Children seemingly immaculate, from the looks glassy and expressionless, are binding to the viewer disoriented that undergoes a sort of fascination at the same time attractive and ambiguous. Children who appear to have come from fairy tales where evil ogre if it gives pleasure to their heels. To whom is probably allowed to see the souls of the deceased or that they themselves are part of the kingdom of the dead. Despite languid poses and embodied ivory, delicate pastel shades played on tonal values, the lightness of the clothes and fine details.
between fable and alienation Loretta Lux (Dresden, 1969) conceives of an imagination that celebrates the childhood version of noir. Soldiers at attention with eyes lost in the void in the throes of a state of hypnosis does not betray a minimum of introspective investigation. Simulacra of themselves as beautiful as they are dry as they are the children of Village of the Damned . Disturbing and seductive protagonists of that lost paradise that is childhood.
draws on the German tradition of painting - from Holbein to Friedrich - with a careful analysis of portraiture that moves from the late Renaissance Victorian era up to the 50s advertising illustrations, projecting the shots at a time indefinite. Out of context and thrown in an alien environment, its models are generally the children of friends immortalized on a neutral background later replaced by fixed views on the film during his travels. Why quest'infanzia artificially serene, rigorous in vintage clothing, eyes and limbs with hypertrophic and unlikely objects in his hands, is merely the result of the long process of careful digital manipulation. A childhood immersed in a world where everything is coated unreal and inaccessible and helps to achieve maximum aesthetic perfection. Manic in the geometric stringency and detecting desolate scenery, sometimes shabby. No matter whether it is sea, country or metropolis, silhouetted behind the characters, what counts is the color of these misleading calls and fascinating family album. Processed pictures in fine pictorial form - no coincidence that the Lux started out as a painter - whose connotation darkness lies in the northern European tradition of painting. And if the picture with regard to the coating approaches the pearly irreverent Olaf other references seem to divide between the Arbus and Jeff Wall .
An enjoyable show staged in a rational manner on walls aseptic but leaving empty-handed if you have the expectation of being in front of recent works. In fact, it is mostly of pieces from 2000 and 2005 and only a small group between 2006 and 2007. Whereas a double disappointment on this occasion Sozzani Gallery celebrates twenty years of activity.
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