"The dialectic and the sense"

The concept of energetic circularity of Eastern philosophies is combined with contemporary thought, rejoining the cradle of an alternative history lived intensely by Socrates to Plato, to Baruch Spinoza, to the artistic research of the twentieth century. Each element of creation, in this aesthetic panorama, is arranged with its identity on the same horizon line. The evolution of global trade and societies have collaborated in creating "confusion" about the value of identity by absorbing human representativeness in a graph. In the exhibition The dialectic and the sense the artist Claudia Quintieri tells micro stories of everyday life with objective roots of all times, languages ​​and cultures. His videos are like shells that, when worn to the ears, offer a sense of the sea.
The Duration and Venere metropolitan works focus on temporal segments to reach places ferrying life such as a cemetery and an underground station. The sequences sublimate the two aesthetic concepts: the solitary journey by car to reach a cemetery, where everything seems to stop and the alternation of passengers at the entrance of an underground station. The statuary dimension of the cemetery has a beauty on the edge, between death and the invocation of life. The sensation continues in Metropolitan Venus, interpreted by the artist performer Paolo Angelosanto. In the video Identity, stories and characters distant in space and time are present in the artist's soul as parallel worlds that dream of other existences. The work expresses the focus of the vision already revealed in poetic and narrative writing. With various media the artist introduces images of human landscapes on which the wind of power, of natural death, of everything that has always stirred the world blows. Without comments, without moralizing figurative rhetoric, Claudia Quintieri takes on the artistic burden to show a united humanity in the search for the usual values ​​such as love, the realization of a personal or social project in opposition to prejudices, to powers that create separations, barriers and fatal complicity as in Marikana. The video is a sensual parable, which flows like an invisible thread between the massacre of the miners in the Marikana platinum mine on August 16, 2012 and the stories about the power that fails to transform the lives of those they are supposed to represent. The style of the videos is made up of a simple and determined language, almost the embodiment of an awareness of fragility and strength, which represent the polarities of the dialectic with the world. The forms of vision arise from the depths and are almost epistolary that the artist weaves with himself, without losers or winners. Everything is in appearing. Metropolitan Venus, Identity, Duration, Marikana are mystical works born from small actions expressed with the fidelity of the amazement felt at their occurrence, a sort of minimalism of meaning.
The current historical moment replicates other stories with the variant that these enter our lives, they lose us, while in the scientific world we talk about artificial intelligences and minds connected to computers. Alongside the numerous dominant powers I continue to believe in the strength of the grain of sand, of the minimum action capable of jamming the system.
Vittoria Biasi