The show intervenes and investigates around the body and its perception over time, from the canon of reproduction as an idea and a model, to a metamorphic vehicle of the person. His trans-training and trans-figuration declined in the practices of body modification, piercing and tattooing, as in paraphilias or in plastic surgery and bodybuilding, defines how both the perception that the being has of the inhabited body, and its figuration have declined over time. From a sublime practice of marble sculpture to an imaginative intention of its morphological trans-evolution.
Human beings have changed the way they think about themselves in the world as a thinking self and an active body.
In the idea of the current human form, body and soul are quite distinct.
Gowther will take place in a historic workshop, the Roman marble worker, VINCIONI in via Tiburtina 171. This place is characterized by marble elements of all kinds and sizes; reproductions, traditional funeral obrects and worked decoration elements.
The exhibition line followed in the installation proposals stretches towards the search for an opening in the traditional aesthetic dialogue proposed by the scenario of the place. Fracture interpreted as a possible stage space, in which the works are inserted contrasting and coexisting with the soul of the space.
The choice of this place in addition to wanting to tread an opposition to the usual institutional white, is interested in deepening some aesthetics related to body analysis as a canon of reproduction transfigured over time.
His metamorphosis in the aesthetic perception of himself.
The corruption of the flesh with other materials.
The doll as a reproduction of the female human figure covers a vast theme in the contemporary transfiguration of the human body. It is no coincidence that Gowther is the name of a character from the Seven Deadly Signs anime series, who in the course of the series, turned out to be a doll, created by a powerful wizard. Serving its creator as a proxy during his captivity in the demon world; Gowther is created in the image and likeness of Glarizia, the great past love of the original Gowther, who in order not to feel any attraction for his own “son” decides to give him a male body. Despite this he has a feminine face and frequently devotes himself to the practice of transformism, so that he is often mistaken for a girl. In fact, among his powers there is the ability to change his appearance and his gender, excluding his haircut and color of his skin, his sin is lust. A paradoxical feature given its object nature, which explicitly recalls the central theme of many cultural aesthetics related to science fiction and horror.
In the investigation of the body, the practices of body-modification, cosmetic surgery, tattooing, body building and artificial prostheses are just some images belonging to the aesthetic culture, now mainstream, of our era. These represent an expression of the desire to influence our social perception, rather than improve the functioning of our organism, they strengthen the body's thinking as a showcase and vehicle for the use of the personality. The perception of the contemporary body is totally different from the canonical ideal figured in ancient Greece.
In the deepening of the body, sex is a theme that offers the opportunity to look at the vast scenario of its most passionate and crude manifestations and it is regarsing in this case the algamotophilia, a paraphilia that involves sexual attraction towards inanimate anthropomorphic objects such as statues, dolls, mannequins and the others.
These manifestations clearly give us back the current canonical aesthetic spectrum in which human beings project and express themselves by transforming continuously.
From here begins the research and realization of the works proposed on display by the seven artists. Among sculptures, paintings and installations, the authors deepen the proposed theme, according to their aesthetic-expositive sensitivity, interpreting the body as: FLESH, SKIN, CONTAINER, VEHICLE, METAMORPHOSIS AND TRANSFIGURATION
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