THE BETROTHED

installation | visual elements | Maria Federica Masters
visual | Francesco Pititto
musica | Andrew Azzali

Bodies in vitro, self-propelled, smiling like newborns in wombs forced by history, from the Historia of their little big stories, of each one, of the spouses promised from the first cry, noises and sounds of near futures full of fatigue, of fear, of redemption.
Shiny bodies, squeezed into narrow spaces by the frames, from the borders, vertical walls of black anxiety, of anguish, of defeat. Elongated bodies, bottom up, figures “similarly different” to those of Doménikos Theotokópoulos, Giacometti, Modigliani, simple and sacred at the same time. Like the windows of large basilicas they pulsate chromatically in every room, glassy rocks from the volcanoes of Io.
Test tubes, vertical ampoules, natural habitats for already living fetuses, protagonists each of physiological monologues, physical, scientific, psychiatric. The margin around, in the shade, the emotions, the reactions, the feelings, imitations, memories and memories, fairy tales and true stories, fictions and truths faded by time, wrinkles, grooves of life, Nicotine tattoos exposed in the epiphany of the bodies.
Imprinted images, the farewell and then the way opens to the remaining life, to the passing of time, to twisted thinking, to the blurry picture, to space without mental and rational space, without reason.
Bodies move, they turn, they float in the image frame, the dark space on the right and left presses them to the center but offers them protection from opening up to the unknown.