The paradise of the orcs
curated by Antonio Manfredi
June the 12th/July the 20th 2010
opening June the 12th 2010 at 8.00pm
Carmen Carmona Fernandez SPAIN Filippos Tsitsopoulos GREECE Gerardo Di Fiore ITALY Boris Glamocanin BOSNIA Peppe Esposito ITALY Zhou Yuechao CHINA Titti Sarpa ITALY Gigi Scaria INDIA Giuseppe di Guida and Raffaele Vargas ITALY Emma Wood UK Mary Fox BRAZIL Roberto Di Benedetto and Davide Di Franco ITALY Zoran Zivkovic MONTENEGRO
Starting from June the 12th until July the 20th CAM, Casoria contemporary art museum in Napoli, after the exhibitions CAMorra, AfriCAM, Politik and Iranian Glances investigates once again the view of art on social through the exhibition WONDERLAND_Bogeymen Paradise, curated by Antonio Manfredi.
Wonderland is the land where monsters live, deviously passing through our lives completely anonymously. Those are the merchants of sex, the paedophiles, the ones taking advantage of juvenile work and of their social role to abuse or transgress thus becoming the icons of the bogeymen paradise.
The protagonists of the society of abuse are the product of this epoch of corruption, symbols of a subculture meant to desensitize the concept of violence. The works of the exhibiting artists are aesthetically and conceptually various. From the black Camorra of Castel Volturno (Caserta) to Chinese and Slavic mafia to control the trade of sex slaves, till the paedophiles paradises into the South-American and Eastern favelas, WONDERLAND provides a reflexion by means of the artists images, the visual hint to analyze, comprehend and avoid abuses to become normality. The video by Roberto Di Benedetto and Davide Di Franco analyzes, through images shot in the Caserta areas, the complicated relationship between camorra and African power ruling the market of sex. The same ambiguous exchanges are present in the work of the British Emma Wood portraying those lines in London suburbs on which bogeymen move looking for their victims. Crowded streets animated by anguishing and strange presences which identity has lost any human connotation. The photographs and the video by the Greek Filippos Tsitsopoulos show to the audience, like a modern Arcimboldo, the decadence and inner corruption by means of deformed portraits.
The analysis of the abuses proceeds with the bewildering photographs by the Chinese Zhou Yuechao making clear in an orgiastic ritual the condition of woman as sexual good. On a table the naked body is offered to the banquet of male lusts, deprived of whatever possibility of rebellion, pure object with no will. Not missing a pop hint to the same issue in the work of the Spanish Carmen Carmona Fernandez where flashy colours melt the libidinous scene presenting it as advertising. Same narrative language as Mary Fox, Brazilian artist drawing from her condition of transsexual to express a saleable sexuality through mages intentionally for granted though hidden by the use of a painting matter almost phosphorescent.
The flags of Eastern Europe countries realized by the Montenegrin Zoran Zivkovic are the background of pornography icons, women as identification symbol of nations reference for prostitution in the collective imaginary. Desecration in the work by Peppe Esposito takes place through the modification of the aesthetic canons of the feminine par excellence: Barbie doll. Breasts, lips and eyes magnify creating a perturbing result to satisfy the request of a morbid instinct. The end of innocence is the death of the fairy of the Bosnian Boris Glamocanin: the interruption of a fairy tale, childhood, corrupted by the violence perpetrated on young undergoing abuses by adult monsters. Bogeymen in purple clothes, with white collars using their human toys in their dark rooms of power. It is a biting hint to the events shaking the sacred hierarchy that appears into the video-installation-performance by Giuseppe di Guida and Raffaele Vargas.
Wonderland, especially in the Third World, offers these young bodies to sexual exploitation. Every year tourists leave for the alluring places for cheap sex. Pictures of those paradisiacal landscapes appear in the work of the Neapolitan Giuseppe di Guida, the travel offers applied out of the borders of the artist installation reveal the hypocrisy of travellers which real aim is the child on “duty” to exploit thanks to money. Countries of the Third World, but also the developing countries, where poverty is fertile earth to look for new markets to examine, looking for new goods to pack and use, like bodies, or part of them, in foam rubber, placed like at the supermarket into a trolley in the work of the Neapolitan Gerardo Di Fiore. Same objects, same statements by Titti Sarpa, which innocent and pure doll looks like the empty container of violated childhood. The experienced violence deprives innocence, turns its identity in a mere container without any soul cancelling the enliven horrors. Psychological and physical submission also appears into the video of the Indian Gigi Scaria where children work into unhealthy places, repeating obsessive gestures as in an assembly line.