work
Piccola Natura Morta
| category | Performance |
| subject | Political / Social, Human figure |
| tags | Video sculpture, Identity, Symbolism |
| minutes | 40 |
| seconds | 0 |
| year | 2021 |
Identity and corporeality between object and symbolism.
In an investigation of family dynamics, identity variations, female roles, processes of
integration and estrangement, the exhibition Piccola Natura Morta by Anica Huck - in
fragility and instability of perception and individual construction - is articulated as a
composition in three stages, where rituality reifies social and cultural forms in one
procedural, analytical, destructuring dimension.
In the Family Tree live performance the artist, along the signs of a genealogical scheme
belonging to the great-grandfather's archive and dating back to the German Nazi regime of the years
1930s, interrupts and deconstructs the continuity and persistence of the order mold
ideological and social, outlined in the Aryan certificate, eating up the linearity of the apparatus
of control in the horizontality of family roots, destroying and at the same time
introjecting the mapping of a sometimes oppressive parental bond, of a memory
ferocious formulated in an aseptic modular procedure.
A nourishing act is transposed into an eradicating action of the permanence of the object,
of its semantic shadows, of an oppressive history that does not disperse, but comes
swallowed and processed like poisoned food, as a mournful and violent, exhausted form,
understood and alienated in its disintegration.
The gesture, the evidence of the written word and the procedural nature of the deed constitute a
symbolic system that develops beyond the story, focusing attention on the aspect
testimonial entrusted to the observer, on the willful action taken on the matter
documentary and emotional, on interrupted parental linearity, split from a specification
subjectivity, elaboration of a possible breaking of the emotional bond that follows the
social inclinations.
In the video performance Piccola Natura Morta the female role in the dialectic
personal, social and cultural is analyzed through the act of wearing one's own
jewels, in a continuous and incessant overlapping.
Necklaces, as a dual instrument of personal affirmation and attractive exaltation
and extensive associated with corporeality and the female gender, embody a dimension
object of the body exposed to the eye.
In the hypnotic repetition of the action that accumulates jewels, the artist poses as a sediment of concomitant and coincident femininity that cross eras, cultures, subjugations, carrying the weight of an objectifying cliché aesthetic.
In the video, clearly inspired by Caravaggio's painting depicting the penitent Magdalene, the still life of jewels and gems of the late sixteenth-century work is turned as the protagonist, principle and synthesis beyond vanitas, between liberation and evidence of a heavy social yoke.
In the videoperformance Àlzati, Take Your Bed and Go to Your Home in the ivy spirals that run through the mosaic frame and surround the artist's head intent on meditation, the background becomes a narrative piece wrapped in a sustained silence that traces mnestic traces of cultural roots grafted into dimensional coordinates where the artist's body is placed in concentration.
In the revival of a recurring religious phraseology, the title reflects and ironically refers to a discriminative context of otherness to which the artist ambivalently responds with an assimilative projection of a polycultural identity and at the same time with a conscious abstraction that crosses memory, the free contemplative state, beyond the boundaries of space and time.
In the imperturbable equilibrium that accompanies videoperformance, body and background come together in a continuity that excludes the word, which has become a physical body, understood as a matter of composition and integration of cultural diversity, an introjective and inclusive process of an extraneousness that is integrated into the perspective frame of an open and extensive backdrop.
In a path that unites and crosses the place, the performative act, the real space of corporeality recreated in digital reproduction and experienced in the interaction with the user, the body is the background and reflective accent of the action, raw material of symbologies, social object and cultural that the artist poses as a perceptive investigation and an entity permeable to collective, relational and identity traces.
In an investigation of family dynamics, identity variations, female roles, processes of
integration and estrangement, the exhibition Piccola Natura Morta by Anica Huck - in
fragility and instability of perception and individual construction - is articulated as a
composition in three stages, where rituality reifies social and cultural forms in one
procedural, analytical, destructuring dimension.
In the Family Tree live performance the artist, along the signs of a genealogical scheme
belonging to the great-grandfather's archive and dating back to the German Nazi regime of the years
1930s, interrupts and deconstructs the continuity and persistence of the order mold
ideological and social, outlined in the Aryan certificate, eating up the linearity of the apparatus
of control in the horizontality of family roots, destroying and at the same time
introjecting the mapping of a sometimes oppressive parental bond, of a memory
ferocious formulated in an aseptic modular procedure.
A nourishing act is transposed into an eradicating action of the permanence of the object,
of its semantic shadows, of an oppressive history that does not disperse, but comes
swallowed and processed like poisoned food, as a mournful and violent, exhausted form,
understood and alienated in its disintegration.
The gesture, the evidence of the written word and the procedural nature of the deed constitute a
symbolic system that develops beyond the story, focusing attention on the aspect
testimonial entrusted to the observer, on the willful action taken on the matter
documentary and emotional, on interrupted parental linearity, split from a specification
subjectivity, elaboration of a possible breaking of the emotional bond that follows the
social inclinations.
In the video performance Piccola Natura Morta the female role in the dialectic
personal, social and cultural is analyzed through the act of wearing one's own
jewels, in a continuous and incessant overlapping.
Necklaces, as a dual instrument of personal affirmation and attractive exaltation
and extensive associated with corporeality and the female gender, embody a dimension
object of the body exposed to the eye.
In the hypnotic repetition of the action that accumulates jewels, the artist poses as a sediment of concomitant and coincident femininity that cross eras, cultures, subjugations, carrying the weight of an objectifying cliché aesthetic.
In the video, clearly inspired by Caravaggio's painting depicting the penitent Magdalene, the still life of jewels and gems of the late sixteenth-century work is turned as the protagonist, principle and synthesis beyond vanitas, between liberation and evidence of a heavy social yoke.
In the videoperformance Àlzati, Take Your Bed and Go to Your Home in the ivy spirals that run through the mosaic frame and surround the artist's head intent on meditation, the background becomes a narrative piece wrapped in a sustained silence that traces mnestic traces of cultural roots grafted into dimensional coordinates where the artist's body is placed in concentration.
In the revival of a recurring religious phraseology, the title reflects and ironically refers to a discriminative context of otherness to which the artist ambivalently responds with an assimilative projection of a polycultural identity and at the same time with a conscious abstraction that crosses memory, the free contemplative state, beyond the boundaries of space and time.
In the imperturbable equilibrium that accompanies videoperformance, body and background come together in a continuity that excludes the word, which has become a physical body, understood as a matter of composition and integration of cultural diversity, an introjective and inclusive process of an extraneousness that is integrated into the perspective frame of an open and extensive backdrop.
In a path that unites and crosses the place, the performative act, the real space of corporeality recreated in digital reproduction and experienced in the interaction with the user, the body is the background and reflective accent of the action, raw material of symbologies, social object and cultural that the artist poses as a perceptive investigation and an entity permeable to collective, relational and identity traces.
