Agreste – Andreco – Elena Bellantoni – Alessandro Cannistrà – Ericailcane – Azzurra De Gregorio – Francesca Fini – Marco Giani – Emanuele Kabu – Luca Manes – Emiliano Monaco – Marco Morandi – Carlo Michele Schirinzi – Cosimo Terlizzi – Virgilio Villoresi Curated by Emanuela De Notariis
Ambra Pittoni, Yusuke Yamasaki, Dance is not for ever:
Dance is not for ever is an Ambra Pittoni’s performance and sound project, interpreted in this occasion by Yusuke Yamasaki, that investigates other linguistic options for the transmission of a dance piece. In order to present the true, undefined sense of the choreography, the dance is presented as a score of breathings. A rhythmic body text that defines itself trough changes and alterations.
SQUARE NOISES, untiteld:
Square Noises is an experimental live set that combines contemporary dance practise and analog sound sources in order to analyse the function of body language within a dimension of improvised music practise.
Suggestions from the moving images of 15 videoartists.
Barbara Agreste, Reptilica:
My white flesh is their flesh, my hair is a support for leaves, that look like small fragments of me I keep searching for, restless, inside your thoughts, washing them into my unconscious, that gives birth to your best nightmares.
Andreco, Sonata d’organi in fa (Self portrait):
I’d give you every organ of my body, I’m a magician with a special skill, which is much more than cutting women in two parts. Each one of my organs has a life of his own, because I’ve got the alchemical formula with which I really own my body, and I’m getting concentrated on yours now. Music!
Elena Bellantoni, The fugitive:
Red strings, made with my own veins not to get lost in unknown cities, hamper your walk to make you stop right where you ignore me, ’cause you’ re too concentrated on your daily life. Take a break, escape from your prison.
Alessandro Cannistrà, Shameless eyes:
Otherwhise I’ll kill you, slowly, byte after byte. But it won’t be my fault, I love you so much that I want you to be mine, I want you to be really inside me. Inside me in gestation. Bur I hate your shameless eyes, and now I can finally make them wet.
Ericailcane, Ammazzarne uno per educarne 100:
Don’t trust, you can’t be quiet, your house is not your refuge, the monkey beats the steps of you coming, the steps of the moment I’ll make a bonfire with your fears and your little bon-ton certainties. Come with me to discover the magic of numbers, I’ll make you study, or I’ll make necklaces with your eyes.
Azzurra De Gregorio, Virgen:
Be the virgin untouched! Be the virgin pure!
Death to pity! Let’s wash pity into blood, let’s cover pity with white clothes, let’s sacrify love and rip off the heart from the body’s flesh, because you’re not allowed, virgin, to violate it. Nobody can play inside the circle of witches united by the pact of murdering every wish.
Francesca Fini, Latin Lover:
You wanted a girlfriend, there she is. You didn’t want to hear my voice anymore, you wanted to heal your headache, you wanted to scan my female body to understand what I’ve got inside, then look at me now. And be scared now, adore me now, love me now.
Marco Giani, Memory of the world:
While the world is blowing out there, your body is in safety, nothing can hurt you, everything happens far away, everything gets regenerated under your divine eyes.
Luca Manes, 2160°:
And I spin around endless times. I spin around as I was a crazy paper boat in a fountain in the middle of the square of you memories, passing through so fast, and leaving an echo of their voice inside me. And it resounds inside me, while I look at you on the seashore, in summertime. I keep looking, slowly.
Emiliano Monaco, La dolce vita:
My perspectives have changed, I betrayed you. I lie on the sand and you walk by indifferent, throwing the sand of your ligh-heartedness all over me. Just today.
Marco Morandi, Feed me rainbows:
Tomorrow your fawns will swallow diamonds, to make rain with them and dance. Because I’m linving in a surreality where my thoughts are the geometry of your raimbow masks, and butterflies can regenerate us from all atrocities.
Carlo Michele Schirinzi, Notturno Stenopeico:
While how many people run away, toward a somewhere else they dreamed of, drifted by their whishes illegittimately born from desperate and hopeful night encounters. And I peer at you, like a voyeur or just like a guardian of your escape efforts, digging inside your memories, in your adventures.
Cosimo Terlizzi, Beauty:
I looked at you growing, I looked at your beauty ripening in the uncultivated fields in the landscapes of my childhood memories. Where colors were warmer, where every summer permeated the pores of my skin and it never vanished. I still smell it when I meet you.
Virgilio Villoresi, Rotten flowers:
I look at your childood photographs, when you dreamt of being, who knows, maybe just what you are. Offer your memories to me, while you sing, I’ll make a blanket with them, to make dream chocolate flavoured dreams, tonight.
International Contemporary Video art
at the third Mediterranean laity festival
15 – 24 ocober 2010- Ex Aurum Pescara – Italy
Since it is granted an essential body centre (the heartbeat) which allows an unconscious, unintentional biological life, can we think of a similar place allowing the existence as human being, as ‘persona’ and identity, as awareness and conscious relationship with the outer world and the others?
The videos suggested lead us towards a different place, where Art goes deep down and into the core of the anthropological question just before becoming ‘communication’, ‘celebration’, ‘marketing’, ‘rhetorical power’, ‘narration’, ‘style’ and so on.
Our choice has fallen upon videos which ask questions, open perspectives but offer no solutions: they leave us alone to rebuild possible interpretations. They take us to the root of ‘laity’, when love, the need for happiness, dread of violence, reciprocity, society, community, neither openly turn into politics, ethics, sociology, religion, ideology, nor coincide with cultural abstractions, languages, analytical processes but remain ‘humanitas’ shared values instead.
Khosro Khorsavi/Farid Jafari
Emanuela Barbi/Gianluca Stuard
Gino Sabatini Odoardi
Curated by Antonio Zimarino
Opening 15 october 6.30 pm
video art screening
270 Westminster Street Providence,
Rhode Island – USA
September 30-October 10, 2010
in Providence, Rhode Island
PIXILERATIONS [v.7] is a new media showcase in Providence, Rhode Island that investigates the state of new media arts through installations, concert performances and film/video screenings. It is part of the larger FirstWorks Festival (www.first-works.org), a multidimensional performing arts festival held in Providence each fall.
Pixilerations is produced by FirstWorks in collaboration with the Rhode Island School of Design, Brown University, and the City of Providence’s Department of Art, Culture + Tourism.
Now in its seventh year, Pixilerations showcases groundbreaking work in digital music and art. Local, national and international artists, selected from over 350 applicants, investigate issues ranging from the controversy around surveillance technologies to private space as commodity to the richness of digital technology as an artistic tool.
This year’s fringe festival sweeps to the far reaches of the global frontier with provocative installations by Taiwanese artist Dar-Kuen Wu, Rhode Island’s Megan and Murray McMillan, and REDUX (Mark Cetilia and Joe Cantrell). Pixilerations extends its reach to new venues with performances at Firehouse 13 (Providence’s West Side), and Machines With Magnets (Pawtucket).
PIXILERATED VIDEO ART SCREENINGS:
Tuesday October 5 – 9:30pm
Cable Car Cinema, 204 South Main Street, 9:30p
Hosted by Magic Lantern Cinema
Join us for a line-up of new video art, animation, and experimental film from around the world.
Detailed artist and work information:
Blue / Single channel video / 3 min. / 2006 / Brooklyn, NY A dance segment from the 1936 Swing Time, a Depression Era musical, recaptured from DVD screen. Blue uses color, animation techniques and juxtaposes an independent audio mix with reedited video. Sara Sun lives and works in Brooklyn, New York. Her work is predominantly video/installation, digital image and drawing.
Lo Specchio (the Mirror) / 16mm stop animation / 2 min. / 2010 / Italy and England This film, the 3rd part of the Le Torre trilogy, examines themes of loss of control and hysteria. Originally shot in16mm as a stop-action animation the piece was then digitally mastered. Barbara Agreste was born in 1971 in Pescara where she first studied art at the Art Lyceum, followed by scenography in Milan and finally video and film at Central St. Martins College of Art & Design in London. Her projects have exhibited internationally. She lives and works in London.
Audrey Ellis Fox
I’m Like / Digital Video / 2010 / 2:52 min. / Providence, RI I’m like is an elliptical sound, video, and text collage that resists facile answers. Audrey Ellis Fox is concentrating in Modern Culture and Media at Brown University. She is from Los Angeles.
For Sore Eyes / Digital Video / 2:17 min. / 2006 / Sweden For Sore Eyes is an exploration of the ambivalence of the male gaze and gendered (dis)order. It is a suggestive reflection of life in the sanatorium of consumer freedom. But really what is freedom? Anders Weberg (b.1968) is an artist and filmmaker. The human body lies at the root of his projects that formally and conceptually map identity and its construction as a preamble to broaching matters of violence, genders, memory and loss.
Saddest Green House / Digital Video / 11 min. / 2010 / Providence, RI A house, abandoned for many years, held the possessions of a family long gone. The mother we are told lived there until she died. After her death her daughters wanted nothing to do with the house. It was at this time that Lucky Leone was able to look through the house, and ultimately, to find a cardboard box emptied of its contents, her ashes.
Lucky Leone is a professional artist whose work ranges from sculpture to painting, electronics to video. Leone has a BFA and MFA from the Rhode Island School of Design and an MFA from San Diego State University.
Ylla’s World / digital video / 5 minutes / 2010 / Providence, RI Ylla’s World is a five-minute experiment in animated textures, based on algorithmic manipulations of photographs of Mars’ surface from a NASA probe. It was inspired by Albert Lamorisse’s Le vent des amoureux, and his portrayal of the desert regions of Iran. Dave Fischer lives and works in Providence.
David Dvorin and Douglas Crockwell
Glen Falls Sequence / Animation / 8:16 min. / 2010 / USA In the late 1930s experimental animator Douglass Crockwell created a series of short abstract animated silent films titled Glen Falls Sequence. Now, David Dvorin has created an entirely new surround-sound electroacoustic composition that would complement the surreal and abstract visualizations of the animations.
An Emmy-nominated composer, author, and educator, David Dvorin’s music has been performed in numerous new music festivals around the United States. He has worked with such composers as Terry Riley and performers as the Kronos Quartet. Currently he is Professor of Music Composition and Electronic Music at California State University at Chico, and the artistic director of the annual New Music Symposium.
The Visible Man IV / Video / 2:43 min. / 2010 / Italy A plastic model The Visible Man is a full-scale reproduction of the human body. The skin of the model is completely transparent revealing the bones and the inner organs. The video explores the concept of visibility through six chapters, in which fuzzy anonymous bodies pass through different places as reality merges with the surreal.
Jacopo Jenna is a visual artist and professional dancer. He approached dance only as an adult when he studied in Holland in Codarts-Rotterdam Dance Academy. He has worked in dance companies and on projects across Europe.
Follow Me / Digital Video / 1:30 seconds / 2010 / Germany and Australia In Follow Me images and sounds flow together, as if fleeting thoughts shooting through the mind.
Melanie Beisswenger is a German born director, animator and visual artist. After undergraduate studies in architecture, she received her Masters degree at the Institute of Animation, Filmakademie Baden- Württemberg in Germany. Beisswenger has worked in animation on a number of international feature films and TV commercials. Her animation credits include the Academy Award winning feature film Happy Feet. Currently Melanie Beisswenger is Assistant Professor at the School of Art, Design and Media, NTU in Singapore.
Mixed Reflextion/ Digital Video / 2:40 min. / 2010 / Germany Mixed Reflection uses the mixture of different video and animation techniques, as well as the mixture of the different common media in confronting the artist’s face — the mirror, the screen and the camera. The video is set in the intimacy of a bathroom.
studied architecture at the Academy of fine Arts in Munich and at Pratt Institute in New York City. She works as an architect and 3D-artist in Munich, Germany. In addition to projects in real space, for several years she has been creating 3D computer animations dealing with literature and with virtual space.
Carousel/ Digital Video / 3:42 min. / 2010 / England In Carousel over 40 players filmed separately play five instruments edited together and superimposed to create a loop of music.
Anton Hecht works with communities in the northeast of the UK. He also writes and directs theatre works. Hecht holds a degree and MA in art from Manchester University. Have shown in galleries and non-gallery sites throughout England.
Pollenating II / 1:52 min. / 2010 / Florida The Pollenating series revisits the often painted and photographed realm of a universal sensuality inherent in the anatomy of flowers. Stigma, stamen and petals from more than 30 blossoms are used to create flowing, pulsing motion, which complements the nature and function of these organs.
David Montgomery, a hybrid naturalist and digital content creator, spent a childhood spent mostly outdoors until at a still very early age an onset of video game addiction may have set the stage for his art.
Virtual Assistance / Digital Video / 4:05 min. / 2010 / Chicago There is a company based in Bangalore, India called ‘Get Friday.’ It typically provides remote executive support, wherein a largely American client base is assigned a ‘virtual’ personal assistant. Wilson is part of that client base. His primary assistant is a 24-year-old male Bangalore resident named Sachin. He engages him in creative collaborative projects and even reversals of the normative outsourcing flow. Much activity has developed from their online and postal interactions. Virtual Assistance is an excerpt from such a collaboration in response to a task in which Wilson was asked to make a video about the best fighter jet in the world.
Andrew Wilson (b. 1983) is an MFA candidate at the School of the Art Institute of Chicago. He has recently worked with media theorist Lev Manovich, filmmakers Sam Green, Craig Baldwin, and Micha Peled, as well as with the labor union Unite Here!
Hesitation/ Digital Video / 9:30 min. / 2010 / Brooklyn, NY Choreography by Alice Gosti Performer Anh Nguyen Sound design by Daniel Peterson
Hesitation is a film in which dancers respond to the architecture in a distorted space-time. A metaphor for the formation of a relationship, ‘Hesitation’ depicts two individuals encountering one another in a space where movement is met with disruption. As one attempts to understand the other through uncertain exchanges, they find themselves powerfully connected.
Director James George is a software artist who creates interactive systems. Sound designer Daniel Peterson was born in Honolulu, HI. He received a B.A. in Comparative Literature. Choreographer Alice Gosti was born and raised in Perugia, Italy, where she trained at Dance Gallery with Rita Petrone and Valentina Romito. She graduated in 2008 with a B.A. in Dance from the University of Washington.
Following the Huron / Animation / 1 min. / 2010 / Michigan Following the Huron is an animated investigation of geographic forms used as graphic and musical notation. Instead of classical black notes as dots suspended on five black stretching lines, the artist superimposes a system of rules where the eye follows a changing shape of the river’s curve and speed, and the sounds respond.
Collin McRae is a violinist and former portrait painter currently working toward a MFA at the University of Michigan. She draws inspiration from semiotics, incorrect maps, graphic notation, her synaesthesia, Ottoman Turkish calligraphy and cracks in cement.
Reframed / Digital Video / 13:35 min. / 2009 / Brooklyn, NY This work was commissioned by and premiered at the Berkshire Fringe Festival 2009 and made with the support of Dancenow/NYC. Like watching an episode of ‘Friends’ with decidedly disturbing undertones, Reframed takes the familiar plight of 20-something romantic confusion in an unexpectedly sinister direction.
SPINE is an artist-led production company dedicated to the exploration of movement, language, and technology. SPINE was formed in 1999 and presented extensively throughout Europe and the USA. Reframed was conceived, written, performed, filmed by Paul Coffey, Brent Felker, Cory Nakasue, and Kristen Revier. Directed and edited by Brent Felker. Score by Peter Wise link:
14 May – 11 June 2010
Photon Gallery, Ljubljana
Opening view on 14 May 2010 at 8 p.m.
We kindly invite you to attend the curator’s talk on Tuesday, 25 May 2010 at 5 p.m. The talk will be in English language.
Curated by: Evelin Stermitz
Participating artists: Barbara Agreste (IT/UK), Ana Grobler (SLO), Michelle Handelman (USA), Kika Nicolela (BR/USA), Suzy Okamoto (BR/USA), Duba Sambolec (SLO/NOR), Iris Selke (DE), Evelin Stermitz (A/SLO)
Ecstasy Poem by Kika Nicolela
Kika Nicolela, Ecstasy Poem, video still
Red, as a superior color, has gained various meanings in its symbolism during history, culture and religion. In general red is associated with a duality of meanings between life and death, as destructive and dangerous the color is related to aggression but also to vitality and power, to fire as well as to blood and love, and in contrast to this to agony, also associated with devil and hell, prostitution and sexuality. Red can appear as offensive and intrusive, a color of rage and love. Basically red symbolizes strong emotions of profound urges and impulses. In relation to women, this powerful and ingenious color is gendered in various contexts. Aspects of female connotations and narrations of the color red are symbolized in the selected video works.
The woman in a red dress is foregrounded in the work Flux by Kika Nicolela and Suzy Okamoto as well as in Ophelia by Iris Selke, with flowing connotations of sexuality, female power and doom. In Airport Revisited by Duba Sambolec, red is used in a textual structure to centre the self of a woman and of any other group that is underrepresented, oppressed and neglected in social structures and language. Blood is the symbol in the work Rain by Barbara Agreste in context of life and death and in Ana Grobler’s video Superultra, where the theme of menstruation is articulated in a critical perception. In the work Ecstasy Poem by Kika Nicolela, the artist compares two faces of the same woman (actress Liv Ullman) looking at the camera in slow motion. Whereby in one portrait the portrayed woman is young and at the peak of her beauty, in the opposite frame she is already aged. Michelle Handelman visualizes in Folly & Error a performance of two women related together with a red pant as a singular corpus, moving through a landscape of nature in an obscure choreography. The video work Red Velvet by Evelin Stermitz symbolizes abstract connotations of the color red in context of the media itself and its use/abuse of power and sexuality.
Red The gendered color in frames
Curatorial text by Evelin Stermitz:
This video art exhibition points out the biased inscriptions of the color red toward female issues and women’s images in a society formed by its gender aspects. Reflections and thoughts on red as a gendered color are discussed here to broaden the context of the exhibited video works.
From Pink to Red
To begin with the reflections of red as a genderd color, the history of the biased colors pink and blue may be illustrated, because in Western culture the practice of assigning pink as a variant color of red to an individual gender began in the 1920s. Until the 1940s, pink was considered appropriate for boys because being related to red it was the more masculine and decided color, while blue was considered appropriate for girls because it was the more delicate and dainty color, or related to the Virgin Mary. “When colors were first introduced to the nursery in the early part of the 20th century, pink was considered the more masculine hue, a pastel version of red. Blue, with its intimations of the Virgin Mary, constancy and faithfulness, was thought to be dainty. Why or when that switched is not clear, but as late as the 1930s a significant percentage of adults in one national survey held to that split.” Since the 1940s, the societal norm was inverted; pink became considered appropriate for girls and blue appropriate for boys, a practice that has continued into the 21st century. Though the color pink has sometimes been associated with negative gender stereotypes, some feminists have sought to ‘reclaim’ it. For example, the Swedish radical feminist party ‘Feminist Initiative’ and the American activist women’s group ‘Code Pink: Women for Peace’ use pink as their color. The pink ribbon is the international symbol of breast cancer awareness.
Pink is chosen partially because it is strongly associated with femininity. This femininity is a sociological construct, formed by society and its practices toward the biased sexual inscriptions on biased sex and gender practices.
A study by Anya Hurlbert at the University of Newcastle upon Tyne, UK, states, that women might prefer pinker shades because – in cultures where pink represents girlishness and femininity – they have learned to identify with it. And she adds that the Chinese women in her study, who grew up without commercial toys such as Barbie that promote pink to girls, showed an even greater liking for pinkish hues than their British female counterparts.
Hence, if the pink color describes the color of the weaker sex and gender, also accomplished through its soft tone, it means an inscription on women and their partially reduction on a lower level, which, of course excludes equality.
However, ‘pink’ did not become assigned as a ‘feminine’ color in Western culture until the late 1940s. Did you ever wonder why Cinderella and Snow White wore blue dresses? It is because blue was considered a more feminine color decades ago. Pink is a variant of red and was considered masculine in the late 1800s and early 1900s. The Nazi’s designated homosexual men with the pink triangle in the concentration camps because their orientation towards other men and masculinity (and a more culturally masculine color association made sense). There is nothing ‘innate’ about color preference on the basis of sex; it is entirely culturally assigned. The problem with biology in explaining human behavior is that it often serves to harden current societal norms into something unmoldable and innate. It unfortunately often has served a role in justifying horrendous cultural norms (racism, sexism, homophobia), such as identifying sex on the basis of a color. All it takes is a basic understanding of history to realize that societal association with colors and genders is an extremely new concept.
Red as Indicator for Female Sexual Availability
In this following study ‘red’ serves as an indicator for female sexual availability, illustrated and concluded by Andrew Elliot and Daniela Niesta, psychologists from the University of Rochester. By this color psychology study, but also linked to biological references, red, the color of love, is an aphrodisiac for men, – literally and figuratively – a reply to the age-old question of what attracts men to women. Red makes men feel more amorous toward women and men are unaware of the role the color plays in their attraction. This is a first empirical support for society’s enduring love affair with red and it is the only work to scientifically document the effects of color on behavior in the context of relationships, where much is known about color physics and color physiology, but very little about color psychology. From the red ochre used in ancient rituals to today’s red-light districts and red hearts on Valentine’s Day, the rosy hue has been tied to carnal passions and romantic love across cultures and millennia. Although this aphrodisiacal effect of red may be a product of societal conditioning alone, the authors argue that men’s response to red more likely stems from deeper biological roots. Research has shown that nonhuman male primates are particularly attracted to females displaying red. Female baboons and chimpanzees, for example, redden conspicuously when nearing ovulation, sending a clear sexual signal designed to attract males. “Our research demonstrates a parallel in the way that human and nonhuman male primates respond to red,” concluded the authors; “In doing so, our findings confirm what many women have long suspected and claimed – that men act like animals in the sexual realm. As much as men might like to think that they respond to women in a thoughtful, sophisticated manner, it appears that at least to some degree, their preferences and predilections are, in a word, primitive.” In the study and experiments, the women shown framed by or wearing red were rated significantly more attractive and sexually desirable by men than the exact same women shown with other colors, and when wearing red, the woman was also more likely to score an invitation to the prom and to be treated to a more expensive outing. The red effect extends only to males and only to perceptions of attractiveness. Red did not increase attractiveness ratings for females rating other females and red did not change how men rated the women in the survey’s photographs in terms of likeability, intelligence or kindness. The current findings have clear implications for the dating game, the fashion industry, product design and marketing.
Red in Religion as Prosperity, Fertility and Doom
In religious symbolism, red, as the color of the pomegranate, is a very strong character for love, life and fruitfulness, but also for seduction, power, superiority, blood and death.
In context of women and sexuality it is a symbol for a woman’s failure and doom, either by offering the forbidden fruit and being through this the personified reason of tremendous troubles, or by eating the forbidden fruit as a symbol for forbidden sexuality and being later again the personified reason for tremendous troubles again. The other way around it is associated with women in a very fruitful way, by indicating fertility, giving birth and life.
Jewish tradition teaches that the pomegranate is a symbol for righteousness, fruitfulness, and some Jewish scholars believe that it was the pomegranate that was the forbidden fruit of the Garden of Eden. The pomegranate is mentioned for example in this quote from Solomon, “Thy lips are like a thread of scarlet, and thy speech is comely: thy temples are like a piece of a pomegranate within thy locks.” – Song of Solomon 4:3. The pomegranate as a calyx shaped like a crown has been seen in Jewish tradition as the original form for the proper crown.
In Ancient Greece, the myth of Persephone, the chthonic goddess of the Underworld, symbolically uses the pomegranate as a fatal fruit, where Persephone was kidnapped by Hades and taken off to live in the underworld as his wife. Her mother, Demeter, went into mourning for her lost daughter and thus all green things ceased to grow. Zeus, the highest ranking of the Greek gods, could not leave the Earth to die, so he commanded Hades to return Persephone. It was the rule of the Fates that anyone who consumed food or drink in the Underworld was doomed to spend eternity there. Persephone had no food, but Hades tricked her into eating six pomegranate seeds while she was still his prisoner and so, because of this, she was condemned to spend six months in the Underworld every year. During these six months, when Persephone is sitting on the throne of the Underworld next to her husband Hades, her mother Demeter mourns and no longer gives fertility to the earth.
In some artistic depictions, the pomegranate is found in the hand of Mary, mother of Jesus. The fruit, broken or bursting open, is a symbol of the fullness of Jesus’ suffering and resurrection. In the Eastern Orthodox Church, pomegranate seeds may be used in the dish kolyva, as a symbol of the sweetness of the heavenly kingdom. According to the Islam, pomegranates grow in the garden of paradise. In Hinduism, the pomegranate (Sanskrit: Beejpur, literally: replete with seeds) symbolizes prosperity and fertility, and is associated with both Bhoomidevi (the earth goddess) and Lord Ganesha.
Red as Political Statement
Red as a color of bloody fight, resistance and power of the suppressed class becomes a political color. Traditionally associated with socialism and communism; in Europe and in several Latin American countries, red is associated with parties of social democracy, and often their allies within the Labour movement. A red flag is a symbol of left-wing politics, in particular of Communism. It has been associated with left-wing politics since the French Revolution. Socialists adopted the symbol during the Revolutions of 1848 and it became a symbol of communism as a result of its use by the Paris Commune of 1871. During the same historical periods, in the United States, within the First Wave Feminism (~1848~1960) Elizabeth Cady Stanton organized the Seneca Convention in the year 1848. Her plan was something unheard in the U. S. at that time: “to discuss the social, civil, and religious condition and rights of women.” In this context, women’s political movement can be associated with the color red, in the sense of an emancipatory movement against gender suppression and of women’s liberation ambitions of red sisters.
Walking in Red Shoes
Lermontov: Why do you want to dance?
Vicky: Why do you want to live?
Lermontov: Well, I don’t know exactly why, but… I must.
Vicky: That’s my answer too.
The Red Shoes, initially a symbol of female subjectivity, life and freedom, here inverted to the male suppression of that freedom of a woman’s choice for her own life, and later the reason for her failure.
Link to Curatorial text by Evelin Stermitz
The Nigredo in art is the starting point of a new imaginary material, a new shape which lends itself to the research of the perfect artwork, the true philosopher’s stone of every creative instinct.
The Nigredo project is a Barbara Collevecchio’s idea, curated in collaboration with Lori Adragna, and Micol Di Veroli, exhibiting 30 international artists that through their experiences show to the public the beginning of the creative process, a mystic and purifying moment in which pain and determination mix together like esoteric formulas to give life to new visual creations.
We have selected the most significant artwork specifically created for this exhibition: there will be paintings, sculptures, installations, photography and video-art, in a perfect balance between intellect, emotions and creativity. This show will also present a series of correlated happenings of experimental theatre, poetry, electronic music, and fashion.
Adalberto Abbate, Barbara Agreste, Andreco, Matteo Basile’, Angelo Bellobono, Zaelia Bishop, Umberto Chiodi, Laura Cionci, Pierluigi Febbraio, Massimo Festi, Octavio Floreal, Tommaso Garavini, Tiziano Lucci, Federico Lupo, Jara Marzulli, Masbedo, Elena Monzo, Serena Nono, Davide Orlandi Dormino, Max Papeschi, Paola Parlato, Guido Pecci, Gabriele Pellegrini, Francesca Pennini, Cristiano Pintaldi, Marco Rea, Francesco Sambo, Silvia Serenari, Fernanda Veron, Fiorenzo Zaffina.
More information about Nigredo: